[{"id":"65638","title":"Carl Krull on His Latest Series and New Show "Resonance"","alias":"carl-krull-on-his-latest-series-and-new-show-resonance","catid":"3","published":"1","introtext":"Carl Krull is a long time friend of Juxtapoz that we've featured here a handful of times. His work consists primarily of topographic lines, painted in an almost illusory way to provide depth and invi<\/span><\/span>","fulltext":"\r\n

What's been up in your life since the last time you interviewed with Jux in 2017?
<\/strong>I just finished a bunch of large drawings I call the Barrier<\/em> series. They are painted with ink on paper. It  has been fun and liberating  working with a brush instead of the pencil. The rather strict seismographic method I had been using earlier has really loosened up and the approach has become much more caligraphic. Besides drawing, I spend a lot of time with my family, my kids are small and time spent with them is precious. Last year I also did my first major sculptural work which I called Subterranean<\/em>. It was made by digging two holes in the ground, the right and left side of a head. The holes were then filled with concrete, and finally pulled out of the ground and put together. The sculpture weighs 29 tons and is probably the most crazy project I have done in my life so far.<\/p>\r\n

What's your work\/life balance? Do you take long breaks or get a lot done all at once? How does this look on a day to day level?
<\/strong>Work and pleasure seem to be entangled in one another. I love what I do and I'm happy to say that I can't really differentiate work from spare time. Usually I get a lot done at once and I prefer only working on one thing at a time. My studio is only a couple of steps away from my home, which means I can go back and forth between home and work anytime. My wife, kids, and myself move in and out of these territories we define as home or work many times a day, so my studio is an extended part of our home.<\/p>\r\n

\"CarlKrull2\"\"CarlKrull2\"<\/p>\r\n

How would you describe this newest body of work? How long have you been working on Omicron?
<\/i><\/strong>I took me about a year to finish the 100 Omicron<\/em> drawings. They were made a couple of years ago, and I had just become a father, so a large portion of the the drawings were made during my daughters naptimes. Astronomers use the name Omicron to pinpoint a stars location in a constellation, and I chose the title because it makes me thinks of space. I remember having this screensaver called SETI many years ago, it showed data from space being analyzed and depicted as graphs and charts on the computer screen. The way the drawings are built reminds me of these charts, and it makes me wonder what actually goes on when they emerge on the paper in front of me as if by themselves. The images that come out of this technique also resemble the iconic album cover for Unknown Pleasures<\/em> by Joy Division, it's an image of stacked radio waves from a distant pulsar, but were actually first thought to be a signal from some kind of extraterrestrial entity. On a more personal note, an alternate name for the star Omicron Ceti in the constellation Cetus is Mira, which is my daughters name. After finishing the Omicron<\/em> series I began working on the Barrier<\/em> series. As I mentioned earlier, my approach and method changed. Instead of looking out into space I guess I wanted to show the space in which my objects were placed. Now, shapes no longer emerge from an either horizontal or vertical equilibrium of lines. Instead, the network of lines now slice through the drawings from angles which emphasize the sense of dimension and perspective. The lines are bouncing of both background and the surface of the figures inhabiting these topographical territories, as if caught by sonar and echolocated in space.<\/p>\r\n

Do you have plans already set for beyond this show?
<\/strong>Next month I'll be making a 5 meter tall wooden sculpture in Helsing\u00f8r, Denmark and in September I'll be participating in a show called Copenhagen Creatives<\/em> at Maison du Danemark in Paris. After a 10 year long break, this year I plan on taking up painting on canvas again. I very much look forward to what will come out of it and can't wait to start exploring new territories on the canvas.<\/p>\r\n

\"CarlKrull6\"<\/p>\r\n

Have you been traveling much? What has been your favorite trip and what is your favorite place to visit?
<\/strong>Yes, I used to travel a lot with my parents when I was a kid and have continued to do so ever since. I studied at the art academy in both Poland and Mexico, and have lived in both France and Japan. I wouldn't say I have a favorite place, but I have visited Cracow in Poland almost once a year all my life. When I am asked to pick a place I would like to go next, I always feel like choosing a place where I can spend time on the beach.<\/p>\r\n

What's your dream project? Has this changed?
<\/strong>Don't know if I have just one dream project, so I guess it does change, or rather my dreams multiply. So, basically I wish to continue doing what I've got going, and hope I'm lucky to have lots of years ahead of me. And most importantly, something that will never change, I want to pass on the happiness and love I have felt throughout all my life to my children, and to see them live fruitful lives full of love.<\/p>\r\n

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His work consists primarily of topographic lines, painted in an almost illusory way to provide depth and invite interpretation. Like many artists, as he grows and changes, his artistic practice does alongside him, which leads us to Krull's latest series titled Omicron. The title is inspired by the concept of space and also a reference to his daughter Mira, which explains in the interview below. The body of work came about right after his daughter was born, and consists of 100 drawings made over the course of a year. This series, along with some other pieces, are the focus of a new show at Hans Alf Gallery with the title Resonance. 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Fully focused on exhibiting at high end galleries and museums, as well as keeping busy with his quirky side projects such as Karbombz<\/a>, Sloppy Melt<\/em> is Scharf's first release since Vertical Blockheads was released with Hamilton Press Gallery back in 2016, ahead of his Honor Fraser show last year.<\/a> Both based on his signature colorful, cartoon-inspired imagery, the two prints are using almost polar opposite aesthetics, proving the LA-artist's energetic and experimental nature. The image is part of his newer Sloppy Style<\/em> series which is stepping away from his usual clean style. Aside from trying out something new, the style is also an effort to address global warming and other environmental issues, something that's been an ongoing theme in Scharf's work. Produced at the historic Idem Studio in Paris in edition of only 99 pieces, this 8 color-lithograph measuring 35\" x 25\" in is finished with \"Angel Dust\" glitter, applied by hand. \u2014Sasha Bogojev<\/em><\/p>","video":null,"gallery":"{gallery}65637{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"Kenny Scharf recently teamed up with Print Them All printing house for a fresh new limited edition titled Sloppy Melt. 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Known as a vital part of the East Village art scene during the 1980s alongside Jean-Michel Basquiat and Keith Haring, the 3x Juxtapoz cover artist is rarely releasing prints these days, which makes this edition even more special.","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"65634","title":"Peacock Visual Arts and Nuart Aberdeen Team Up for Special Print Show, "Inky Protest"","alias":"peacock-visual-arts-and-nuart-aberdeen-team-up-for-special-print-show-inky-protest","catid":"4","published":"1","introtext":"Two of our favorite arts organizations, Nuart and Peacock Visual Arts in Aberdeen, are teaming up for a special exhibition leading up to the 2018 Nuart Aberdeen festival, entitled \"Inky Protest.\" Las<\/span><\/span>","fulltext":"\r\n

 From the Nuart organizers:

All of us at Nuart believe in helping foster a global creative community. We host exhibitions, collabora- tive online and o ine projects, art events, festivals and workshops of all types. We are always looking to collaborate with other elds. Though we are primarily a Street and Urban Contemporary focused gallery, we support a strong interdisciplinary approach to \u2018making\u2019 and frequently look for alterna- tive and interesting ways to engage the creative community. Whether it\u2019s through a printed project, an interactive element, or an online project, we promote the theory that all artists are multi-faceted, idea-centric individuals whose creativity goes well beyond the technical aspects of the work into the experiential and experimental side of art making and appreciation.<\/p>\r\n

Peacock Visual Arts has over 40 years\u2019 experience of collaborating with artists. From nation- al treasures, Turner Prize nominees, Becks Futures winners and legendary tattooists to local schoolchildren our mission has embraced the importance of making as a key component of per- sonal and cultural growth. Recent projects have included working with Tom Hammick on a suite of prints now in the permanent collection of the Library of Congress - New York. Frances Walk- er - a founding member - now in her 88th year and in many ways the bedrock that our workshop is built upon. Frances will exhibit work in The W OR M later in the year presenting recent large- scale etchings. Donald Urquhart\u2019s A-Z of Michael Jackson - a large-scale commission - printed on canvas - will be a key artwork in the National Portrait Galleries - \u2018On the Wall\u2019 Exhibition in June.<\/p>\r\n

All featured in Inky Protest alongside local and national artists. All artworks are made in Ab- erdeen. Peacock are very proud of their roots and the continued support they are given that has established their continued growth within the sector. \u201cWe are delighted to welcome Nu- art into our home. Making art takes courage and we applaud a city that embraces risk. Aber- deen has been richly rewarded with a variety of brilliant artworks that have been debated and viewed by many new audiences. A city talking about art is a welcome change to weather!\u201d<\/p>\r\n

The show line-up: Adam Bridgland (UK), Add Fuel (PT), Axel Void (ES), Bortusk Leer (UK), Clare Barclay (UK), Claire Roberts (UK), Conrad Aitkinson (UK), David Noonan (AU), Ella&Pitr (FR), Eron (IT), Evol (DE), Fintan Magee (AU), Frances Walker (UK), Futura (US), Henrik Uldalen (NO), Hyuro (ES), Ian Stevenson (UK), ICY&SOT (IR), Isaac Cordal (ES), Jamie Reid (UK), Janice Kerbel (CA), Jaune (BE), John McLean (UK), Kennardphillipps (UK), Martha Cooper (US), Martin Whatson (NO), M-City (PL), Mike Giant (US), Mob- str (UK), Nipper (NO), Pat Douthwaite (UK), Ralph Steadman (UK), Robert Montgomery (UK), Rosa- lind Nashashibi (IL\/UK), Sadie Main (UK), Scott Myles (UK), Seripop (CA), Tom Hammick (UK), Willie Moulding (UK) & more<\/em><\/p>\r\n

INKY PROTEST: A COLLABORATIVE EXHIBITION BETWEEN NUART AND PEACOCK VISUAL ARTS<\/strong>
Opening night: Thu 12th April, 19:00\u201321:00 The WORM<\/strong>
Exhibition: Thu 12th April\u2013Sat 5th May, Opening times: Tue\u2013Sat; 10:00\u201317:00<\/strong>
11 Castle Street, Aberdeen AB11 5BQ<\/strong><\/p>","video":null,"gallery":"{gallery}65634{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"Two of our favorite arts organizations, Nuart and Peacock Visual Arts in Aberdeen, are teaming up for a special exhibition leading up to the 2018 Nuart Aberdeen festival, entitled \\\"Inky Protest.\\\" Last year, we visited Peacock Visual Arts during Nuart, to see some of their classic print works they had done with the likes of Ralph Steadman and Mike Giant. 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Arts during Nuart, to see some of their classic print works they had done with the likes of Ralph Steadman and Mike Giant. 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In anticipation of his new show, Heaven of Many a Tangled Hue,<\/em> at Spoke Art<\/a>, Chuck Sperry<\/a> sat down with Spoke's curator, Dasha Matsuura<\/a>, to briefly flip through the annals of his prolific career. They cover an immense amount of ground, and Sperry speaks at length on his art editorial career, music posters, his art collection, and quite a bit more. Interviews like this serve are pleasant glimpses into the intersecting worlds of art, music, journalism, and nearly everything else. Read on below.<\/p>\r\n

\"181803<\/p>\r\n

You\u2019ve become a rock poster legend. What was the first gig poster you ever did? How did you first start working with the Fillmore?
<\/strong>I\u2019ll try to be brief \u2014 there are so many experiences that prepared my for my present life ... y\u2019 know it\u2019s complicated being a legend, haha!

I did a lot of local punk rock xerox flyers starting at the University of Missouri in Columbia, where I was pursuing my dual major Art and Journalism. Posters for bands with names like: Art Sluts, Bone Deep, Three-Legged Dog, Blind Idiot God, while making a punk zine called Java.

The Journalism school I went to was tip-top. I went to school expecting to turn out as a writer. But really within a month I was not concentrated on writing any more \u2014 I was suddenly the school editorial cartoonist.

My parents were good friends with Mike Peters, the Pulitzer Prize winning editorial cartoonist famous for destroying Richard Nixon with his satirical op ed cartoons. Peters took me under his wing. I\u2019d meet him on school breaks, when I\u2019d go back home to Dayton, Ohio. I would trundle over to The Dayton Daily News and show him my editorial cartoons. He was really generous to critique my work. God he used to make me laugh! He was about the most sarcastic person I ever met! Stories!

I negotiated with my school councilor into letting me study Journalism and Art as a dual major. The art department was headed by Frank Stack, who is credited as America\u2019s first underground cartoonist under the pseudonym Foolbert Sturgeon. He created a very biting comic book series, a satire on religion called \u201cThe Adventures of Jesus\u201d in the early 60\u2019s. His pen name was intended to make everyone believe Gilbert Shelton was the author; Frank and Gilbert co-edited The Texas Ranger, which was a very good humor magazine at the University of Texas in the late 50\u2019s early 60\u2019s, and of course, Gilbert Shelton was quite well-known for underground comic classics \u201cWonder Warthog\u201d and \u201cThe Fabulous Furry Freak Brothers.\u201d

I was the editorial cartoonist for the maneater for four years, with an editorial, twice a week, every week. I learned how to cultivate, entertain and move an audience through that experience, a very valuable lesson. I also learned how to deal with criticism, because almost everything an editorial cartoonist draws pisses off someone!

I left Missouri and moved to New York City and lived on the Lower East Side where I co- edited World War 3 Illustrated with Peter Kuper, Seth Tobocman, Eric Drooker, and others. Over the years World War 3 Illustrated has published political and satirical artwork by James Romberger, David Wojnarowicz, Anton Van Dalen, Sue Coe, Art Spiegelmann, and many others. It\u2019s still coming out once a year to this day!

There was a violent police riot in Tompkins Square Park in 1989, and about that time I moved to San Francisco, because New York was a combination of very heavy and very expensive. I started work on an underground newspaper called Filth Weekly Weird News, as the art editor. I contacted many, many artists to make covers and comics: Robert Crumb, Spain Rodriguez, S. Clay Wilson, Rigo 23, Victor Moscoso, and Gary Grimshaw.

Soon after moving to San Francisco, I worked at Comic Relief comic book store on Haight Street. Nancy Langhofer, my girlfriend, was the store supervisor. We had such a blast at that store! She sort of let me run an Filth Magazine editorial office from the front counter cash register, as long as I sort of worked too. As comic store clerk \/ art editor, I often got contacts with artists when they visited the store.

Robert Crumb<\/a> came in to shop with Spain Rodriguez. Spain was cool, I had run a cover of his in Filth Magazine. When Crumb came to the counter to buy his comics, I asked him to contribute to Filth. He hates that sort of thing! But Spain said really gently and cool in his ear, \u201cRobert, these guys are really cool. You should!\u201d Crumb kind of grimaced and said, \u201cOh alright. I\u2019ll look at your ... what is it? ...Filth.\u201d He came back about 40 minutes later, and handed me his sketchbook, and said, \u201cWhich one of these do you want? Here, have a look.\u201d When I chose a bunch of drawings with post-it bookmarks, he asked, \u201cWhere\u2019s the copy machine?\u201d I directed him to the pharmacy across the street and gave him a handful of dimes.

When Crumb returned he said, \u201cYou know I\u2019m doing this because you guys are a bunch of pathetic losers, and you will never succeed.\u201d It was like he was welcoming me to the club!

I showed my work to art director Arlene Owseichik at Bill Graham Presents<\/a>, and she hired me to make posters for the Fillmore in 1994. The Fillmore had opened up again in 1993 and I received my first poster commission for Superchunk. I\u2019ve done about 15 posters for the Fillmore; I made posters for Hot Tuna, Chris Cornell, Los Lobos, Flogging Molly, Gov\u2019t Mule, Pennywise, and Circle Jerks. My favorite Fillmore poster was F1000 (their 1000th poster design) for The Pretenders in 2009. I got to go off on my Pretenders poster with spot silver metallic ink; I conferred with their printer, Great Impressions, to run a tinting color over the silver ink \u2014 in an offset version of my signature silkscreen printing style.<\/p>\r\n

\"181803<\/p>\r\n

Are there any musicians\/bands you haven\u2019t gotten to work with yet that you would like to?
<\/strong>I\u2019ve made signature posters for Bob Dylan, the Rolling Stones, The Who, Eric Clapton, Mickey Hart, Patti Smith, Joan Jett, Joe Strummer, and The Beatles. I\u2019ve made cool rock posters for Black Sabbath, MC5, Pearl Jam, DEVO, Blondie, Soundgarden, Queens of the Stone Age, Foofighters, and The Black Keys. I have done multiple posters for favorites Widespread Panic, Ben Harper, Dave Matthews, Ben Harper, Leftover Salmon, and Umphreys McGee. Recently, I made some damned fine posters for newcomers Twiddle and Greensky Bluegrass. There\u2019s been two or three really cool posters, two skateboards and project collaborations with Nick Cave ... But somehow, Led Zeppelin has escaped my grasp!<\/p>\r\n

Many of your fine art prints are based on figures from your gig posters. What is the translation process like for you?
<\/strong>There isn\u2019t any translation. In fact, I am creating the image I want to extend my artistic vision. It\u2019s subversive and intermingled like that. The rock posters work as pieces of art, because I have this motto: just because it\u2019s a poster for the general public, doesn\u2019t mean it should not be the finest art possible. I toil for rock poster designs just as much as I do for my art prints.<\/p>\r\n

Screen printing is such a core part of your art practice and the medium itself plays such a big role in your work. Each print is so impeccably clean and perfected I think it is easy to forget or overlook that you are an incredibly talented draftsmen and illustrator. You start with pencil and ink drawings, are you ever tempted to change medium? Or explore other ways of making work?
<\/strong>Tempted may not be the right way to express my relation to other mediums. Tempted sort of sounds like I\u2019m not doing what I love! I am drawn to other mediums. That\u2019s for sure!

Time is the main consideration. I have been working in both the fine art world and in the rock poster genre since I was first represented by the gallery scene in 2009. And started working with Spoke Art in 2010. There\u2019s so much work to make, working in posters and in the gallery scene.

I learned an important lesson at that time. It was at this same time, I was asked to make an installation for the San Francisco Museum of Modern Art<\/a>, Window Gallery. I began provisionally asking myself, how does poster design translate into fine art, into painting; I scratched that line of inquiry immediately. I committed my internal dialog to this: \u201cJust do what you do.\u201d I made a 11 foot by 9 foot acrylic painting, with screen printed applique\u0301. The piece sold in 10 days to a tech entrepreneur, surprising both me and the museum with the rapidity of the acquisition. It\u2019s important to follow your gut.

I have a solo museum exhibition at the end of the year at Fort Wayne Museum of Art<\/a>, I\u2019ll be exhibiting 25 oak panels, original drawings, and ephemeral printing progressives (to show how I work),and I\u2019m presenting two large format tapestry works. I\u2019m really excited about the exhibition!
<\/strong><\/p>\r\n

\"181803<\/p>\r\n

We\u2019ve talked a bit about how much you like drawing texture\/hair and if you were to make abstract work, you would start there. Have you been considering making more abstracted work?
<\/strong>Yes, I consider abstraction. I think about abstraction and fragmentation in art a lot; the concepts feel suited to our times.

I wandered around Art Basel this year (my third year showing) with Brett Amory<\/a>, and his eye is convincing! Seriously, we got into a discussion that went for a few days about the trends and themes coming through the fair: digital abstraction, digital mark making, artifacts and glitches, fragmentation, obfuscation, erasure of the subject.... it was a blast to rap out with Brett who gets it, works on the cutting edge. The experience will no doubt influence future exploration.

There\u2019s all that free-form abstract jamming I do when drawing textures and hair; it\u2019s very meditative and I like to translating that to painting and printmaking.

My current work has much more to do with symmetry and proportion, color and balance. It\u2019s a utopian provocation; while the present era couldn\u2019t be more off balance, more dystopian. I want my work to provoke meditation and emotional responses to it\u2019s clear colors, balance and symmetry \u2014 to give courage, light and beauty to all of us trapped in an ugly historical moment. I don\u2019t want to fragment my work ... not just yet ... or abstract or dissolve; I think of my work from the last few years as defiant in these dark times. I like to think I give people courage through it. It gives me courage to work on it.<\/p>\r\n

Figures are such a prominent part of your work. When you incorporate musicians you use reference imagery, but your muses\/female figures aren\u2019t typically referencing particular people. Is there a reason you don\u2019t shoot models for reference?
<\/strong>I\u2019ve made a self-conscious decision to present my figurative subjects with a flattened distortion, filling these flat areas with swirling color and pattern. I\u2019m really drawn to ukiyo-e, pictures of the floating world, a naturalistic, concise stylization, presenting an intimate, engaging figure with ephemeral color (color-tinted metallics that change according to the angle of the viewer).

The titles are based on Greek mythology, sometimes other cultural legends and occasionally literary references. I aim to touch archetypes, natural spirit energy, ritual forces, iconography with humanist aim.

When I post my art online, one of the most oft repeated reaction is: \u201c(tagged name) this looks just like you!\u201d See, my reduction of detail is meant to look just like you. It works!<\/p>\r\n

Your patterning has so many distinct inspirations from William Morris and nouveau to graffiti. Where else do you look for inspiration on patterns?
<\/strong>In the natural world. I often get color ideas for my patterns from a good walk around my neighborhood the Haight Ashbury, the panhandle, Golden Gate Park in San Francisco! I\u2019m hugely influenced by William Morris<\/a> for his art and his theory. I love his insistence on handiwork, and his credo: Art for All<\/em>. It\u2019s very appealing to me and my social and political leanings.

I also love photographing layers and layers of graffiti tags - to use as a basis for making abstract explorations \u2014 wherever I find a good thick jumble of humanizing tag work. This makes a really great basis to sketch abstract forms from \u2014 there\u2019s some much energy! When it\u2019s layered really thick, there\u2019s no single author, just a burst of human energy and activity!<\/p>\r\n

\"181803<\/p>\r\n

Poetry and writing also figure prominently in the inspiration of your work. Can you talk about any specific pieces of writing that are incorporated into this body of work or inspired elements of these pieces?
<\/strong>I was reading P. B. Shelley<\/a>, and encountered a poem I had not seen for a long time: The Sensitive Plant.

I started reading Shelley because I keep crossing his historic path when I travel Europe. I show in a gallery called Next Door in Geneva, the town where Percy and Mary Shelley stayed when she wrote Frankenstein, great book. I lived in Italy for a year in a small house on the Golf of Poets, named because Shelley and Byron (and later DH Lawrence) lived there. Shelley died at sea in the view out my window there. His body was burned on the beach, because he was an atheist and the graveyards refused him, intriguing story; and that spot was visible from my window too. Sounds so damned Romantic! But I dig his words!

The Sensitive Plant drew me in because it made me wonder... Reading the lines, it described a beautiful garden with flowers representing natural spirits, the spiritual energy of nature, all tended by a figure one can only surmise represents human love and care, a sort of Venus figure. I responded to his view of nature in this poem and our place in it (not very central), and felt it described really clearly the themes and representations I make in my work. Nature sort of moves on without us with it\u2019s own consciousness, whether we see it or not.<\/p>\r\n

Greek mythology plays a huge role in your work. What first drew you to it? Are there any particular myths you were interested in depicting for this show?
<\/strong>A central triptych in my solo at Spoke Art is very loosely, thematically based on the women only festival or ritual Thesmaphoria, a closed ritual devoted to Demeter. The three pieces show Anodos (Ascent), Demeter (Mother Goddess), and Kalligeneia (Beautiful Creation). It is the harvest festival, a ritual fertility sacrifice, and celebration of the creative forces of womanhood practiced in ancient times.

During Thesmaphoria (also Haloa, another ancient Greek ritual) the middle day was believed to be reserved for ritual obscenities and binding curses \u2014 only in the company of women \u2014 in other words, it was a ritual centered on the sacredness of honest communication, the therapeutic relief of expressing the truth, the power of free speech. I felt that this was a worthy theme to pull from ancient Greek myths and rituals to bring to contemporary attention. An ancient observance where democracy and ritual intersect.

Freedom of Speech is our most powerful weapon, and it\u2019s a driving force in my art.

My solo has additional, relevant mythic references in it. There\u2019s a piece called \u201cCirce\u201d: a sorceress who turns rude men into pigs. \u201cThe Ostracon\u201d is an impeachment allegory. Through that piece I met Dr. John Camp the Director of the Agora Excavations of the American School of Classical Studies in Athens. He very generously permitted me to attach his thoughts \u2014 an essay about bringing back the ancient democratic practice of ostracism: a more simplified, more regular form of impeachment \u2014 as commentary to The Ostracon.<\/p>\r\n

Many of the Greek myths you reference in your work have a very deep reverence for women, femininity and beauty. How do you feel those characters and stories speak to or are influenced current social movements and changes?
<\/strong>The ancient myths have a lot of readings, a lot of angles for understanding them, and have presented themselves in myriad interpretations to human thought over centuries. I\u2019d like to tie something back to these myths \u2014 from the perspective of the left \u2014 as we move forward and progress. I\u2019d prefer to emphasize the messages in the myths that are speaking to our contemporary values. There is \u2014 to me \u2014 much of value for progressive intellectual meditation in these myths and stories.

I read a lot of anthropology side-by-side with mythology. I\u2019m reading Jane Ellen Harrison, \u201cProlegamena to the Study of Greek Religion\u201d. She revolutionized the anthropology of ancient Greek society, ritual and religion. She comes from a feminist perspective. Her insights reveal the folk-rituals and beliefs beneath the idealized Greek Myths, and idealized religious rituals. There beneath our present traditions and institutions are matriarchal foundations.

I\u2019m updating the representations of these traditional art subjects, with respect for the feminine aspect in them, to emphasize the feminine principle in our esteem and regard. I sense this to be part of the zeitgeist of this decade. So I\u2019m expressing that in my work.<\/p>\r\n

\"181803<\/p>\r\n

Social activism is a major component of your practice. Do you think that has roots in your background in journalism? How has the political landscape affected your work? How does your activism show up in the studio?
<\/strong>My activism is stronger now that we have Trump and all of his erratic, cruel policies. Right now I\u2019ve concentrated my efforts on the core American value of our Democracy, to keep it safe and preserve the ability to make social change in the future. Lately, I think that the ancient invention of democracy as a form of self-government as a radical idea. I don\u2019t see democracy as an end. I see it as the a priori to justice and true equality. So if we want to move toward greater equality and more enlightened justice, we must first save democracy.

I use my experience making popular posters for popular music; I use the same communication and distribution techniques to make activist posters. And lots and lots of them, especially now!

I made 5000 posters for the first Women\u2019s March in 2017 with of all proceeds going to Planned Parenthood. I made another poster for last year\u2019s March For Science for Albert Yu- Min Lin, national geographic explorer. And another poster for the Women\u2019s March Power to the Polls event in Las Vegas. All these posters are sold out or nearly sold out. It\u2019s great to harness positive fan energy for good!

Last year, I surprised Conscious Alliance by making a record-breaking, food-drive poster for their event supported by String Cheese Incident at Red Rocks in Colorado. We raised a record 5000 lbs. of food for the Oglala Sioux. I\u2019m very proud to be able to make an impact.<\/p>\r\n

You\u2019ve had the opportunity to travel pretty extensively with your work including trips to Greece. What is it like for you as an artist to experience the places where many of the mythological stories you draw inspiration from originate?
<\/strong>It\u2019s very inspiring! Just one short story here: I finished my show in Paris at l\u2019Oeil Ouvert<\/a>, and it was really a big success.

When I flew to France, I went first to Marseille to meet with my friends there. I had dinner with my friend Korine Gibaudan who is the manager for artist Pakito Bolino the owner of Le Dernier Cri, a very prolific and legendary screen print studio in France. Pakito and Korine had spent the year (2016-2017) being savagely attacked and provoked by the political extreme right, attracting speeches and inventive from Marine Le Pen herself, and in the process a provocative obscenity charge to answer in court, for \u201cobscene art.\u201d To be perfectly honest, this charge was meant for Marine Le Pen to gain voters and publicity alone. Korine was quite exhausted by the attacks, and rented a house on the island of Paros in Greece. She invited me to share it. The only problem was that she was going there the same day I flew home \u2014 I was proofing my book \u201cHelikon: The Muses of Chuck Sperry\u201d with my friend and book designer Shaun Roberts.

When the show ended, the gallery owner, Julien Fayet pulled out his credit card and said, \u201cChuck you are going to Greece. You must. I\u2019m changing your ticket, buying you a flight to Athens, and I\u2019m paying for it!\u201d He argued that I had to go, as my show was full of muses and it naturally followed that I must then go to Greece, source of inspiration. The flight adjustment wasn\u2019t too expensive, but I would not have done so, if he hadn\u2019t taken the reigns. 

I called Shaun and told him that we would have to proof the book via FaceTime call when I got to Greece.

There is something magical about the long boat trip from the ancient harbor of Pireus to Paros in the Cyclades Archepelago, named after the cicada. True fact: cicadas actually flew across the wide sea, landed on the boat deck near me, and chirped in time with a musician playing the bouzouki. By the time I arrived it was midnight. Parikia harbor drifted on a sea of black and grew nearer. I found the figure of my friend waiting for me in the light crowd. We hopped in her tiny euro car and zipped up to the house.

Next morning I made my FaceTime call to Shaun, on a hill topped with the ruins of the Temple of Apollo, to proof my book devoted to the muses. We were pretty damned amused at the symbolism of all that for sure! But I have to admit that I brought flowers to Apollo later that day, and left them for him on a simple stone altar in the ruins.<\/p>\r\n

\"181803<\/p>\r\n

You have some of the most dedicated fans and collectors I\u2019ve ever experienced in my career in the arts. Collecting Sperry prints is a bit of a sport with this tight knit community. I can imagine it feels pretty cool having people respond that way to your artwork.
<\/strong>Woot! It\u2019s super cool! I feel very lucky to have such awesome fans! I\u2019m grateful every day! I\u2019m especially grateful for the freedom to express myself that my fans afford me. Thanks all!<\/p>\r\n

What contemporary artists are you a big fan of and collect?
<\/strong>I\u2019m a huge Isabel Samaras fan! I was so stoked to acquire \u201cCloud Nine\u201d \u2014 her mannerist pop portrait of Batman and Cat Lady kissing in the clouds. I brought it home to Nancy and we both swooned and stared at it for weeks and months. It\u2019s in my drawing studio at home brightening my life every single day!

I have two Brett Amory paintings; one from the Waiting Series, and one of his new abstract meditations. Brett is such a cool cat! And so damned gooooood! We met initially at the Free University of San Francisco, and I knew right away, he has a big heart, sharp mind and the skills to show the world.

I couldn\u2019t resist Scott Scheidly\u2019s fabulous mauve Fidel Castro with pansy collar insignias at Art Basel in 2017. I used to live in South Florida, and I know how provocative Fidel Castro is there. I sort of snort-laughed when I saw Scott\u2019s exceptionally well-painted portrait of Castro and thought, \u201cgod love Scott! I must. have. this!\u201d

Joel Daniel Phillips had this amazing installation at SF Art Market, graphite pieces that were inspired by found objects, all tied to his really intensely humanistic exploration of Hunter\u2019s Point in San Francisco. There was this shoe, and Joel\u2019s drawing of that shoe, and they were presented together, subject and artwork, and the whole thing just dripped with so much human life and compassion. I needed that shoe!<\/p>\r\n

I\u2019m lucky to work with such a great photographer, Shaun Roberts<\/a>, in collaboration on my book projects and documentation. I love Shaun\u2019s vision. I have one of his framed pieces of my paint splattered chair, something I live with every day, but his eye transforms the way I see.<\/p>\r\n

\"181803<\/p>\r\n

Anything else to add?
<\/strong>This year has been so inspiring! I\u2019m so excited for my Spoke Art solo, Heaven of Many a Tangled Hue<\/em>. I\u2019m super excited for my first museum solo, \u201cAll Access\u201d at the Fort Wayne Museum of Art in September.

I wouldn\u2019t change a thing about my life, my friends, and art, and my career arch if you like, and the timing of it all. My life\u2019s tempo has this repeating circle like a great musical improvisation. And every time we come to the top it just gets richer, fuller and more meaningful. I\u2019m just trying to get it all down on paper!<\/p>\r\n

\u201cA Heaven of Many a Tangled Hue\u201d opens Saturday, April 7th with an opening reception from 4 to 9pm at Spoke Art San Francisco. The show runs until April 28th. Photos by Shaun Roberts.<\/em><\/p>","video":null,"gallery":null,"extra_fields":"[{\"id\":\"13\",\"value\":\"In anticipation of his new show, Heaven of Many a Tangled Hue, at Spoke Art, Chuck Sperry sat down with Spoke's curator, Dasha Matsuura, to briefly flip through the annals of his prolific career. They cover an immense amount of ground, and Sperry speaks at length on his art editorial career, music posters, his art collection, and quite a bit more. Interviews like this serve are pleasant glimpses into the intersecting worlds of art, music, journalism, and nearly everything else. Read on below.\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"Heaven of a Many Tangled Hue\"},{\"id\":\"3\",\"value\":\"Chuck Sperry\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"\"},{\"id\":\"2\",\"value\":\"\"},{\"id\":\"10\",\"value\":\"Spoke Art\"},{\"id\":\"9\",\"value\":\"San Francisco\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"1\"},{\"id\":\"16\",\"value\":\"1\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":"In anticipation of his new show, Heaven of Many a Tangled Hue, at Spoke Art, Chuck Sperry sat down with Spoke's curator, Dasha Matsuura, to briefly flip through the annals of his prolific career. They cover an immense amount of ground, and Sperry speaks at length on his art editorial career, music posters, his art collection, and quite a bit more. Interviews like this serve are pleasant glimpses into the intersecting worlds of art, music, journalism, and nearly everything else. Read on below. Heaven of a Many Tangled Hue Chuck Sperry Spoke Art San Francisco USA San Francisco (Bay Area) ","created":"March 29, 2018","created_by":"18537","created_by_alias":"","checked_out":"0","checked_out_time":"0000-00-00 00:00:00","modified":"2018-03-29 21:03:52","modified_by":"18537","publish_up":"2018-03-29 17:40:21","publish_down":"0000-00-00 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curator, Dasha Matsuura, to briefly flip through the annals of his prolific career. They cover an immense amount of ground, and Sperry speaks at length on his art editorial career, music posters, his art collection, and quite a bit more. Interviews like this serve are pleasant glimpses into the intersecting worlds of art, music, journalism, and nearly everything else. 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Covering walls through countless countries and cities, this essential BLU publication is filled with the most known masterpieces, backstage shots and unreleased works from the artist\u2019s archives. With some of the works being recently buffed by the artist himself in efforts to stop investors and institutions from \"preserving\" and displaying his public work, the book is a historic document showing more than 200 walls painted on 288 full color pages.

The special edition that comes in a slip on sleeve includes a zine with sketches and studies for large pieces, along with 2 big posters of evolution themed piece in Rome from 2015, and his massive Ancient Rome-like critique of modern society from 2012. \u2014Sasha Bogojev

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Colored hand casted porcelain 4 colors \/ 2 shapes<\/em>
High Bowl: 13cm. x 7cm.  \/ Coral fish - Blue cat<\/em>
Low Bowl: 15,5cm. x 6cm. \/ White dog - Green frog<\/em><\/p>","video":null,"gallery":"{gallery}65494{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"French-born, British-based artist Jean Jullien has teamed up with Case Studyo for a follow up on their Face Plates collaboration with a new series of hand-casted porcelain works... \\\"Animal Bowls.\\\" As Case Studyo notes, \\\"The edition consists of 4 hand shaped\\u00a0colored porcelain bowls, each one sporting a different animal face in Jean Jullien's signature style, perfect for serving both hot and cold dishes. 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His new solo show, Work Hard & Be Nice To People<\/em>, features two new editions between the gallery and the artist. As Burrill<\/a> notes, \"These large scale screen prints take the typographic simplicity of my letterpress work to a new and exciting place. The increase in size restates the message of my work not only in scale but also in intent. The two phrases I\u2019ve picked for the editions are my personal mission statement, I think we should all be more inquisitive and much nicer to each other. My ambition for these pieces is that they will speak to as many people as possible, they are intended as positive propaganda to promote a happier way of living.\"

Click here to read our interview with Burrill from 2014. <\/em><\/a><\/p>","video":null,"gallery":"{gallery}65489{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"UK-based graphic designer\\\/artist, Anthony Burrill (a personal favorite of the Juxtapoz staff) has been making word-based prints for years and has made now some of the most iconic prints you have probably seen over the last decade or so. \\\"I Like It. What Is It?\\\" remains one of our favorites. 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designer\/artist, Anthony Burrill (a personal favorite of the Juxtapoz staff) has been making word-based prints for years and has made now some of the most iconic prints you have probably seen over the last decade or so. \"I Like It. 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The work included is an intentional curation of Good Mother's aesthetic. The gallery was founded in 2015 to make a space for artists to exhibit work in Downtown Oakland, with a particular emphasis on local artists in and from the San Francisco Bay Area. <\/p>\r\n

Artists exhibiting include:<\/p>\r\n

Oliver Hawk Holden - Ryan Bock - Jillian Evelyn - MC Marquis - Cannon Dill - Lena Gustafson - Michelle Fleck - Michelle Guintu - Jeffrey Cheung - Robbie Api - J.S Wright - Liz Hernandez - Connor Pindar - Kellen Chasuk - Nathaniel Galipeau - Kelly Ruler - Ryan Whelan - Jonathan Casella - Dang Wayne Olsen = Alicia Adamerovich - Dan Bortz - Laura Rokas - Terry Hoff - Adrienne Kammerer - Zebu - Severin Moore - Josh Freydkis - Colton Callahan - Brian Haefling - Haydyn Lazarus<\/p>","video":null,"gallery":"{gallery}65423{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"Good Mother Gallery is celebrating their 3 year anniversary with a group show titled BIRTHDAY. The show will include work from a variety of artists, many of whom have shown with the gallery over their 3 years in Oakland. 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The show will include work from a variety of artists, many of whom have shown with the gallery over their 3 years in Oakland. Many of the artists exhibiting also had work in our Juxtapoz Clubhouse, including Cannon Dill, MC Marquis, Lena Gustafson, Ryan Bock, and Jillian Evelyn.","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"65415","title":"Watch: The Process of Master Screen Printer Gary Lichtenstein","alias":"watch-the-process-of-master-screen-printer-gary-lichtenstein","catid":"20","published":"1","introtext":"Artist's Artist is a profile of master screen printer Gary Lichtenstein. This is an exploration of Gary's creative process as he collaborates with photographer Janette Beckman on her photos of hip-ho<\/span><\/span>","fulltext":"\r\n

If you ever get the chance to head out to Mana Contemporary in Jersey City<\/a>, a must-see is the wonderful studio and working space of Gary Lichtenstein Editions<\/a>. Gary Lichtenstein and his Gary Lichtenstein Editions are publishers and printers of fine art silkscreen editions, and for over 40 years, has printed work for Richard Meier, Robert Indiana, Bob Gruen, Michael DeFeo, Joanne Greenbaum, Gerard Hemsworth, Charles Hinman, Rebecca Miller, John Newsom, Gary Panter, Karl Benjamin, Robert Cottingham, Alex Katz and Ken Price.<\/p>\r\n

In December 2017, Gary Lichtenstein Editions set up a booth at the Juxtapoz Clubhouse<\/a>, featuring works by photographer Janette Beckman and Cey Adams.<\/p>\r\n

Luckily enough, we have this mini-documnentary about the process. Artist's Artist is a profile of master screen printer Gary Lichtenstein, an exploration of Gary's creative process as he collaborates with photographer Janette Beckman on her photos of hip-hop legends (Slick Rick, Big Daddy Kane, LL Cool J, etc) and visual artist\/founding Def Jam creative director, Cey Adams.

Directed by Brian Scully<\/em><\/strong><\/p>","video":"