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Responding to a national climate of anxiety and instability, Friedman's fiber works seek to actively upend our feelings of helplessness through the use of vibrant color, chunky abstraction, and bursts of text ripe with agency. Inspired by such disparate fields as Brain Science, Neuroplasticity and Epigenetics, Friedman sees a connection through the act of unification in the warp and weft as analogous to the neural pathways forged between the left and right brain, opening new avenues for positive change and action. 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Area fiber-virtuoso Terri Friedman. Responding to a national climate of anxiety and instability, Friedman's fiber works seek to actively upend our feelings of helplessness through the use of vibrant color, chunky abstraction, and bursts of text ripe with agency. Inspired by such disparate fields as Brain Science, Neuroplasticity and Epigenetics, Friedman sees a connection through the act of unification in the warp and weft as analogous to the neural pathways forged between the left and right brain, opening new avenues for positive change and action.","jcfields":[],"event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":"","K2CommentsCounter":""},"videoClass":false,"twitter_introtext":""},{"id":"67028","title":"Op-Art Legend, Julio Le Pac, opens Solo Show, "Light-Mirror" @ Perrotin, Hong Kong","alias":"op-art-legend-julio-le-pac-opens-solo-show-light-mirror-perrotin-hong-kong","catid":"23","published":"1","introtext":"As it continues to become the major week in the art world, Basel Week in Hong Kong also means superstar exhibitions around the city leading up to the big fair. Today we are looking at Light-Mirror, a<\/span><\/span>","fulltext":"\r\n

From the gallery: The 90-year-old pioneer of op art and kinetic art has conceived two site-specific installations for this exhibition, which also comprises recent mobiles and paintings.

Born in 1928, Le Parc gained international recognition as one of the leading figures of the Groupe de Recherche d\u2019Art Visuel (GRAV), which he cofounded in Paris in 1960 along with Fran\u00e7ois Morellet, Francisco Sobrino, Yvaral, Horacio Garcia Rossi, and Jo\u00ebl Stein. The collective remained active until 1968, two years after Le Parc was awarded the International Grand Prize for Painting at the 33rd Venice Biennale in 1966. Geometric abstraction, especially the canonic works of Piet Mondrian and Victor Vasarely, originally influenced his practice. Spanning through a wide range of mediums, it includes drawing, painting, monotyping, sculpture, installation, and virtual reality. Whether static or kinetic, pictorial or sculptural, Le Parc\u2019s works revolve around the repetition of basic geometric forms, whose organization according to rigorous sequential procedures allows for potentially infinite progressions. Yet, neither abstraction nor logics can sum up his overall oeuvre. Against market-friendly monothematicism, the artist has always been radically committed to experimentation and emancipation.

Particularly known for his environments involving artificial light and mechanical movement, as well as his recurrent use of mirrors, he has developed a minimalist-adjacent aesthetics, which follows up on the GRAV\u2019s primary interest in the public\u2019s engagement with art. Direct participation was notably tested by the group\u2019s collective conception of an interactive labyrinth at the 1963 Paris Biennale. Viewers have since remained the ultimate subjects of \u2013 if not the only possible disruptive elements in \u2013 Le Parc\u2019s otherwise meticulous compositions. Like a demiurge, he essentially orchestrates ever-changing conditions for unique perceptual experiences.
\"6
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Displayed in separate rooms, the immersive installations conceived for this exhibition both literally and figuratively pull the viewers in different directions, further triggering rather antagonistic reactions. Espace \u00e0 p\u00e9n\u00e9trer avec trame et miroir courbe (Variation du labyrinthe de 1963) (2019) is a substantial variation of Le Parc\u2019s original contribution to the GRAV\u2019s 1963 labyrinth. It consists of two large semi-cylindrical structures made of curved mirror walls, inside and outside which visitors can freely circulate. A dynamic pattern of black-and-white stripes completes the work: it covers the entire room from floor to ceiling, as well as four panels hanging at body level near the center, where they are subjected to the public\u2019s erratic movement. Bringing to mind the traditional house of mirrors in funfairs, this maze-like installation prompts a resolutely playful experience among the audience.<\/p>","video":null,"gallery":"{gallery}67028{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"As it continues to become the major week in the art world, Basel Week in Hong Kong also means superstar exhibitions around the city leading up to the big fair. 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Today we are looking at Light-Mirror, an exhibition by Op Art legend and influential artist in site-specific works, Julio Le Pac, on view now through May 11, 2019 at Perrotin, Hong Kong.","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":"","K2CommentsCounter":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"67004","title":"CDMX Group Show From the Juxtapoz Clubhouse Coming to Austin @ Volcom Garden, April 4-7, 2019","alias":"cdmx-group-show-from-the-juxtapoz-clubhouse-now-in-austin-volcom-garden","catid":"23","published":"1","introtext":"Mexico has long been the nucleus of contemporary art in Latin America, since the Mexican Muralism in the 1920s, to the colorful Surrealism and Magical Realism giving birth to unique artist like Frida<\/span><\/span>","fulltext":"\r\n

The aim of the group show is to share with an international audience a close taste of the Art evolution happening in Mexico City. The show will makes its way to the Volcom Garden<\/a> in Austin, Texas from April 4\u20147, 2019. Artists feautured are Christian Casta\u00f1eda, Curiot, Fusca, Helena Garza, Maria Conejo, Minerva Ay\u00f3n, Monica Loya, Paola Delfin, Hilda Palafox, Tellaeche, Varenka Ruiz and Yanin Ruibal. <\/p>\r\n

The CDMX Group Show is sponsored by Mural Agua Fresca, a partnership between New Belgium<\/a> and Primus Cervecera that celebrate Mexican Culture.

The exhibition will be on view from 4\/4\/2019 \u2013 4\/7\/2019, @ 1209 E 6th St, Austin, TX 78702
Hours: Thursday 7 PM \u2013 10 PM, Friday 5 \u2013 10 PM, Saturday 2 PM \u2013 8 PM & Sunday 2 PM \u2013 6 PM.
\"CDMX
\"CDMX
\"CDMX<\/i>
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Now the art scene is particularly ebullient in Mexico\\u2019s capital and the CDMX Group Show, which was first seen at the Juxtapoz Clubhouse in Miami in late 2018, is a perfect expression of that thriving talent.\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"CDMX Group Show\"},{\"id\":\"3\",\"value\":\"Group Show\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"2019-04-04\"},{\"id\":\"2\",\"value\":\"2019-04-07\"},{\"id\":\"10\",\"value\":\"Volcom Garden\"},{\"id\":\"9\",\"value\":\"Austin, Texas\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"1\"},{\"id\":\"16\",\"value\":\"\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":"Mexico has long been the nucleus of contemporary art in Latin America, since the Mexican Muralism in the 1920s, to the colorful Surrealism and Magical Realism giving birth to unique artist like Frida Kahlo. What is changing fast, though, is the notion that art in Mexico City is synonymous simply with her. Now the art scene is particularly ebullient in Mexico\u2019s capital and the CDMX Group Show, which was first seen at the Juxtapoz Clubhouse in Miami in late 2018, is a perfect expression of that thriving talent. 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Evan","username":"editor2","email":"youwishyouwerenick+evansremadeaccount@gmail.com","password":"$2y$10$uHN5nIZxlft2axTzIcqxxegnDK6IjKbJAEKw6gYh\/pIoManBl566O","password_clear":"","block":"0","sendEmail":"0","registerDate":"2018-09-14 15:32:30","lastvisitDate":"2019-03-26 20:41:44","activation":"","params":"{\"admin_style\":\"\",\"admin_language\":\"\",\"language\":\"\",\"editor\":\"\",\"helpsite\":\"\",\"timezone\":\"\"}","groups":{"7":"7"},"guest":0,"lastResetTime":"0000-00-00 00:00:00","resetCount":"0","requireReset":"0","otpKey":"","otep":"","link":"\/k2\/user\/editor2\/","profile":{"gender":null},"avatar":"https:\/\/secure.gravatar.com\/avatar\/c9ca4d8d3c0adb3dacb88fa096e98421?s=100&default=https%3A%2F%2Fwww.juxtapoz.com%2Fcomponents%2Fcom_k2%2Fimages%2Fplaceholder%2Fuser.png"},"numOfComments":"0","text":"Mexico has long been the nucleus of contemporary art in Latin America, since the Mexican Muralism in the 1920s, to the colorful Surrealism and Magical Realism giving birth to unique artist like Frida Kahlo. What is changing fast, though, is the notion that art in Mexico City is synonymous simply with her. Now the art scene is particularly ebullient in Mexico\u2019s capital and the CDMX Group Show, which was first seen at the Juxtapoz Clubhouse in Miami in late 2018, is a perfect expression of that thriving talent.","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":"","K2CommentsCounter":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"67018","title":"The Rising Star: Vaughn Spann Has Arrived","alias":"the-rising-star-vaughn-spann-has-arrived","catid":"24","published":"1","introtext":"Just six months after graduating from Yale, Vaughn Spann is making tracks in the art world with major shows and accomplishments lining up, logging in one after the other. The number of notable group <\/span><\/span>","fulltext":"\r\n

Fascinated by his diverse body of work that includes both classic portraiture and  texture-rich, mixed-media abstractions, we anticipated this conversation where we could learn about his background, his perception of the art world, and what drives his unique practice.<\/p>\r\n

Sasha Bogojev<\/i><\/strong>: Showing both abstract and figurative work at the same time isn't the most usual way to go, right?
<\/strong>Vaughn Spann<\/i>: My practice is a bit conceptual, and it oscillates between figuration and abstraction, because I'm interested in these stylistic separations and distinct breaks. As artists, we're human. We have complicated ideas about everything. And I feel it would be a disservice to limit those ideas to one framework. I feel it's such an unfortunate position for artists to be in, being determined by external factors. So I'm really challenging a way of making work that tries to embody all the things that I am, the people I encounter, the places I've gone, the things I've touched. All the things that actualize who I am as a maker, an artist, and a person.<\/p>\r\n

I remember browsing through your work and thinking, \"Is this a group show?\"
<\/strong>Ha ha, I get that a lot, and it's a very fair statement. But the rich thing that is happening right now is that, as more people begin to see my work, they can look at it from an angle where they see threads that connect them. So I'm finding these axes to move them through space and discover different angles to my work.
\"Spann7\"
\"Spann7\"<\/p>\r\n

I must say, it\u2019s a pretty ballsy way of producing work.
<\/strong>Well, thank you, I appreciate that. It was something I had to grapple with and do the work for. It's not gonna easily give it to you. I find it a very energized place to be in as a maker. A place that is really liberating, it gives me access to think about my agency as an artist, about conceptual ideas, different avenues of making which I find so, so important.<\/p>\r\n

Let\u2019s talk about the <\/strong>Dalmatian<\/i><\/strong> series. What is that one about?
<\/strong>We keep hearing about art being about current times or times we live in, artists needing to work from a subjective position, and things like that. So I'm really interested in speaking about the work through the lens in which I exist as a person, and as a black man, in particular, also, the ways I experience the world as a westerner and US citizen. Growing up in an urban city, concrete jungle, per se, when I think about the neighborhood, one thing I noticed is that people had animals. They would have dogs that would protect or guard their homes and domestic spaces. They were usually rugged animals, like German shepherds and such. So these are experiences I have from my youth. As an artist, I got caught up thinking about these ideas of class, social aspects, ethnicity, and all these higher notions; so every time I'd see Dalmatians, they would be associated with things around wealth, desire, those markers of money and class. They were also part of the entertainment industry, so a firefighter in a TV show would have a Dalmatian, so I kept wondering, \"Where does this exist?! This is not the America I know!\" It was something very micro that meant so much to me. So I was always interested in the ways I was fed these false social realities that don't really exist for me as a person.<\/p>\r\n

How does something like that reflect on your actual work practice? 
<\/strong>So, as a painter, the way I approach my art is that I think about the lens of the society, because I can't remove myself from that. My day-to-day things, things I stand for, sort of tack against the way I think about art. So I like to think about those positions as I make my work. I'm not a formalist painter, but I really engage in histories of formalism, the way we think about color, about composition, about geometry. So I'm thinking about formalism, thinking about the social and political, thinking about the ways in which all those things are tied up, whether subtle, subvert or overt. I'm interested in thinking about the painting for painting's sake, but I cannot ignore these other issues and concerns that really affect who I am as a person. For me, it\u2019s about tying them together and considering how to think about painting, tangility, time, motion, and all these different things that inform my practice.

\"Spann5\"<\/p>\r\n

Give me an example of you tying up those things. 
<\/strong>So, I grew up in my grandparent\u2019s home. My parents were around, but they were out working a lot. They had very, what you would call, stereotypical social norms. One of the materials that come in my paintings is terry cloth. On Sundays, in my grandparent\u2019s home, my grandmother and I would fold towels. It was a way of learning responsibility, but also to bond with family. When it comes to painting, everything needs to be tactile, so I have a very physical approach, amd when I do make figurative work, I have the desire to speak within these beautiful traditions that I saw and still admire.<\/p>\r\n

Did you first start working figuratively and then move to abstraction, or was it the other way around?
<\/strong>I always considered myself a draftsman. Growing up, I was the kid who always drew, mimicked people, made portraits, drew cartoons, that was my forte. But as I grew up, I had other interests, like I was really good at science. When I started undergrad, I was a biology major, but that wasn't my real passion. So I switched my major to art, cause that is what genuinely gets me excited. And while I was studying and living with my wife, I was working with materials that were given to me or had a personal history as a way of being resourceful. But, when I moved to Yale, I felt entrenched in the things that I knew, and I thought the healthiest thing to do would be to move from the things I know, and question the things I don't know. So, the first year at Yale, I moved away from abstraction and started working on what I call the Symbiotic paintings.<\/p>\r\n

They are really dealing with our existence within the environment, within the world at large. The first substantial figurative painting I made from that series was a two-headed painting called, \"I grew an extra head to watch over my brother.\" I felt that idea on the poetics or the metaphor was so powerful, especially when, for example, black men are being killed on the streets by police. Or on the other side, we have violence within our own community. Every which way you think about the black body, it's the body that's disposable, dispensable. It can be taken away or removed. So I thought about the poetics between the idea of having a second head to be vigilant. To watch over yourself, take self-care.

\"Spann93\"<\/p>\r\n

How do you feel about accidents in your process?
<\/strong>Accidents are actually really important. For example, my abstraction works are all sewn, and I like to work on a big scale, \u2019cause I'm a tall guy and I like to work in that way. So when you scale up painting and try to sew it on a sewing machine, it's a mess! You just have to be aware that you will make mistakes and these accidents could be prone to the work, and you have to embrace them as the part of the work in a very beautiful way. So I'm interested in allowing the work to become itself. While I have ideas of where to move with my work, I also want to be open and take whatever comes, and accidents can be one of the most fruitful places.<\/p>\r\n

This article was originally published in the Juxtapoz Spring 2019<\/a>
vaughnspann.com<\/a><\/i><\/p>\r\n

(Portrait of the artist by Anthony Alvarez)
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To put this into context, this is just the beginning.\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"\"},{\"id\":\"3\",\"value\":\"Vaughn Spann\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"\"},{\"id\":\"2\",\"value\":\"\"},{\"id\":\"10\",\"value\":\"\"},{\"id\":\"9\",\"value\":\"\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"\"},{\"id\":\"16\",\"value\":\"\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":"Just six months after graduating from Yale, Vaughn Spann is making tracks in the art world with major shows and accomplishments lining up, logging in one after the other. The number of notable group shows includes exhibitions at Almine Rech Gallery in London, the August Wilson Center in Pittsburgh and Night Gallery in L.A., as well as his sold-out solo show with Half Gallery in NYC. The Florida-born artist was recently in Miami to see his work, curated by artist Nathaniel Mary Quinn, included with Half Gallery\u2019s exhibit at NADA, David Castillo\u2019s booth at Art Basel, as well a Rubell Family Collection exhibition of newly acquired work. To put this into context, this is just the beginning. Vaughn Spann ","created":"March 26, 2019","created_by":"18541","created_by_alias":"","checked_out":"0","checked_out_time":"0000-00-00 00:00:00","modified":"2019-03-25 17:35:48","modified_by":"18541","publish_up":"2019-03-26 11:51:26","publish_down":"0000-00-00 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the magazine","published":"1","link":"\/in-the-magazine\/"},{"id":"24305","name":"vaughn spann","published":"1","link":"\/tag\/vaughn-spann\/"},{"id":"24306","name":"spring 2019","published":"1","link":"\/tag\/spring-2019\/"},{"id":"20716","name":"painting","published":"1","link":"\/painting\/"}],"imageXSmall":"\/media\/k2\/items\/cache\/a8c9309a8048179c82ebe7d503183333_XS.jpg?t=1553535348","imageSmall":"\/media\/k2\/items\/cache\/a8c9309a8048179c82ebe7d503183333_S.jpg?t=1553535348","imageMedium":"\/media\/k2\/items\/cache\/a8c9309a8048179c82ebe7d503183333_M.jpg?t=1553535348","imageLarge":"\/media\/k2\/items\/cache\/a8c9309a8048179c82ebe7d503183333_L.jpg?t=1553535348","imageXLarge":"\/media\/k2\/items\/cache\/a8c9309a8048179c82ebe7d503183333_XL.jpg?t=1553535348","imageGeneric":"\/media\/k2\/items\/cache\/a8c9309a8048179c82ebe7d503183333_Generic.jpg?t=1553535348","cleanTitle":"The Rising Star: Vaughn Spann Has Arrived","numOfComments":"0","text":"Just six months after graduating from Yale, Vaughn Spann is making tracks in the art world with major shows and accomplishments lining up, logging in one after the other. The number of notable group shows includes exhibitions at Almine Rech Gallery in London, the August Wilson Center in Pittsburgh and Night Gallery in L.A., as well as his sold-out solo show with Half Gallery in NYC. The Florida-born artist was recently in Miami to see his work, curated by artist Nathaniel Mary Quinn, included with Half Gallery\u2019s exhibit at NADA, David Castillo\u2019s booth at Art Basel, as well a Rubell Family Collection exhibition of newly acquired work. To put this into context, this is just the beginning.","jcfields":[],"event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":"","K2CommentsCounter":""},"videoClass":false,"twitter_introtext":""},{"id":"67027","title":"Intimate Bedroom Scenes: An Interview with Justin Liam O'Brien","alias":"intimate-bedroom-scenes-an-interview-with-justin-liam-o-brien","catid":"19","published":"1","introtext":"Justin Liam O'Brien's figurative work has been intriguing us for a while, with their captivating mixture of minimalist form and endlessly rich surface. Imbued with the softest and truest melancholy p<\/span><\/span>","fulltext":"\r\n

Focused on scenes of loneliness, longing, love, content, and sometimes explicit passion, O'Brien's<\/a> subjects construct harmonious compositions with their lumpy bodies. Deeply personal and highly artistic these velvety images are easily and universally recognizable and identifiable. While innocent and easy to fall in love on their surface, their background story is usually a less pleasant one, referring to moments of unease.  <\/p>\r\n

That said, we were keen to get in touch with Justin and hear more about these works, about the process behind them, and the ways these dreamy images are rendered.<\/p>\r\n

Sasha Bogojev<\/em>: Where is the soft, melancholic atmosphere in your work coming from?<\/strong>
Justin Liam O'Brien<\/em>: Technically speaking, just from a lot of blending. I take a brush loaded with paint, put some down on the canvas, and spread it with a larger dry brush. I've been doing this more lately because the softness this creates feels somewhat nostalgic or dreamy in a way that my work previously didn't. I like how it makes the scene feel like an imperfect memory, or a daydream, or something that isn't set in place.<\/p>\r\n

How long have you been developing that visual language?<\/strong>
Roughly for the last five or six months. It's quite new.
\"IMG
\"IMG<\/p>\r\n

Were you going towards achieving it or did it happen by chance?<\/strong>
Definitely. My work was more rigid and abstract before I arrived at the style I'm working in right now. Over the last year, I've progressively shifted more and more into figurative painting. I was looking to capture something more personal and authentic to my own life and queer identity in my work. I felt like I needed the figure to do this. In this transition, I was interested in maintaining focus on all the elements of the abstract painting that I loved - the composition, space, and mood. I feel like I've been able to do to this because of drawing and planning. Going into a painting with a plan (a drawing or otherwise) frees me up to express myself using the medium. I think that's what so satisfying about making this work - it's scratching every itch for me.<\/p>\r\n

<\/p>\r\n

So, what are your paintings about?<\/strong>
Mostly I make paintings of nude male figures in interior bedroom scenes sometimes from a specific memory, and sometimes from imagination. The figures aren't really anyone in particular; but, at the same time, are portraits of myself, friends, or someone I've been involved with. I've been thinking a lot about how I relate to the perceived standards and norms of contemporary queer life; using dating\/sex apps, being in open relationships, participating in casual sex, drag, leather, etc. At times I feel completely at peace with these things as a participant and member of the culture. And at other times feel simply out of place because of them. So the work becomes these vignettes; moments I imagine or remember that convey these different feelings: loneliness, intimacy, anxiety, lust, heartbreak, and affection. It's a way of processing the back and forth of these constant feelings I have.    <\/p>\r\n

The subjects aren't representing real people?<\/strong><\/div>\r\n
Yes and no. They are sometimes just a figure that embodies a feeling I had about a person or something that happened with a person. The figures are always nameless and anonymous, though they may be about somebody.  

\"IMG
\r\n

Why is it important for you to create work about that?<\/strong>
I think it engages the audience in a discussion about their own feelings of how they themselves fit into contemporary life. We're constantly on our phones making superficial or fleeting connections on an app, but living sincerely and feeling deeply at once. We're emotional beings, and I think this work speaks to that. I think I'm being very candid about myself in these paintings. I'm expressing things about myself in them that I'm not necessarily happy with or proud of. The audience is getting to know me in a very personal way by looking at them. That feels very special to me.<\/p>\r\n

How often do you draw or sketch?<\/strong>
I always prepare a sketch before a painting, whether it's a small doodle or a finished value drawing. I draw every day and it's integral to my practice.<\/p>\r\n

How long do you usually work on a single piece from the initial sketch in order to achieve the complex surface?<\/strong>
Usually between 1-3 weeks. It could be done be much faster but I have very limited time to paint. I also only work on a painting for maybe an hour or two at a time, which I think has some effect on the finished work. I end up amassing a bunch of sketches of potential paintings before I decide what I am going to put on a canvas. 

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

How do you balance the minimal and reduced depiction against and the rich technical aspect of the work?<\/strong>
I just loosely plan things out. I make a drawing, then typically redraw it to make the composition efficiently as I can. This sort of sets up that reduced or minimal feeling because I've paired down the shapes in the drawing. Then I do an underpainting which speaks to the kind of feeling I want the piece to have, and build from there. This makes the process sound way more conscious than it is though, it's way more intuitive in practice.<\/p>\r\n

Do you have any shows up now or you have some coming up in the near future?<\/strong>
Yes! I am in a show coming up with Invisible Exports at SITUATIONS Gallery in the LES which opened on 3\/1. Its a group show with some artists I'm very proud to be showing with called FRESH FRUIT<\/em><\/a>. Also, in October, I'm preparing for a solo show at Monya Rowe Gallery! <\/p>\r\n<\/div>\r\n

Photos courtesy of Monya Rowe Gallery<\/a><\/em><\/div>","video":null,"gallery":"{gallery}67027{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"Justin Liam O'Brien's figurative work has been intriguing us for a while, with their captivating mixture of minimalist form and endlessly rich surface. 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For the past few weeks, Juxtapoz has been announcing a series of new Apple Music playlist artwork<\/a>, one that sees a return to album artistry that has been all but forgotten in the era of streaming. As we noted, Apple's head of content design, Alex Grossman, in conjunction with Apple Music editorial team, have spent the last year working closely with some of the most prolific and talented graphic designers, artists and typographers in the world to create bespoke art that conveys the intention and meaning behind Apple playlists without ever reading the descriptions and make you feel before you ever hit play.

\"SC

Today, we take a look at the Loops playlist,<\/a> with a specially designed cover by London-based art director, Trevor Jackson. Listen to the playlist here!<\/a> The Loops playlist is described as: \"The history of electronic music is synonymous with innovation\u2014in sound, technology, and ideas. Whether in the underground or in the spotlight, the artists featured here are always pushing forward, either inventing bold, new styles or finding fresh ways to flip old, familiar favorites.\"<\/i>

\"Loops 

Trevor Jackson noted of his collaboration: \"With my visual work in music I\u2019m always directly inspired by what i hear and the culture it's part of, this was no different.I wanted to create something simple, strong and iconic, dynamic with visual momentum, intelligent but also easily accessible. The limit of designing for digital isn\u2019t restrictive for me, it's a challenge i hugely enjoy. I\u2019ve embraced the physical medium in so much of the music related work i\u2019ve done, and have a strong belief that physical formats and the traditional experience of searching for music, purchasing and playing it is of great importance. But digital platforms also play a very important role in the discovery of music, for me personally not a replacement, it's an additional method of discovery that actually leads me to purchase, play and promote new music (I have a regular radio show on NTS.live as well as regularly DJ). Via streaming i\u2019ve found so many artists and tracks that would have been virtually impossible for me to find elsewhere. I\u2019ve learnt to embrace new mediums, and as long as artists are respected and given fair treatment by labels using them i\u2019m happy to be be part of them.\"


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forgotten in the era of streaming. As we noted, Apple's head of content design, Alex Grossman, in conjunction with Apple Music editorial team, have spent the last year working closely with some of the most prolific and talented graphic designers, artists and typographers in the world to create bespoke art that conveys the intention and meaning behind Apple playlists without ever reading the descriptions and make you feel before you ever hit play.","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":"","K2CommentsCounter":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"67019","title":"Mitski's Music Gets Animated for "A Pearl"","alias":"mitski-s-music-gets-animated-for-a-pearl","catid":"9","published":"1","introtext":"Even though its a few months old now, and fresh off her Top Album of 2019 ranking from Pitchfork, we were loving the animated music video by Art Camp for Mitski's track, \"A Pearl.\" From the directors<\/span><\/span>","fulltext":"\r\n

Even though its a few months old now, and fresh off her Top Album of 2019 ranking from Pitchfork, we were loving the animated music video by Art Camp for Mitski's track, \"A Pearl.\" From the directors Saad Moosajee and Art Camp<\/a>, who had the video commissioned by Spotify, \"This music video was initially created on the computer using several pieces of 3D animation software. After the digital version was finalized, all 1,480 frames of the video were then individually printed using ink jet printers. Once an image was printed, it was then painted, drawn, and illustrated on top of using traditional animation techniques. Lastly, the newly illustrated frames were scanned back into the computer and sequenced into the final film.\"<\/p>\r\n

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