[{"id":"71908","title":"Matthias Weischer Stars in STANZE in Italy","alias":"matthias-weischer-stars-in-stanze-in-italy","catid":"19","published":"1","introtext":"STANZE, a duo exhibition including artworks by Juxtapoz favorite Matthias Weischer and Flavio De Marco, is on view at Fondazione Coppola through July 30 in the spaces of the Porta Castello's Torrione<\/span><\/span>","fulltext":"

Matthias Weischer's works focus on uninhabited, enigmatic spaces and environments, suspended between a before and an after, between the disappearance and the silent expectation of human presence and happening. The rooms painted by the artist are thus half-empty, temporarily abandoned environments, stripped of elements of reality, places where the sense of waiting is amplified through the introduction of other spaces within the rooms, paintings and mirrors (thus images within images) frequently hanging on the walls of the rooms.

Weischer's works, moreover, are scores in which space is defined through a long process of layering, which gives the painting a vibrant material presence, like a sensitive skin that is also, inevitably, a dimension of time.

Read our interview with Matthias Weischer here<\/a>. <\/strong><\/em><\/p>","video":null,"gallery":"{gallery}71908{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"\"},{\"id\":\"3\",\"value\":\"\"},{\"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":" ","created":"June 22, 2023","created_by":"18541","created_by_alias":"","checked_out":"0","checked_out_time":"0000-00-00 00:00:00","modified":"2023-06-22 10:10:23","modified_by":"18541","publish_up":"2023-06-22 08:10:16","publish_down":"0000-00-00 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STANZE,<\/em> a duo exhibition including artworks by Juxtapoz favorite Matthias Weischer<\/a> and Flavio De Marco, is on view at Fondazione Coppola through July 30 in the spaces of the Porta Castello's Torrione, Vicenza, Italy. <\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"71907","title":"Lotte Keijzer and Michael Polakowski Go Near\/FAR in Belgium","alias":"lotte-keijzer-and-michael-polakowski-go-near-far-in-belgium","catid":"19","published":"1","introtext":"Oever Gallery is happy to announce their upcoming duo exhibition NEAR\/FAR, with artists Lotte Keijzer and Michael Polakowski. NEAR\/FAR speaks to the contrast between the chosen subjects of both artis<\/span><\/span>","fulltext":"

The title also references the physical distance of both artists to the gallery, which is quite \"NEAR\" for Lotte Keijzer, who lives in Haarlem, The Netherlands and quite \"FAR\" for Michael Polakwoski who lives and works in Detroit, USA.<\/p>\r\n

We\u2019ve paired them together for a duo show because we believe they will lift each other to another level. They both paint realistic and very colorful paintings but very different in their techniques and styles. Michaels paintings are very evenly painted, where as Lotte uses more textures.<\/p>\r\n

For this body of work, Lotte Keijzer has been inspired by a topic she absolutely loves - food and anything related to food. This includes the actual eats one consumes but also the setup, pre- paration, cookery, and anything even remotely surrounding cuisine (like doing the dishes). The images she works with for the duo show Near\/Far with Michael Polakowski are depictions of simple daily affairs seen through a passionate focus of a kitchen aficionado. Therefore, they\u2019re dished up through a flamboyant technique that elevates them to appear splendid, and nontri- vial. Garnished with a generous sprinkle of comedy they\u2019re unpretentious and straightforward but still contain a slight bite of enigma or paradox. Although stylised and reduced from their actual appearance, it\u2019s the noticeable tactile textures (sand used in the paint of the fries, thick bits of pasta floating around in the dishwater) that remove these visuals from the flatness of the canvas surface, bringing them closer to their multidimensional actuality. That, in combination with an almost absurd bright pigmentation and surprising, exaggerated color shifts, transforms the often dull, mundane activities into playful festivity-like micro scenes of everyday joy and oftentimes, fiasco.<\/p>\r\n

To Michael, this project was the perfect opportunity to take a step back and re- flect from a distance on the city that has inspired him for the past decade of his career. \u201cIt\u2019s like closely looking at something from a distance while being rather far from the thing you are looking closely at,\" he says. <\/p>","video":null,"gallery":"{gallery}71907{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"Near\\\/Far\"},{\"id\":\"3\",\"value\":\"Lotte Keijzer and Michael Polakowski\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"2023-06-24\"},{\"id\":\"2\",\"value\":\"2023-08-08\"},{\"id\":\"10\",\"value\":\"Oever Gallery, Ostend, 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Oever Gallery <\/a>is happy to announce their upcoming duo exhibition NEAR\/FAR<\/em>, with artists Lotte Keijzer<\/a> and Michael Polakowski<\/a>. NEAR\/FAR<\/em> speaks to the contrast between the chosen subjects of both artists as Lottes paintings are about food and everything that has to do with the subject. Michaels work on the other hand is about the contrast between close up, intimate scenes and far off landscapes and street views.<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"71905","title":"Ce\u0301sar Piette Brings Butterfly Paintings to NYC","alias":"ce-sar-piette-brings-butterfly-paintings-to-nyc","catid":"19","published":"1","introtext":"Almine Rech is pleased to announce French artist Ce\u0301sar Piette\u2019s second solo exhibition with the gallery, in which he applies his trademark style to a perennial subject of philosophy, literature a<\/span><\/span>","fulltext":"

And while there are thousands of varieties of butterfly, no lepidopterist has ever captured one that quite resembles the creature in Piette\u2019s paintings, slightly slumped on a blade of grass, a few teeth poking out of its open mouth. Piette depicts the winged insect in a variety of materials and textures: silver, colorful plastic, marble, ice, gold and ivory, and against varied backdrops: a single color, a hazy landscape, a starry sky. One is dripping as if melting, while another, in a witty touch, has a silver head with patches of blue paint, as though partially worn away \u2014 a painting of a painted thing, a brand-new object simulating the ravages of time.<\/p>\r\n

Piette\u2019s serial treatment emulates artists like Monet painting cathedrals or haystacks, or Ce\u0301zanne depicting Mont Sainte-Victoire in Aix-sen-Provence (not far from where the artist lives, in the South of France). When working in series, artists focus on formal elements like composition, light, shape, and framing, creating multiple effects from a single subject. But while Monet or Ce\u0301zanne had to move their easel to depict a different angle, or wait hours for varying light effects, Piette simply chooses his effects from a drop-down menu. Before becoming an artist, Piette worked in fields like illustration, comics, and video games. Dissatisfied with his early attempts at painting, he has said, \u201cI decided to go extreme and do the worst painting I could\u201d while embracing aspects of his past training, which led to his unique present style, which he has described as \u201ccolor-saturated, illusionistic, without marks or textures, flat, cartoony, non-narrative, and self-referential,\u201d adding, \u201cThis is unbearable for a lot of people.\u201d<\/p>\r\n

The artist first renders his subjects in monochrome using 3D software, then converts these digital files into physical objects using airbrushed acrylic paint, removing traces of the hand and creating what appear to be photorealistic renditions of toy-like human or animal figures, or improbably shiny landscapes. But what does it mean to create such \u201crealistic\u201d renditions of unreal people and things? His work partakes of a world of simulation that already dominates phenomena like movies and advertisements, perhaps to a greater extent than most viewers realize, says the artist. In his butterfly paintings, Piette depicts a timeless subject in a traditional representational mode after using a purely modern technique to simulate that which he represents.<\/p>\r\n

\u201cMore and more, we live in a world of simulation, and I try to mimic software that tries to mimic reality,\u201d says the artist. 

Piette has appeared in a solo exhibition at Almine Rech London and in group exhibitions at the gallery\u2019s New York, Paris, Shanghai, and Brussels locations. He has also appeared in group exhibitions at the Centre d\u2019Art Contemporain Meymac, France, in 2022, and at the Museum of Museums, in Seattle, Washington, in 2021. His work has been featured in Juxtapoz Magazine and L\u2019Officiel Art. 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Almine Rech<\/a> is pleased to announce French artist Ce\u0301sar Piette<\/a>\u2019s second solo exhibition with the gallery, in which he applies his trademark style to a perennial subject of philosophy, literature and art: the humble butterfly. 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curtis","published":"1","link":"\/tag\/timothy-curtis\/"},{"id":"11712","name":"event","published":"1","link":"\/tag\/event\/"},{"id":"26023","name":"almine rech paris","published":"1","link":"\/tag\/almine-rech-paris\/"},{"id":"25951","name":"almine rech","published":"1","link":"\/tag\/almine-rech\/"}],"imageXSmall":"\/media\/k2\/items\/cache\/529bac56bd8d99bef0b177057f946ea9_XS.jpg?t=1687194744","imageSmall":"\/media\/k2\/items\/cache\/529bac56bd8d99bef0b177057f946ea9_S.jpg?t=1687194744","imageMedium":"\/media\/k2\/items\/cache\/529bac56bd8d99bef0b177057f946ea9_M.jpg?t=1687194744","imageLarge":"\/media\/k2\/items\/cache\/529bac56bd8d99bef0b177057f946ea9_L.jpg?t=1687194744","imageXLarge":"\/media\/k2\/items\/cache\/529bac56bd8d99bef0b177057f946ea9_XL.jpg?t=1687194744","imageGeneric":"\/media\/k2\/items\/cache\/529bac56bd8d99bef0b177057f946ea9_Generic.jpg?t=1687194744","cleanTitle":"Timothy Curtis is \"Self-Watering Flowers\" in Paris","numOfComments":"0","text":"

\u201cI\u2019m getting to a place where I can feel free,\u201d former cover artist and Brooklyn-based painter Timothy Curtis<\/a> says, \u201cand I\u2019m making the best work I can make.\u201d What Curtis presents in Paris, in his solo debut with Almine Rech<\/a>, Self Watering Flowers<\/em>, is an evolution of form and a portal to his past. The face, what he used as a graffiti artist in Philadelphia and explored throughout his career, remains, and yet it begins to travel through time. Curtis is taking his signature and finding historic and craft patters to apply them to, giving him new life and place to grow from, literally self-watering his style with a something fresh and organic. This is an absolutely a perfect moment for Curtis, where the palette seems to be as more open than ever. \u2014Evan Pricco<\/em><\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"71893","title":"The Perez Brothers: Low and Slow, Mean and Clean","alias":"the-perez-brothers-low-and-slow-mean-and-clean","catid":"30","published":"1","introtext":"Candy apple red in the most lustrous gloss, maybe acrid acid green suffused in pinpricks of metallic stars, each taken wing by slices of chrome, as luxurious leather or velvet tempt from within. Whil<\/span><\/span>","fulltext":"

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The Perez Brothers<\/h1>\r\n

Low and Slow, Mean and Clean<\/h2>\r\n

Interview by Gwynned Vitello \/\/ Portrait by Max Knight<\/p>\r\n<\/div>\r\n<\/header><\/div>\r\n

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Candy apple red in the most lustrous gloss, maybe acrid acid green suffused in pinpricks of metallic stars, each taken wing by slices of chrome, as luxurious leather or velvet tempt from within. While these are typical highlights prized by Lowriders and their fans, community is more than key. As Steve Velasquez of the Smithsonian Institute has observed, \u201cThe car aspect was 10%, the social aspect was 90%.\u201d While I knew the Perez Brothers were master narrators of the culture, I didn\u2019t expect to meet artists so modest and unpretentious, who truly make art for the sheer love of the culture and joy in the process. It\u2019s no surprise that Andrew Hosner of Thinkspace Projects recognized their talent for painting stories of commonality and family. Speaking of which, Alejandro and Vicente answered some questions individually, but mostly, yes, as identical twins. And never mean. <\/div>\r\n

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Gwynned Vitello: I can\u2019t help but start with the same question that most people who hear about you two probably have. Twins are a fascination, identical twins, even more so. But the fact you make art together is almost hard to believe. Growing up, was being twins something that seemed natural or crazy? Did you have siblings, and where did you fall in the mix?<\/b><\/div>\r\n
The Perez Brothers: About half the people we meet ask about our art and half about being twins. Growing up, it was, for sure, a natural thing to us. We didn't think it was crazy or weird or anything like that. To us, we were just two brothers who were the same age and looked the same. But the funny thing is that whenever we would see another pair of twins together, we would get blown away and think how wild it was\u2014we still do! And yeah, we are the oldest of five, with a younger sister and two younger brothers. <\/div>\r\n
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Describe where you grew up, what the neighborhood was like, and how you spent your time. And since I can\u2019t let go of the twin thing, did you do those things together?<\/b><\/div>\r\n
We were born at St. Francis Hospital in Lynwood. We soon moved to South Gate after our parents got a divorce. That\u2019s where we were raised all the way through high school. Being twins, we were always very close and had the same interests and the same group of friends. In our early years, we used to hang out with friends from school who lived on the same block. We would always be outside doing whatever, like playing baseball, riding our bikes, and even roller skating. As we got older, we became a bit more introverted and spent most of our time indoors watching wrestling and movies. <\/div>\r\n
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My husband always had a bunch of cars he was working on. What was your first experience with them? Through your dad or uncle, fixing or restoring them?<\/b><\/div>\r\n
I break them more than I work on them! Our first memory was our dad\u2019s dark green 1968 Chevy Impala that he had when we were around four or five years old. That was his first lowrider as far as we can remember. We like cars, in general\u2014even the Hondas.<\/div>\r\n

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Do you remember your first time really experiencing a group celebration of cars\u2014family holiday, wedding, quinceanera, or even a funeral? What stood out to you?<\/b><\/div>\r\n
Alejandro Perez: I can\u2019t really remember my first time experiencing that, but for sure it must have been at a lowrider car show event with my dad when I was around four or five years old. At the time, my dad was in the Super Naturals Car Club and my brother and I would go with him to car shows. What stood out to me were all the bright colors, shiny chrome, wire wheels, crazy custom interior, and crazy paint jobs with the airbrushed murals. And, of course, the cars with the hydraulics, I loved watching the hopping contests. <\/div>\r\n
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Vicente Perez: Yeah, I can\u2019t remember the first time exactly, but for sure it was a car show with our dad. Of course, the first things I noticed were the wire wheels and hydraulics. But the main thing that I've always loved was the murals. Usually, a car would have a sick-ass mural on the trunk of the car. Most of them are monochrome and the images would go along with the theme of the car, Lowriders always have a theme. The music is on, and there\u2019s the food too, so it just becomes a vibe.<\/div>\r\n
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What were most of the cars at that time? Was there a certain style or make? I\u2019m thinking Chevy. How did they develop, like, were there always candy paint jobs and custom upholstery? How has that changed?<\/b><\/div>\r\n
Growing up, at the car shows we would mostly see \u201960s Impalas, Bombs, and \u201980s G-Bodys. The styles haven't really changed much, as far as we can tell. There have always been different levels as to how far or how crazy you want to customize your car. But there\u2019s been some new things, like engraving patterns into the chrome, or LED headlights, also LEDs in the undercarriage and engine bay. There\u2019s always new innovations that lowrider owners keep coming up with, especially for the crazy show cars. <\/div>\r\n
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What was high school like? Was there a car scene? Were you at all into art by that time?<\/b><\/div>\r\n
AP: High School was alright. I didn't really do anything crazy, just hung out with friends during lunch, hung out with my bro after school, and watched television. There wasn't really a car scene at the high school. At the time, I wasn\u2019t really into art, mainly because I didn\u2019t know much about it. All I knew was that I liked to draw a lot. At the time, I only really knew about Pop Art, so I was really into Andy Warhol and Roy Liechtenstein. I started painting in high school, but it wasn\u2019t until AP Art class in my senior year that I began to take it more seriously. <\/div>\r\n
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VP: I don\u2019t remember there being a car scene, but maybe that's because we didn't have a car back then. All through and after school, I would always be drawing in my notebooks. I didn't really like school, really, only the art classes. I don't remember at what age, but we found an art magazine that I really liked, Lowrider Arte. It was filled with Chicano art, and you could submit your drawings. I never did, but I always wanted to. The Lowrider murals and the magazine definitely influenced me to make the work that I make today. <\/div>\r\n

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Who were your idols at the time? Any entertainers or athletes\u2014or artists?<\/b><\/div>\r\n
AP: My idol was and is Kid Cudi. I just love what he\u2019s about. His music really speaks to me and makes me feel understood. I also love that he makes music about himself and his personal feelings. Which is what inspired me to paint something that is real and personal to me. <\/div>\r\n
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VP: Back then I\u2019d say Eddie Guerrero was my idol. At the time there weren't many Latino wrestlers. He always drove a lowrider to the ring, and I always thought that was sick. He definitely inspired me to bring the Lowrider culture into the art world, the same way that he brought it to the wrestling world.<\/div>\r\n
 <\/div>\r\n
Coming from what I\u2019m guessing was a traditional upbringing, what did your family think of you going to art school?<\/b><\/div>\r\n
When we told our family that we decided to go to art school, the only one that really supported us and didn't question it was our mom. Everybody else was concerned and questioning what we wanted to do.<\/div>\r\n
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What made you choose Otis College of Art, and did you have a mutual goal of making art full-time? You both studied Fine Art painting, right?<\/b><\/div>\r\n
Our AP art teacher, Ms. Tinajero was the one who introduced us to Otis. At the time, we weren't thinking about going to college. Actually, for a brief moment, we thought about going to Wyotech because we were really into cars. But ultimately we knew we wanted to do something with art. So our teacher convinced us to apply to Otis. She saw we had a skill and interest, so we thought, \u201cAll right, let\u2019s just go and see what happens. We didn\u2019t even go and check it out, we just applied. We didn\u2019t even think that we\u2019d get in because we felt our portfolio was weak, but we both got accepted. We were actually not going to attend because it was ridiculously expensive, but we found out that with financial aid, we were both going to get a full ride. So that was pretty much the deciding factor of us going there. We went in not knowing what our major would major be, but we eventually both decided to major in Fine Art together. <\/div>\r\n

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Your first pieces have collage, abstract, and sign art elements. How did you make the transition?<\/b><\/div>\r\n
In the beginning, we felt our work was mostly influenced by Otis. We were making work that we felt our professors wanted us to make. It was mainly abstract. At the same time, we were working on our own paintings outside of school. They were more personal about what we were doing at the time. We started transitioning into more realistic and figurative paintings. <\/div>\r\n
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What other classes did you take that influenced your styles?<\/b><\/div>\r\n
We took a painting class in a different department, which was taught by Nathan Ota. At the time, we would just paint in black and grey, so we wanted to learn how to paint with color. We were particularly interested in painting skin tones. That class really helped us and influenced us to do more figurative paintings, rather than abstract. Lots of time and practice, practice, for sure.<\/div>\r\n
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What was your first show at school, what was the content? Did they let you exhibit together?<\/b><\/div>\r\n
Our first show was a group show in our junior year. Before that, we were already working as a team, so they let us exhibit together. We did a still life painting in which we both painted on our own wood panels, then put them together to make one single image.<\/div>\r\n
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What was it like once you graduated? Did you work from home or from a studio? Did you have a mentor or look for representation?<\/b><\/div>\r\n
Some of the first paintings were sneakers, and it seemed like for a year, that was our thing. It seemed like it was easy because there were no skin tones or faces. It wasn\u2019t until after Otis when one of our uncle\u2019s friends commissioned us to do a painting of his Mustang, that we got the idea to do more car paintings. We began to take commissions from friends and family, and friends of friends. We worked from home for about a year, then we got lucky and were able to get a little converted garage studio space that we shared with our best homie. We then began working on a body of work in order to have something to show galleries. We didn't seek representation, we just wanted a gallery to show our work in an exhibition. <\/div>\r\n

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At that point, you must have developed a style of working together. Can you describe how you go about doing it and has it changed?<\/b><\/div>\r\n
It has changed over the years. In the beginning, we would each pretty much focus on the left or right side of a painting. But over time, we realized we were each better at painting certain things. So now we both just paint those specific things. Right now we get up around 2:30 in the morning, go to our day job, then come home and paint from around one or two until 6:00 pm.<\/div>\r\n
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When do you go to sleep?! <\/b><\/div>\r\n
Late, like 11:00 pm. We just need four hours, tops; we\u2019ve been doing this since, like, 2016. It\u2019s just our love, I guess, it\u2019s a passion that gets us going. We talk about it all the time at work, at the house, on the phone, texting, all the time, always about the next piece. <\/div>\r\n
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What are the certain things each of you likes to draw or paint, like, does one of you like drawing faces or car bodies or women? And what do you find hardest to draw?<\/b><\/div>\r\n
AP: I enjoy painting the clothes and all the chrome of the cars. But even though I enjoy that, I also find it hard. I always get anxious before starting a painting because I feel like I forget how to paint. So pretty much every time I paint, I use a different technique. <\/div>\r\n
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VP: I feel the same way. I\u2019m always scared when we start a new painting. I don\u2019t have a formula, I kinda just paint as I go. But I\u2019d say that my favorite thing to paint is the reflections on the cars. <\/div>\r\n
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Do you rely on photography or sketches or both? What exactly is the process and how long does it take you? Do you like to do a little bit and step back? Work on several at once?<\/b><\/div>\r\n
We go to car shows or cruise at night and photograph whatever catches our eye. We then go to the studio and look through our photos and pick out the ones that resonate with us. After that, we erase the background in Photoshop. Then we project the image onto the canvas and start painting it from there. We work on two paintings at a time, with each of us working on one individually; then we trade off once we\u2019re done with our part of the painting, and it always looks like one piece. This process takes us about two months for big pieces, smaller ones usually take a week or two. It all depends. <\/div>\r\n

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Do you ever go to a car show or party with a certain theme in mind, or do different ideas come up as you\u2019re walking around and observing the whole scene?<\/b><\/div>\r\n
When we go to car shows, we don\u2019t really have an intention of doing a lot of paintings. We just try to get as many photos as we can, so we can have a lot to choose from. We take our own photos because it feels weird if we don\u2019t paint from our own, like it\u2019s cheating. It\u2019s best around 11 or 12 because of the shadows and it\u2019s not too bright. Or nighttime when we\u2019re cruising or they have shows. When we go through the photos, different themes and inspirations come to mind. It could be the composition or the colors or a certain car. <\/div>\r\n
 <\/div>\r\n
Speaking of inspiration, are there any actors, movies, musicians, or songs that have resulted in a painting or series?<\/b><\/div>\r\n
Yes, most of our paintings are inspired by song lyrics. Actually, we had a whole solo show that was inspired by a song. The show that we had with Thinkspace at The Brand Library in 2020, More Bounce, was inspired by \u201cMore Bounce to the Ounce\u201d by Zapp and Roger. Every painting in the show featured lowrider hoppers. <\/div>\r\n
 <\/div>\r\n
I know Lowrider Culture is big in Japan and Brazil. Besides LA and the Southwest, where else is it popular, and do you notice any differences? Have you been to car shows outside of the US?<\/b><\/div>\r\n
Yes, it\u2019s becoming very popular all over the world. It\u2019s pretty crazy. We notice that in Japan, the Lowriders take more inspiration from the \u201990s and the customizations are crazier. We actually haven\u2019t been to any car shows outside of the U.S. We haven\u2019t even been on a plane before or left the country. I guess, we\u2019re always busy\u2026 and also kind of scared to fly places in planes. <\/div>\r\n
 <\/div>\r\n
But do you have a dream destination\/vacation?<\/b><\/div>\r\n
AP: I would really like to go to Paris, France, so I can visit Jim Morrison\u2019s grave. <\/div>\r\n
 <\/div>\r\n
VP: I\u2019m not really into traveling, but Japan might be pretty cool. I\u2019d like to check out the Lowrider scene over there. Also, New York, to check out the museums and galleries. <\/div>\r\n

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Is there a message that you feel you\u2019re sending with your art, or is it as simple as celebrating identity and culture (though that\u2019s not exactly simple!)<\/b><\/div>\r\n
Yes, we are celebrating identity and culture through our paintings. Car clubs are always doing charity-based shows, and they attract all kinds of people. But also we hope our paintings inspire people. The cars are just there, but the main thing is the people there, their expressions, the interactions, the things they\u2019re doing, and the vibe. It\u2019s the people, they\u2019re having a good time, being relaxed, and doing happy things. <\/div>\r\n
 <\/div>\r\n
What\u2019s interesting is that you say you\u2019re introverted, but you take such joy in the atmosphere of the shows and the people who attend. You have such a good outlook.<\/b><\/div>\r\n
Yeah and no, it\u2019s weird how we have that vibe because we\u2019re always anxious, always overthinking everything\u2014a lot. I guess we like the pressure of a deadline. It\u2019s due in an hour. Well, it\u2019s done, and after that, it\u2019s like.\u2019Whoa! I did this?!\u201d So, we\u2019re anxious, but, yeah, we are happy people. We just want to push boundaries and continue the love of the culture.<\/div>\r\n
 <\/div>\r\n
The Perez Brothers will be showing in the Thinkspace Projects curated exhibit LAX \/ NDSM at the STRAAT<\/a> Museum in Amsterdam through July 30, 2023. <\/i><\/b><\/div>\r\n
 <\/i><\/b><\/div>\r\n
theperezbros.com<\/i><\/b><\/a><\/div>\r\n
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Candy apple red in the most lustrous gloss, maybe acrid acid green suffused in pinpricks of metallic stars, each taken wing by slices of chrome, as luxurious leather or velvet tempt from within. While these are typical highlights prized by Lowriders and their fans, community is more than key. As Steve Velasquez of the Smithsonian Institute has observed, \u201cThe car aspect was 10%, the social aspect was 90%.\u201d While I knew the Perez Brothers were master narrators of the culture, I didn\u2019t expect to meet artists so modest and unpretentious, who truly make art for the sheer love of the culture and joy in the process. It\u2019s no surprise that Andrew Hosner of Thinkspace Projects recognized their talent for painting stories of commonality and family. Speaking of which, Alejandro and Vicente answered some questions individually, but mostly, yes, as identical twins. And never mean.<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"71892","title":"Deus ex "Machina": New Works by Jaime Mu\u00f1oz","alias":"deus-ex-machina-new-works-by-jaime-munoz","catid":"19","published":"1","introtext":"In literal and quite abstract ways, Southern California-based Jaime Mu\u00f1oz has always explored machines. He paints with an airbrush machine, his works are a comment on the way we move labor thro<\/span><\/span>","fulltext":"

Now he is exploring a whole new industry intended to suppress in his new body of work, Machina<\/em>, on view at Fran\u00e7ois Ghebaly<\/a> in NYC. This particular show is dedicated to different real-life scenarios where the robot is used to intimidate or entertain us, where robotics in law enforcement or even robots in film. As the gallery nores, \"In this vein, Mu\u00f1oz\u2019s work acts as a sort of equalizer, between the domains of high-speculative fiction and unflinching social realism, all the while operating in the hazy in-between space of so-called \u201creal life.\u201d What will ultimately occur there is perhaps the exhibition\u2019s tallest gesture: in When Do Robots Rebel?<\/em> (2023), Mu\u00f1oz finely prints the titular phrase along the vein-like contours of the Terminator\u2019s hydraulic tubing. Whether human or machine, it\u2019s an imperative latent in each and every one of Machina\u2019s brave new worlds.\"

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In literal and quite abstract ways, Southern California-based Jaime Mu\u00f1oz<\/a> has always explored machines. He paints with an airbrush machine, his works are a comment on the way we move labor through the use of cars and looks at how industry and democracy coexist. In our interview in the Summer 2022 Quarterly, Jaime spoke about the Federal Aid Highway Act of 1956, a freeway system often considered LA's biggest monuments reflective of racism and gentrification. So he isn't new to exploring how the machine, or the mechanism of industry are influencing his works. <\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"71889","title":""Give Me a Fulcrum and I Shall Move the World" Says Max Rumbol @ Richard Heller Gallery, Los Angeles","alias":"give-me-a-fulcrum-and-i-shall-move-the-world-says-max-rumbol-richard-heller-gallery-los-angeles","catid":"19","published":"1","introtext":"Richard Heller Gallery is pleased to present a solo exhibition for London-based artist, Max Rumbol, entitled Give Me a Fulcrum and I Shall Move the World. This is R<\/span><\/span>","fulltext":"

Max Rumbol's assemblages transcend the practices of sculpture, wood carving and painting bringing the result into a unique blend of craft and high art. The works in the show largely reflect on artistry and authenticity, exploring the dialogue between art objects and the history or myths that surround them, drawing parallels to Isaac Newton's epiphanic tale of the discovery of gravity. Rumbol's process-based works develop rather slowly - his approach somewhat at odds with the notion of the 'Eureka moment' referenced in the imagery. The works begin as pencil sketches which progress into digital drawings, finally reproduced and transformed into a physical assemblage through a process involving laser cutting, digital printing, collage and painting. The works particularly reflect on surface and its relationship to the digital space and the screen, with Rumbol manually working the planes in different ways to reveal or hide the trace of the artist and the machine's hand. In doing so, a dialogue is created where one can question what the artist's role is or where their hand lies. <\/p>\r\n

These works all take the loose form of a tree - reflecting on both the art historical trope and the idea of folklore and memory. From Caspar David Friedrich to Albert Oehlen, artists have always considered trees to be of significance, reflecting on the histories and stories they both witness and tell as constants in an ever-changing landscape. The trees in this show operate somewhat like pivots, providing the support for the artist to fully explore the potentialities of painting, playing with gesture, texture, objects and relief. The layered nature of the works both engages with the long history of worked and reworked surfaces within abstraction, as well as the layers of bark a tree accumulates through its life cycle. The conversation between the fragmented and disparate surfaces and elements helps to create a tension which echoes the way art is experienced in person versus the way in which it is circulated via the screen.

Rumbol (b. 1997) received his BFA from the Ruskin School of Art at the University of Oxford, England. 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Richard Heller Gallery<\/a> is pleased to present a solo exhibition for London-based artist, Max Rumbol<\/a>, entitled Give Me a Fulcrum and I Shall Move the World<\/em>. <\/em>This is Rumbol's first solo exhibition with the gallery.<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"71891","title":"A Portfolio: Olivia Sterling","alias":"a-portfolio-olivia-sterling","catid":"19","published":"1","introtext":"Today in A Portfolio, we look at the works of an artist we covered back in 2021 and who currently has works at Steve Turner, the British painter, Olivia Sterling. She has shown at Guts gallery in Lon<\/span><\/span>","fulltext":"

Olivia Sterling (born 1996, Peterborough, United Kingdom) creates paintings which address questions of blackness and whiteness in twenty-first century Britain. 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Today in A Portfolio, we look at the works of an artist we covered back in 2021<\/a> and who currently has works at Steve Turner, the British painter, Olivia Sterling<\/a>. She has shown at Guts gallery in London and had a brilliant show at Meyer Riegger in Berlin in Fall 2022. <\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"71890","title":"The Woven Sleeves of Jessica Wee","alias":"the-woven-sleeves-of-jessica-wee","catid":"19","published":"1","introtext":"Steve Turner is pleased to present Woven Selves, a solo exhibition for Montreal-based Jessica Wee which features recent paintings that explore the interconnectedness of experience, memory and cu<\/span><\/span>","fulltext":"

Jessica Wee (born 1988, Englewood, New Jersey) earned a BFA in Studio Art at Concordia University, Montreal (2011) as well as a Diploma in Classical Realism at Angel Academy, Florence (2017). She has had solo exhibitions with Latitude Gallery, New York (2022);  Spring Break, New York (2022) and has had work included in group exhibitions in Canada and the United States since 2009. 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Steve Turner<\/a> is pleased to present Woven Selves<\/em>, a solo exhibition for Montreal-based Jessica Wee<\/a> which features recent paintings that explore the interconnectedness of experience, memory and cultural influence. Born in the United States to Korean parents, Wee grew up in France and Canada, with a fluid sense of identity that she describes as being in between cultures. She utilizes the framework of classical still life painting to portray Asian female subjects with strength and autonomy. Her unconventional juxtapositions, dream-like and sensitively painted in oil, reflect her ongoing effort to understand Korean-ness.<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"71887","title":"Clayton Schiff Paints the "Puddle Drinkers"","alias":"clayton-schiff-paints-the-puddle-drinkers","catid":"19","published":"1","introtext":"If you ever needed to use puddle drinkers in contemporary linguistic mastery of sorts, it would mean \"someone who will stop at nothing for pleasure.\" So when someone like Clayton Schiff uses it as a <\/span><\/span>","fulltext":"

Puddle Drinkers<\/em> is now on view at 56 Henry in New York<\/a>, his second show with the gallery, the back of strong showings in Miami and LA recently<\/a>. The gallery notes of the scenes, \"a peaceable kingdom of creatures seem perfectly content living at a low level of existence.\" There is something about the act of doing, not quite happy, not pleasurable, just living. The use of nudity is both liberating and shaming. 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If you ever needed to use puddle drinkers in contemporary linguistic mastery of sorts, it would mean \"someone who will stop at nothing for pleasure.\" So when someone like Clayton Schiff<\/a> uses it as a show title, I had to think of the irony of it. His characters, whilst participating in some leisurely daily and pastoral meanderings, don't quite look like they are exploring pleasure. They are uneasy. A bit labored. A bit exhausted. But, they are, indeed, trying<\/em>. <\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"71888","title":"Queer Identity Is Central To "Are You A Friend of Dorothy?"","alias":"sexually-emotive-works-are-central-to-are-you-a-friend-of-dorothy","catid":"19","published":"1","introtext":"Hashimoto Contemporary is pleased to present Are You A Friend of Dorothy? a group exhibition featuring new works by Santiago Galeas, Jean-Paul Mallozzi, Juan Arango Palacios, Carlos Rodriguez, and Ju<\/span><\/span>","fulltext":"

Justin Yoon<\/a> has created a cast of characters that serve as archetypical figures in his candy-coated, cinematic universe. Blue Dream appears glistening in a speedo to display his divinely muscled physique. His constant companions\u2014Marge the Space Queen, glamorous in floor length gowns, and Five Poundz the pink puppy\u2014attend parties and picnics together, confident and at ease with one another no matter the setting. Making his debut appearance, Machoman Park joins the gang and continues Yoon\u2019s depiction of the Gay Asian male gaze. Yoon describes informative moments of \u201cSharing eye contact with an attractive man across the bar, looking into his eyes right after you\u2019ve kissed, or even seeing your dear friends, whom you call \u2018Your People,\u2019 looking back at you as you stumble back to them at a party; all of these moments of glances become something more monumental and poetic to us, as without them, we wouldn't be who we are.\u201d

Mexico City-based Carlos Rodriguez<\/a>\u2019s latest body of work contemporizes Grecian mythology, depicting strong yet soft men rollicking with classical statues. Sensuous and playful, Rodriguez\u2019s figures display tenderness in their interactions. The Myth of Nerites references the love between the sea deities Nerites and Poseidon: one of hard stone the other of soft flesh, the men clasp each other in a colonnaded pool, intertwined and at rest with one another. Throughout the new work, Rodriguez shapes his figures with statuesque, god-like forms while preserving their humanity, sensitivity, and revelry.
\"Juan
\"Juan<\/p>\r\n

Juan Arango Palacios<\/a>\u2019s vibrant and detailed works paint queer bodies at rest, allowing the viewer to peek at snapshots of intimacy and introspection. The chromatic torsos are festooned with tattoos, giving hints at each figure\u2019s life and history. Through his paintings, Palacios represents \u201cmemories, places, people, and archetypes that I associate with the safety, survival, and endurance of queer bodies in spaces that challenge their existence.\u201d<\/p>\r\n

Jean-Paul Mallozzi<\/a>\u2019s fluid and tactile mark making renders scenes of quiet intimacy and brash joy. Mallozzi\u2019s abstracted figures swirl with energy and emotion from quiet morning embraces in a sun drenched bed to ebullient, neon lit club scenes. Each work offers a glimpse into Mallozzi\u2019s \u201cformative memories, centered around coming out in the late 1990s. This period was marked by pure joy, terror, wonder, and fear, which forced me to assimilate into a complex culture of twinks, jocks, daddies, nerds, club kids, and gaymers who were both welcoming and judgmental, loving and spiteful, supportive and eviscerating.\u201d

Santiago Galeas<\/a> uses his media as metaphor to illustrate the duality of his subjects. Gazing out from forested landscapes and split between two worlds, Galeas\u2019s figures are at once grounded in the deciduous forests of the continental U.S., tightly rendered in oil, and in the bright, otherworldly landscapes of their diasporic homelands, rendered in loose, energetic acrylic. Often depicting friends and admired community members, Galeas subtly codes the sitters\u2019 multi-faceted identities into their portraits, folding in fond memories, nods to family histories, and experiences with queerness.<\/p>\r\n

Rooted in personal narratives and lore, all five artists have created their own visual languages to imagine queer utopias filled with safety, community, tenderness and serenity. As the Cowardly Lion said while making his way through the Land of Oz, \u201cAny friend of Dorothy must be our friend, as well.\u201d<\/p>","video":null,"gallery":"{gallery}71888{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"Are You A Friend of Dorothy?\"},{\"id\":\"3\",\"value\":\"Group Show\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"2023-06-17\"},{\"id\":\"2\",\"value\":\"2023-07-08\"},{\"id\":\"10\",\"value\":\"Hashimoto Contemporary, Los Angeles\"},{\"id\":\"9\",\"value\":\"Los Angeles\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"1\"},{\"id\":\"16\",\"value\":\"2\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":" Are You A Friend of Dorothy? 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Hashimoto Contemporary<\/a> is pleased to present Are You A Friend of Dorothy?<\/em> a group exhibition featuring new works by Santiago Galeas, Jean-Paul Mallozzi, Juan Arango Palacios, Carlos Rodriguez, and Justin Yoon. Each artist explores their identity and sexuality in emotive, figurative painting to create depictions of joy, belonging, and queer intimacy.<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"71886","title":"NKSIN's "Revival" Comes to Los Angeles","alias":"nksin-s-revival-comes-to-los-angeles","catid":"19","published":"1","introtext":"As the world turns its attention to Basel, Switzerland, we are still looking at what else is going on in the world's of art and stop in LA for Japanese-Filipino artist NKSIN\u2019s new solo show, REVIVA<\/span><\/span>","fulltext":"

Striving to create a more peaceful environment, the artist paints a silent world. The artist says, \u201cWe don't want to see or hear such negative information anymore. We want silence.\u201d<\/p>\r\n

\u201cIn a world where we are constantly exposed to super-charged imagery, NKSIN\u2019s paintings provide a moment of pause. 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As the world turns its attention to Basel, Switzerland, we are still looking at what else is going on in the world's of art and stop in LA for Japanese-Filipino artist NKSIN\u2019s<\/a> new solo show, REVIVAL<\/em>, at albertz benda<\/a>'s outpost there. We have loved the monchromatic, airbrushed works for the last few years, one of the gems that came onto the scene in the pandemic with his Herculean cartoon-like figures. <\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},[{"type":"next-url","url":"\/painting\/page\/25\/?json=true&"},{"type":"next-link","url":"\/painting\/page\/25\/"}]]