[{"id":"66608","title":"Girl Skateboards and (RED) Team Up For World AIDS Day With A Stellar Group Show","alias":"girl-skateboards-and-red-team-up-for-world-aids-day-with-a-stellar-group-show","catid":"19","published":"1","introtext":"Girl Skateboards and (RED) will come together on World AIDS Day to raise awareness and funds for (RED)\u2019s fight to end AIDS in sub-Saharan Africa. The event will feature an internationally recognize<\/span><\/span>","fulltext":"\r\n

Girl Skateboards<\/a> and (RED)<\/a> will come together on World AIDS Day to raise awareness and funds for (RED)\u2019s fight to end AIDS in sub-Saharan Africa. The event will feature an internationally recognized roster of artists, including a handful of former Juxtapoz <\/em>cover artists, who have painted Girl's iconic wooden OG doll. Each doll will be auctioned online with proceeds going to the Global Fund to fight AIDS with (RED) beginning the night of the event running through December 8th.<\/p>\r\n

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

ARTIST ROSTER<\/strong>
Andrew Pommier, Marcel Dzama, Paul Hutchinson, Travis Millard, Ramsey Dau, Mark \u201cFos\u201d Foster, Glenn Smith, Brian Anderson, Michael Sieben, Brian Butler, Christian Morin, Johannes Gamble, Misato Suzuki, Evan Hecox, Donta Santistevan, Hershel Baltrotsky, Craig Abell-Champion, Drew 'Dru Collage\u2019 Milling, Mark Gonzales, Sasha Barr, Eric Gorvin, Sage Vaughn, Thomas Campbell, Andy Mueller, Pawel Swanski, Carlos M. Gutierrez, Nick Guenzler, Gunther Estrada, Nick Zegel, Kayla Markin, Andy Jenkins, Tony Larson, Kevin Lyons, Porous Walker, Joe Roberts, Francisco Reyes Jr. and more...<\/p>\r\n

Opening Reception (open to public)
December 1st, 7pm - 10pm<\/p>","video":null,"gallery":null,"extra_fields":"[{\"id\":\"13\",\"value\":\"Girl Skateboards and (RED) will come together on World AIDS Day to raise awareness and funds for (RED)\\u2019s fight to end AIDS in sub-Saharan Africa. The event will feature an internationally recognized roster of artists, including a handful of former Juxtapoz cover artists, who have painted Girl's iconic wooden OG doll. 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The event will feature an internationally recognized roster of artists, including a handful of former Juxtapoz cover artists, who have painted Girl's iconic wooden OG doll. 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Dosshaus have created the AmericOs <\/em>work out of their signature cardboard construction, with their incredible use of scale and detail. 

See the whole Juxtapoz Clubhouse program here. 
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clubhouse","published":"1","link":"\/tag\/juxtapoz-clubhouse\/"},{"id":"24063","name":"juxtapoz clubhouse 2018","published":"1","link":"\/tag\/juxtapoz-clubhouse-2018\/"}],"imageXSmall":"\/media\/k2\/items\/cache\/703e21e78c49e5c8af228bd452fedb7b_XS.jpg?t=1543414194","imageSmall":"\/media\/k2\/items\/cache\/703e21e78c49e5c8af228bd452fedb7b_S.jpg?t=1543414194","imageMedium":"\/media\/k2\/items\/cache\/703e21e78c49e5c8af228bd452fedb7b_M.jpg?t=1543414194","imageLarge":"\/media\/k2\/items\/cache\/703e21e78c49e5c8af228bd452fedb7b_L.jpg?t=1543414194","imageXLarge":"\/media\/k2\/items\/cache\/703e21e78c49e5c8af228bd452fedb7b_XL.jpg?t=1543414194","imageGeneric":"\/media\/k2\/items\/cache\/703e21e78c49e5c8af228bd452fedb7b_Generic.jpg?t=1543414194","cleanTitle":"Juxtapoz Clubhouse 2018 Preview: Dosshaus and the \"AmericOs\" sculpture","numOfComments":"0","text":"The previews and details are rolling in, and the 2018 Juxtapoz Clubhouse, taking over downtown Miami at 32-60 SE 1st Street, 48 Flagler Station and 200 E Flagler from December 6\u20149 (opening night is Wednesday, December 5 at 7pm), is almost ready! Today, we take a look at Dosshaus' large cardboard sculpture they will have at 48 Flagler Station, in what we lovingly call the \"Arcade.\"","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"66603","title":"KAWS: Art Louder Than Words","alias":"kaws-art-louder-than-words","catid":"30","published":"1","introtext":"It\u2019s hard not to notice the astronomical change in the art landscape over the past 25 years. The notoriety and fame that a generation of artists have achieved while still active in both the fine ar<\/span><\/span>","fulltext":"

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 <\/div>\r\n<\/div>\r\n<\/section>\r\n
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KAWS<\/h1>\r\n

Art Louder Than Words<\/h2>\r\n

Interview by Evan Pricco<\/b> \/\/ Portrait by Bryan Derballa <\/b><\/p>\r\n<\/div>\r\n<\/header>\r\n

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It\u2019s hard not to notice the astronomical change in the art landscape over the past 25 years. The notoriety and fame that a generation of artists have achieved while still active in both the fine art and pop culture realms seems unprecedented. Sit back and wonder why, and the conclusion may be that social media, celebrity interest, and their integration of art, music, and product have changed the game. Thinking of the most famous artists in the world, Haring, Warhol, and Basquiat, for example, I see a blueprint for what was to come in the 1990s and twenty-first century. But there hasn\u2019t been an artist over the last 25 years who exists in his own stratosphere, his own singular universe, quite like the artist we know as simply, KAWS. 

From toys to graffiti, fine art to fashion, art collecting and public art that bridges American pop culture to an international audience, KAWS has defined an era where the artist can be whatever he or she wants to be without compromise. And, in many ways, KAWS has achieved success as an artist without being shackled to a particular thing, a genre, if you will. He really is known as just KAWS, and by and large, he is quite content. 
<\/span>
I sat down with KAWS over the course of two meetings, one in Tokyo in the spring on the eve of a solo show at Perrotin, and later in the fall at his Brooklyn studio while he prepared works for an upcoming solo show at Skarstedt Gallery in NYC. The latter would be the first solo show in his hometown in over five years, a detail not lost on the artist. We discussed his relationship with Japan, graffiti, art school and his ability to avoid being pigeonholed in particular urban and street genres. He was forthcoming and honest as we navigated through the last 30 years of his life. <\/span><\/p>\r\n<\/div>\r\n<\/section>\r\n

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Evan Pricco:<\/i> I noticed your comment on Instagram, something about you not having been to Japan in a while. That just didn't seem right. I associate Japan with your early success. 
<\/b>KAWS:<\/i> Yeah, it doesn't seem right. I used to come, like, every two months, when I had my Original Fake brand. After having my first kid\u2026 you want to travel less when kids are brought into the mix. 
<\/span>
Take me back to this far away land that was before social media, before everything was so connected, like when you were first coming to Japan and the energy of the culture that was happening at that time. People talk about it as a mystical time, but it wasn\u2019t that long ago! What made it so distinct?
<\/b><\/span>Nostalgia. I think there's a lot of integrity in Japan. There were a lot of guys who were pushing things in a way that really nowhere in the world was pushing, as far as, say, street wear. There wasn't much of a gallery scene when I first came in the \u201990s. I was baffled. I grew up around New York, and you just assume the whole world has galleries and has a scene of some sort. You might not be privy to it, but it exists. In Tokyo, there were a couple of galleries, but it wasn't as jumping as I thought it would be. Streetwear, on the other hand, was very active. I was fortunate that, through STASH and FUTURA in New York, I got to meet these guys at Mad Hectic, which inevitably led to me meeting Nigo from BAPE, and all these great people. If you're going to land, landing within that world is pretty good. I think it was a good, curious time. They were curious about New York, we were curious about Japan, and just naive creativity happened.
<\/span>
And today, culture is just a bit more self-conscious.
<\/b><\/span>It's super self-conscious. And with social media, there's nothing intimate about anything. You can't do a T-shirt for a little local market. It just doesn't exist. It'll get bastardized, bought, resold. But, at the time, I think everybody was just happy to be making what they were making, excited about making good fucking stuff: clothing, toys, design, packaging. The packaging was amazing! Just a focus. It just seemed like I was lucky that I came into all of this at that particular moment. <\/span><\/p>\r\n<\/div>\r\n<\/section>\r\n

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What things got you into wanting to do art?
<\/b>Lack of any inspiration anywhere else. honestly. I didn't know any working artists growing up. I didn't think of art as a profession. I just thought of it as a way to get by at school and a way to get around social situations. At a certain point, until late in high school, not that I realized that you can make a living in art, I just realized I'm not going to make a living any other way. So, little by little, you just check the boxes off; \"Not going to be this, not going to be that.\" In fifth grade, a teacher did tell my mother, \"He could pursue art?\" My grades were so horrible that I think my teacher wanted to comfort my mom in some capacity.
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And then graffiti was great because it helped me learn about kids all over the world, that there really was this community unlike any that exists, even now, in contemporary art. It's a different thing and people outside it don't understand.
<\/span>
Graffiti has that weird, almost Grateful Dead community quality where it's like passed around. Before the internet, it was passed around in this really organic, insider way. It really was a community that did so well at communicating with each other.
<\/b><\/span>Exactly. But it was just like within a certain group, and outside the circle, no one had a clue and could care less, obviously. I mean, you talk about some of the graffiti stuff and it just seems totally ridiculous to a regular adult. So, I felt fortunate to have that, and to have that coupled with my interest in design and art.
<\/span>
The thing, too, if you didn't grow up in New York, it would have been harder at that time.
<\/b><\/span>Absolutely. I think it all has to do with who is around you, what you grow up seeing, what you grow up not liking, and figuring out how to surround yourself with stuff you do like. Access would have probably been a lot harder had I not been a few blocks to the train that led to Manhattan. <\/span><\/p>\r\n<\/div>\r\n<\/section>\r\n

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What you're saying, too, is there's this thing where you didn't know any professional artists growing up, which is not to say any of us did. But, at that time, there were graffiti artists who came out of the 1980s with shows; perhaps it was a little rough when it got to the 1990s. But then a whole new crop of artists came into the 1990s better equipped, maybe? 
<\/b>In the \u201990s, I was painting with Zephyr, and I knew these graff guys who had great moments in the \u201980s with galleries. It happened and then stopped. Then the next wave came, and someone like Barry McGee was just fucking trailblazing. When he came to NYC and did the show at the Drawing Center in 1996, what he was doing was the first sort of tangible thing that somebody from this graffiti world could crossover with. But it was not like the \u201980s, this was very specific. Barry sort of discarded a lot of what came before in the gallery world. He had a completely unique point of view and aesthetic. He reinvented it, and did it in a way where you just thought, \"Whoa. There's actually space for new conversations to enter.\" And Street Market, with Barry, Todd James and Steve Powers\u2026 it was an interesting time.
<\/span>
So, for you, just out of school at SVA, where was your mindset? What were you doing outside of your graffiti? 
<\/b><\/span>I was hopefully going to get a job in the creative field. That's how I worked in animation. I never really cared about animation, it was just a check and I could paint all day. And I loved SVA. Good teachers, loved it. I never had any experience like that prior, you know, through high school. There was just never any serious consideration about the arts, and then suddenly you have people teaching you bare bones facts about painting. It was just sort of this epiphany like, \"I can't believe people do this.\" So, I went from being a horrible student to just wanting to focus, and work hard. And the day after I graduated, I started working in animation. 
<\/span>
You weren\u2019t into that kind of crossover stuff at that point? Like trying to do a graffiti-fine art hybrid? 
<\/b><\/span>No, I mean, I did the billboards, but that all just fell within piecing, and I was more into doing, say, walls. In Washington Heights, the Bronx, anywhere. Freight trains and things like that. It wasn't really, \"How am I going to parlay this into a career?\" <\/span><\/p>\r\n<\/div>\r\n<\/section>\r\n

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Were there little signs that things you were into outside of graffiti were becoming avenues for a \u201cgreater\u201d art career? 
<\/b>I still have those moments. I mean, things happen now, and I'm like, \u201cWow. Six months ago, I never would have imagined, and suddenly this happened.\" And after that happens, and you see it, you kind of imagine what else could happen, you know? I think that, in the beginning, Tokyo was really tied to that. You just work your way around ideas and opportunities.
<\/span>
Even at the beginning, you seemed to understand this idea of demand, where you knew about how to make something super limited, but at times, weren\u2019t afraid to really make a product accessible. But you never overdid it, which is interesting.
<\/b><\/span>I don't know. I guess that depends on who you ask. I was more interested about learning and navigating around my interests and figuring out how to create a long-lasting trajectory. There were definitely moments in the early 2000s, where there was an abundance of money floating around and an opportunity to license and do stupid stuff, and I always kind of cringed at a lot of that. If I couldn't stand next to it, I wouldn't do it. That said, I might have done a couple of dumb projects along the way, but not enough to overshadow the good stuff. 
<\/span>
Do you always make sure to produce a couple of things a year that the average kid can afford? 
<\/b><\/span>Uniqlo was one of my favorite projects. I want to keep doing that just because, for so long, things I did were sort of limited and there was more to do with our budget and what we could handle with distribution. There was a moment in the early 2000s where doing the super-limited thing just felt right, and now I'm just in a different mood and I feel like with Uniqlo and social media, you suddenly have all of these younger kids looking at your stuff. I like doing a project where you see kids snag a shirt that's $14. And then, out in the world, you'll see it mixed with super high-end stuff. That is a nice part of culture, this balance now.  I was in Melbourne recently, and I saw so many people wearing the shirts on the street that it made me think, in a good way, \"This is so weird.\" <\/span><\/p>\r\n<\/div>\r\n<\/section>\r\n

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Over the summer, between our two meetings, KAWS was busy with a myriad of projects that seems to define his workflow at this moment in his career. Public sculptures emerged in Qatar, China, Los Angeles and South Korea, as well as another solo show in Hong Kong with Perrotin. Plus, his studio released new signature vinyl toys with his longtime collaborators, Medicom, as well as a collection of Sesame Street collaborations through Uniqlo. After the international jetsetting, we reconvened at his Brooklyn studio. <\/b><\/i><\/p>\r\n<\/div>\r\n<\/section>\r\n

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Evan Pricco:<\/i> It\u2019s amazing to me that you have been able to stay out of being \u201cgrouped\u201d with other artists. Like you aren\u2019t attached to a scene, per se. That is hard to do. 
<\/b><\/span>KAWS:<\/i> I just don't accept those things. I feel like people who want to clump me into a category are not really looking at what I do. They're just looking at having a group. Like, \"Oh, let's have a street art show.\" It doesn't matter who they invite, it's just a street art show. I try not to generalize when I look at artists. 
<\/span>
When you started getting into graffiti, did you feel like, \"OK, I've found a like-minded group of people,\" or was it always something you were doing on your own?
<\/b><\/span>I had multiple groups of people. I mean, that's what I liked about the craft. I didn\u2019t grow up involved in any sports, I never had any sort of team camaraderie. Suddenly, there\u2019s a realization, \"Oh, these guys like to break into spaces and paint, too. That's great.\" You know, there's actually, like, real consequences and you rely on people. In general, I've bounced around solo to different groups, whether it's doing freight trains or billboards, and I always do that with one person or something. The phone booths were really kind of the solo. When I moved to Manhattan in \u201996, I was just focused.
<\/span>
How long did it take, let\u2019s say, with the phone booths, for people to really start noticing what you were doing on the street? If you did this today, it would take 10 minutes for the world to know you were doing phone booths, but at the time, it could take months for a story to emerge. You would need a magazine months down the line to help tell the story. 
<\/b><\/span>You had to have at least a year or two to just be doing something until finally all your friends knew what you were doing! 
<\/span>
You can make mistakes or experiment without the world watching. 
<\/b><\/span>Exactly. When I started doing the ads, it was great because I felt like I was  just putting them out, but I was getting nothing back. Sure, I was getting photos and stuff, but as far as who knew I was doing them, it was a small group. It was just what I wanted. Put it out, not hear back, think about it, put it out\u2026 <\/span><\/p>\r\n<\/div>\r\n<\/section>\r\n

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Do you remember why you started doing that? Why the ads? Was there something that you were thinking, \"Oh, this is more at street level, this is interesting.\u201d 
<\/b>In Jersey City, with the billboards, you can get to them. They're great spots. The companies had done all the research. These locations reach a lot people. Then, just seeing the artwork over an advertisement, I just liked that mixture. Moving to Manhattan in '96, I really shifted over to focusing on phone booth ads just because, I don't know, it was more tangible.
<\/span>
So you just graduated from SVA, had a job in animation, were doing the street works\u2026 was there a need to get into the gallery world at this point? 
<\/b><\/span>I was an Illustration major. I thought I'd have to get a job to subsidize the stuff I did in the street. It was just never really an option. And to be honest, NYC wasn\u2019t really showing the stuff I was doing. 
<\/span>
That\u2019s why Japan was so important to you. 
<\/b><\/span>I made the first toy in 1999. I had been going to Japan and finding opportunities there, random opportunities that kept popping up, just not so much from the U.S. It wasn't like the galleries were looking at that world in any way at all. I like making products and stuff. In the U.S, it just felt as if, \u201cOh, you could be a fine artist or you could be a commercial artist.\u201d There was a split division: if you do this, you can't do that, like one thing knocks out the other. There is definitely truth in that, and still, even today you get that. You have people who are a little bit scared of commercial projects or still pretend that there is this church. 
<\/span>
There is less of a church now, which is nice. 
<\/b><\/span>There is for some people, but for me, I enjoy just having work disseminate in different countries at the same time. That can never happen in a gallery space. <\/span><\/p>\r\n<\/div>\r\n<\/section>\r\n

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It seems to me this all ties into what we said earlier, that you have been independent of scenes, like taking control of your name without giving it away at a pretty early age, and that\u2019s an important note for any younger artist. 
<\/b>If I ever do a project, that's me wanting to do that project, me having a reason in my head why I feel that's a good project. I've managed, luckily, knock on wood, to do things within my terms. Not everything. You get burned. You realize you can get into something, and it's not what you would imagine. I always knew, at the end of the day, it's going to be me sitting here with my work and myself. No matter what you make, you're not going to have it for long, I don't think. I don't anyway. 
<\/span>
Do you think that's the graffiti background talking? 
<\/b><\/span>It could be. It\u2019s definitely a great training ground. I mean, that's everything. Basically, speaking for myself, you build an image and a presence. 
<\/span>
And a name, like a brand name, in a sense. 
<\/b><\/span>Just by the way you project yourself. It's not very different. 
<\/span>
Another thing you have been synonymous with in recent years is your art collection. Not only do you share your collection on Instagram, but you also show a lot of art you like, or that influences you, and that may come as a surprise to followers who only know you through toys, or only through fashion. It's a good practice for everybody who's a fan of yours or a follower, to see things that you also like. It breaks the idea of boundaries of what you are allowed to like. 
<\/b><\/span>I see stuff that I feel should be seen. You know what I mean? That's really why I post stuff. I just like looking at some particular art and I'll post it. It's not really that methodical, it's more about, \u201cThis is stuff I like.\u201d  <\/span><\/p>\r\n<\/div>\r\n<\/section>\r\n

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It shows a bit of personality, too. 
<\/b>It's a little hard to extract that personality out of me. I've always hated the smoke and mirrors from artists ahead of me, where you get to see this staged photo and that's what they stick to. I think, especially for kids following me, I try and make the point that you literally can do this. You can get into art. I mean, it's a fucking nightmare to navigate, but the playing ground, there are access points. There is nothing keeping you from learning. There is nothing keeping you from picking up books and going to museums, and what you do with that information is your choice. 
<\/span>
That\u2019s the exact message that artists like yourself should champion to people. Just because prior history has created a complex lexicon of \u201cart knowledge,\u201d you can still participate in art just by liking it. 
<\/b><\/span>Exactly. You can still know it. You can still understand and appreciate art. 
<\/span>
Is that why you try to do both the high end and pop-culture releases, often around the same time? To keep an active and engaged audience feeling appreciated? 
<\/b><\/span>I do consciously think about how things disseminate. If I do something like Dior, I also want to do something like Uniqlo. I don't feel like it's my job to be the affordable artist. I want to make good stuff, and if I can find a place and make good stuff that can be all over, then great. 
<\/span>
Another function of working with the likes of Dior, or then Snoopy and Sesame Street, goes back to that role you play in the art world and with your social media. It reminds people that from Dior to Sesame Street, these brands were created by artists. There is craft behind all these high-end and pop worlds. 
<\/b><\/span>Yeah, it\u2019s coming from real people. I always think about how things are made. I don\u2019t want to just exist and not know about my surroundings. That\u2019s in art, fashion, architecture, movies\u2026 anything. <\/span><\/p>\r\n<\/div>\r\n<\/section>\r\n

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You had a really busy summer. After Tokyo and Hong Kong, there was the Dior project, public sculpture works in China, Korea, Los Angeles, Uniqlo releases, new toys, and I\u2019m probably missing something. Now it's about focusing on your gallery show at Skarstedt Gallery in NYC opening by the time this issue comes out. Is that technically slowing down for you? 
<\/b>It is slowing me down a little bit. I mean, I have been focused on the show in November, just because it's New York. I haven't shown in New York in five years. 
<\/span>
Because it's New York. Because it's where you're from, is there any added, I hate to say,  pressure? 
<\/b><\/span>There is no way to add more. I pretty much try to do the best stuff I can do every time I can do something. I'm happy that my friends from around here can see the work, instead of just seeing stuff from social media. 
<\/span>
For the sake of nostalgia, if I was talking to 1994 you, Brian Donnelly, would you be surprised by the summer of international projects, as well as a major solo show in NYC?
<\/b><\/span>I never imagined being able to not have a job. I always thought it'd be great to have a good job, that I can afford an apartment and really just do what I want to do personally and get work made. To be able to just work for myself and make the paintings I make and reach an audience like that was just not really in my mind. 
<\/span>
You don't consider this a job?
<\/b><\/span>Definitely not. No. I mean, I may work harder than most people that show up at work, but it's not actually work, though. Not when it's fun and you're excited about it. You can do it endlessly. Sixteen hours would fly by and you could just be like, \u201chuh.\u201d 
<\/span>
And this career that spawned from graffiti has now grown to such a massive international audience. 
<\/b><\/span>it's just always been about communication, and I've found other means. Now I get to have that dialogue with the world.
<\/span>
KAWS' New solo show on view at Skarstedt Gallery in NYC through December 19, 2018. <\/i><\/span><\/p>\r\n<\/div>\r\n<\/section>","video":null,"gallery":null,"extra_fields":"[{\"id\":\"13\",\"value\":\"It\\u2019s hard not to notice the astronomical change in the art landscape over the past 25 years. The notoriety and fame that a generation of artists have achieved while still active in both the fine art and pop culture realms seems unprecedented. Sit back and wonder why, and the conclusion may be that social media, celebrity interest, and their integration of art, music, and product have changed the game. Thinking of the most famous artists in the world, Haring, Warhol, and Basquiat, for example, I see a blueprint for what was to come in the 1990s and twenty-first century. But there hasn\\u2019t been an artist over the last 25 years who exists in his own stratosphere, his own singular universe, quite like the artist we know as simply, KAWS.\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"\"},{\"id\":\"3\",\"value\":\"Kaws\"},{\"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\":\"images\\\/Evan Pricco\\\/2018\\\/Nov2018\\\/unnamed.jpg\"},{\"id\":\"15\",\"value\":\"\"},{\"id\":\"16\",\"value\":\"\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":"It\u2019s hard not to notice the astronomical change in the art landscape over the past 25 years. The notoriety and fame that a generation of artists have achieved while still active in both the fine art and pop culture realms seems unprecedented. Sit back and wonder why, and the conclusion may be that social media, celebrity interest, and their integration of art, music, and product have changed the game. Thinking of the most famous artists in the world, Haring, Warhol, and Basquiat, for example, I see a blueprint for what was to come in the 1990s and twenty-first century. But there hasn\u2019t been an artist over the last 25 years who exists in his own stratosphere, his own singular universe, quite like the artist we know as simply, KAWS. 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In the past, Sperling has credited Googie signage and the Memphis Design Movement as an inspiration, and in way, his newest works in Two Purple Tigers<\/i> <\/a>redefine what those influences can mean in the context of gallery work. On view at Perrotin in Seoul, South Korea<\/a> from November 22 through December 30, 2018, Sperling\u2019s new works are his most dense and intricate to date, experimenting with color matches and shapes that are often complex, and sometimes just simple movements. As seen with Perrotin at London\u2019s fall Frieze Art Fair, Sperling has figured out how to compartmentalize big ideas while simultaneously expanding on his experimental aesthetic. Whether these are paintings or sculpture seems less important than what they present, which is the vision of an immensely talented artist. 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The works bend and blend, becoming both object and painting at the same time. This sort of aesthetic, combined with Sperling\u2019s ability to create three-dimensionality in the canvases themselves, creates layer-upon-layer of viewing pleasure.","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"66586","title":"Super Future Kid: Soft Party People","alias":"super-future-kid-soft-party-people","catid":"30","published":"1","introtext":"Mysteries of youth, spirituality and the occult are all themes in Super Future Kid\u2019s symbology, and her comfortable spelunking of hypernatural realms is vivifying. The following transmission proves<\/span><\/span>","fulltext":"

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Super Future Kid<\/h1>\r\n

Soft Party People<\/h2>\r\n

Interview by Kristin Farr<\/b> \/\/ Portrait by Ian Cox <\/b><\/p>\r\n<\/div>\r\n<\/header>\r\n

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Mysteries of youth, spirituality and the occult are all themes in Super Future Kid\u2019s symbology, and her comfortable spelunking of hypernatural realms is vivifying. The following transmission proves she is a friendly visitor from another dimension, hence the name. Electric pink sugar runs through her veins, and she\u2019s often trailed by a glittery mist. During a recent touchdown in Tokyo, she spared a few milliseconds to share the secrets of her space craft. We spoke via hologram and the artist appeared as what can only be described as a sparkling beam of luminescent jellyfish light. <\/p>\r\n<\/div>\r\n<\/section>\r\n

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Kristin Farr: <\/i>Is Super Future Kid your real name?
<\/b>Super Future Kid:<\/i> My real name exists in a parallel world and belongs to a lady making watercolors of flowers. I wanted to choose my own name, and I\u2019ve been using it for seven years now. It will still be with me at age 95... or maybe then it\u2019s Kid Granny!
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What are your super powers?
<\/b><\/span>To be incredibly childish and yet able to do all the grown up stuff.
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Tell me about your childhood and how it affected the art you make now. 
<\/b><\/span>I was born in East Germany and spent the first eight years of my life not knowing that there was a universe of colors, toys and all kinds of fun things waiting for me on the other side of the Wall. I had a great childhood but it got a massive upgrade after November \u201989! I\u2019m not sure if it was this sudden culture shock of pop, consumerism and neon that made me who I am, but it definitely left a very strong impression and a desire for bright colors and toys that hasn\u2019t faded a bit since then.
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What\u2019s your favorite candy? 
<\/b><\/span>All flavors of Starburst and veggie-shaped marzipan. Since I live in my studio, I eat between painting all the time. If a painting goes well, I spend hours on end with no breaks, and if I\u2019m struggling, I take breaks every 20 minutes and distract myself with snacks.
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Where do you stay and what is the future like?
<\/b><\/span>I stay in a cloaked ship in orbit, but I also live in a converted warehouse unit in N15 London. It\u2019s a fantastic space if you are a painter who has near zero living standards. For example, our fridge broke about five years ago, but we realized that you can actually live without one. The bathroom is tiny, and all of the fairly little space we have is devoted to storing materials, paintings and making work.
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And the future looks great\u2014replicators, hypo-sprays, matter-energy transport and space travel\u2014who wouldn\u2019t like that? <\/span><\/p>\r\n<\/div>\r\n<\/section>\r\n

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Is it you that makes your paintings, or an unseen force that moves your hand?
<\/b>I often wonder that myself. Sometimes it does feel like I\u2019ve been programmed and there is some sort of stream in my head with all the work that is yet to be made slowly piling up. I really don\u2019t mind this feeling, though, as it gives me drive and a sense of purpose.
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What\u2019s on top of the idea pile right now? 
<\/b><\/span>A painting of a person in acid green high heels strolling on a beach while eating a slice of pizza; some other ideas involve a mankini, melting ice cream, a fried egg, bushy pubes and blowing a dandelion\u2014basically all the things you need to have a good time.
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Who are the people in your paintings?
<\/b><\/span>They are often a reflection of my personality, like an involuntary self-portrait\u2014people that are like an alternate me or that reflect fractions of what makes me myself. Sometimes I think that painting is like digging, where the brush is the spade, and by shoveling around on my canvas, I find pieces that explain who I am, bit by bit. It\u2019s me trying to make sense of who I am by creating all these characters.
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Is there something significant you\u2019ve learned about yourself that you can share?
<\/b><\/span>Yes, that reality is a bitch. I can be who I want and do what I want in the painted life, but as soon as I leave the studio, I become this awkward person who doesn\u2019t really know how to walk and talk. That sucks, but it also pushes me to change into someone who does. At least I try.
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What kind of paintings are you working on lately?
<\/b><\/span>At the moment, I have three that I work on in rotation. They all have some kind of easy, soft, party vibe about them, a bit like chilling at a rave. <\/span><\/p>\r\n<\/div>\r\n<\/section>\r\n

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Do your figures have names? Or nicknames you give while working on them?
<\/b>I often do give them pretty dull and mostly unimaginative nicknames before they have a proper title. One of the last paintings I made I used to call the potato, or kartoffel in German, because that\u2019s what it reminded me of. 
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Are there colors or elements in your paintings that you just can\u2019t quit?
<\/b><\/span>Yes: horses, cowboys, mustaches, pastel-rainbow colours, vapor and Mr. Potato Head\u2019s body parts.
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Why do you think these things are an inevitable part of your personal visual culture?
<\/b><\/span>I was so hooked on cartoons and toys as a kid and I still am\u2014to a much higher degree than I probably should be. I guess it\u2019s the blur of very bright colors and neons in pop culture, and those ubiquitous images of unrealistic and \u00fcber-positive ideas of life that captured me the most and certainly still find their way into my work.
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Cowboys I\u2019ve always found cool, since kindergarten, when my favorite costume was my cowboy outfit. The Wild West cliche is just too good not to like. Riding around on a horse in the wild, free of any social constraints, sounds like something I\u2019d actually enjoy doing. Pastel rainbows remind me of watching My Little Pony, Care Bears and the like at 6am on weekends as an 8-year-old. Those cartoons had such an immersive effect on me, they were like a door to a wonderland just a few feet away from me behind a sheet of glass. And mustaches and Mr. Potato Head appeal to me because of their potential to change your appearance, and hence, becoming someone new or different. It\u2019s fun to play with switching noses, eyebrows, hats and stuff!
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Tell me about your collections.
<\/b><\/span>Mostly seashells, stickers, fridge magnets, \u201980\u2019s action figures, and random little toy things (Happy Meal, Lego, anything really). When I was younger, I also collected price tags, banknotes, and coins from all over, bottles, stamps and rocks, but soon found the more exciting stuff. <\/span><\/p>\r\n<\/div>\r\n<\/section>\r\n

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What\u2019s your favorite outfit lately?
<\/b>My black-and-yellow Batman sweatpants, blue bleached tie-dye jumper, my very old North Face rainbow colored snow-boots, and my favorite wooly hat.
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How did you become so magical? I could see you owning a unicorn or a jelly bean farm. 
<\/b><\/span>I sure wouldn\u2019t mind owning either of those! I don\u2019t know\u2026 I often feel like life is just a movie seen through a VR headset. Things start making too much sense in a way that it all seems scripted! And I\u2019m glad I don\u2019t give too much to mainstream crazes and just try to surround myself with things I like and do what makes me happy. Seems that this is a good way.
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What brought you to London?
<\/b><\/span>When I was 14, I did a language study trip to York in England, which was organized by my school and sponsored by the Rotary Club. We were 20 kids from all over Germany, and we each got placed with an English family for two weeks. It was a very memorable trip with me being on my own and on a plane for the first time, and also having to speak English 24\/7. I loved everything about it, and I returned to the UK many times after that, and very soon decided to move there after graduating from art school. Seemed the only sensible thing to do for me because I also felt pretty bored and fed up with Germany and all its rules and regulations. The UK is so much more easygoing. I\u2019d do it all over again!
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Tell me about your current holiday in Tokyo! 
<\/b><\/span>Where should I start? We did so much, and we are still just halfway through our three weeks here! We are walking a lot; it\u2019s a much better way to explore the city, rather than taking the subway everywhere. Some of the best places we saw were the Sensoji Temple at night when everything is closed. The store shutters around there have some pretty cool artwork painted on them. Then there\u2019s Don Quijote, a massive store with seven floors of totally random shit, from Doraemon onesies to themed chopsticks and edible underpants. It\u2019s open 24 hours, so you can find whatever you want, even at 3am. <\/span><\/p>\r\n<\/div>\r\n<\/section>\r\n

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There are a lot of very cool galleries in Tokyo like Mograg, Calm and Punk, Hiromart, Moritaka at Arts Chiyoda, the Hara museum and many more\u2014and lots you can also find by chance. One of those random discoveries was the HATCH, which is located above a bar in Asakusa. The space is small and rough and had one of the best shows I\u2019ve seen here.

Hunting for Gachapons is another fun thing to do; those machines pop up everywhere. For 300 yen, you get a plastic ball with a random collectable toy in it. The great thing about them is that they are often site-specific, so some toys you can only find in a certain part of town!
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Other very interesting things we saw are cat and owl cafes, graveyards, killer hornets, shrines, temples, Kabuki, Taro Okamoto\u2019s museum, Yayoi Kusama\u2019s studio and museum, eating on the roof of Yoshimoto Nara\u2019s restaurant, vending machines, and thrift stores! We have a great guide too, Hiromi from Hiromart has shown us a lot of awesome hidden spots we would have missed otherwise.
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I had a solo show with small paintings and sculptures at Hiromart. It\u2019s my first time ever showing in Japan, which is why I couldn\u2019t help but fly over and see with my own eyes what\u2019s actually going on over here. The location is also fantastic; there is a river just in front of the gallery with actual turtles in it, and just across from there is the most amazing Japanese garden where you can see fireflies at night. 
<\/span>
Who are you traveling with?
<\/b><\/span>My boyfriend! We have been a couple since the age of 14. He also always wanted to go to Japan and is loving every minute that we are here.
<\/span>
Is the trip inspiring new paintings?
<\/b><\/span>Yes, totally! This city is so loaded with the strangest visual mix imaginable, both in 2D and 3D. I constantly come across kawaii signs, traditional and often creepy old paintings and masks, and weird product packaging for food or other stuff in stores. Everything looks just great, wild and intense. It\u2019s impossible not to get inspired! <\/span><\/p>\r\n<\/div>\r\n<\/section>\r\n

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Who are some artists you feel your work is in dialogue with?
<\/b>There are so many damn good artists that could be mentioned, but since I am here in Tokyo, I am totally in love with Rachel Harrison and Taro Okamoto for their incredibly playful sculptural work, as well as Kurumi Wakaki, whose work is just beyond bizarre. 
<\/span>
Tell me about your sculptures. Is this a new part of your practice, and are they totems? 
<\/b><\/span>In a way, I see them as totems, yes. I\u2019ve been making them for about a year now. I do like sculpture a lot and I wanted to make something that stretches my work in a way so the paintings get company, guardians, friends\u2026 a foot into the third dimension. 
<\/span>
The first props were odd balls of expanding foam on which I painted a simple face, and I liked the effect so much that I kept making more. 
<\/span>
Are you still making them with foam? Are they made to accompany specific paintings, or do they develop organically?
<\/b><\/span>Yes, but I\u2019ve also found other methods. I\u2019m coating them with a mixture of cellulose fiber, glue, and cement to make them more durable. I was quite green with sculpting materials when I did the first heads, but have tried different recipes and started to feel a lot more fearless with the process of making them. The more materials I try, the more fun it is to use them.
<\/span>
I do make sculptures specifically for a painting but I also make more and more as independent pieces that exist on their own or in groups. I feel like I\u2019ve just opened a new door to the wonderful world of 3D to explore and play in. Also, Unique Board is working on a limited edition of a full-color, 3D plaster printed head, which allows me to try new things with sculpture that wouldn't really be possible if made by hand! <\/span><\/p>\r\n<\/div>\r\n<\/section>\r\n

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<\/figure>\r\n<\/div>\r\n<\/section>\r\n
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\r\n

How has your work changed or focused in the last few years?
<\/b>I had quite a big change last year where I basically dropped everything that I did, including the medium. I had worked in my old style for over six years and felt that I had said everything that I wanted to; it was time for something new. I think it\u2019s important to always try new and different things and to realize when it\u2019s time to move on to make something fresh.
<\/span>
What kind of paintings did you make before that? 
<\/b><\/span>My previous style was a lot more realistic compared to what I am doing now. I was combining reference material from all over the place to create surreal, dreamlike scenarios by collaging and altering figures into dreamy landscapes. I enjoyed working in that style a lot, and people also responded really well to it, but I reached a point where I wanted to be free from using material from existing sources and instead develop a new technique and visual language for myself altogether, and basically start over.
<\/span>
What is an ideal reaction to your work?
<\/b><\/span>The best reaction I hope for is that it makes them happy, that they can relate to it, maybe even that they feel I made a portrait of them without knowing who they are.
<\/span>
Do you get painting ideas from dreams?
<\/b><\/span>They most definitely have a root in the real life but I never know where that is. Most of my ideas come when I go to bed. I keep my iPad under my pillow and often start painting on it as soon as I lay down. My brain seems to be most useful at that time.
<\/span>
Why do you think joyful art is important?
<\/b><\/span>There is so much negative shit going on, so, to keep a balance, the dark side needs a big fat bright side, and happy art is contributing to that!
<\/span>
Amen. If your art is a recipe, what are the main ingredients?
<\/b><\/span>Dreamy oblivion, intense drive, comfort and ease.
<\/span>
What shows are coming up for you this year?
<\/b><\/span>There is quite a bit on my calendar! Mindy Solomon is taking some of my newest work to Seattle Art Fair in August; Storm Ascher is curating Superposition in Downtown LA also in August. Then I\u2019m sending some new work to Semi Skimmed Gallery for a group show at BSMT in London in September. In October there will be a group show curated by Sasha Bogojev at Tales of Art in Italy, and then I\u2019m also sending work to Thinkspace for their show at the MOAH Lancaster in October and SCOPE Miami in December. Next year a Residency in Amsterdam at The Garage in February, a solo show in Paris at Gallery 42b in April, and a group show at Galerie Droste in Wuppertal Germany. 
<\/span>
What\u2019s your favorite emoji?
<\/b><\/span>On good days its (\u2310\u25a0_\u25a0) and on less good days its (\/\u03c9\uff3c).
<\/span>
Superfuturekid.com<\/em><\/a>
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art space. The exhibition will include an immersive installation of collaborative textile pieces, sculptures by Rose along with paintings by Nagai.","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"66552","title":"Aaron Johnson and Christian Rex van Minnen's "Chum Chum Rubby Dubby" in Hong Kong","alias":"aaron-johnson-and-christian-rex-van-minnen-s-chum-chum-rubby-dubby-in-hong-kong","catid":"19","published":"1","introtext":"Aisho Nanzuka Gallery in Hong Kong will be opening much anticipated two-man show titled Chum Chum Rubby Dubby, featuring all new works by Aaron Johnson and Christian Rex Van Minnen. With one of the a<\/span><\/span>","fulltext":"\r\n

For this exhibition, Aaron Johnson<\/a> prepared a large series of works that introduce some of his most recognized styles and techniques used to date. From signature sock paintings and sculptures to more recent stain-based figurative compositions and patterns which are completely reinventing his aesthetics and practice. By manipulating material in any way it feels fitting that the sock paintings are, in reality, sculptural pieces, while the stain images have the complexity of abstract creations. Loosely mixing a fluid effect of watered-out paint with sections of solid color and detailed features such as eyes or teeth these works evoke the psychedelic feel of tie-dye patterns while keeping the format of figuration. Johnson's work is filled with cowboy hats, burgers, pizza, and guns, while cleverly balancing between looking absolutely terrifying and utterly hilarious.
\"AJ
\"AJ<\/p>\r\n

On another hand, the technical and aesthetic influence of van Minnen's work<\/a> comes from the Dutch Golden Age of painting. Using and reinventing some of the classical methods of old masters, he is achieving the most incredible effects with his show-stopping oils\u2014whether we're talking about light, the rich background, the softness of the colors and gradients, hair shines, tattoo and now spraypaint effects, or the incredible depth of the overall composition. Utilizing all of those to construct the most ingenious images, regularly based on the traditional portrait format, he then twists everything into a surreal realistic mashup of visuals. Effortlessly playing with all the elements, he composes his figures from images found at most diverse sources, mixing Internet memes, tattoos, classic art, and random photographs into extremely bizarre, yet alluring masterpieces.

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

This exhibition<\/a> will be a chance for the two American artists, whose careers have had a similar path during the same period of time, to exhibit their work side-by-side for the first time. Although fundamentally different on so many levels, the showcase proves just how compatible and complementing are the works of NY-based Johnson and now Cali resident Van Minnen. This spirit culminates in two collaborative sculptural pieces that the artists produced especially for this exhibition, by sending the work back and forth across the country. Borrowing the title from one of those collaborative pieces, Chum Chum Rubby Dubby<\/em> feels like the kind of exhibition that 2 friends throw together out of pure fun, but because of their amazing talent and endless creativity, it happens to be a milestone art show at the same time. \u2014Sasha Bogojev<\/em><\/p>\r\n

 <\/p>\r\n

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Morris III at Nowheresville SF","numOfComments":"0","text":"Iris Skateboards (George Rocha) and R.B. Morris III are having a dual exhibit at Nowheresville SF this coming Saturday. The show will feature a new board graphic, animations, and 100 new illustrations from Morris, as well new boards designed by Rocha. Check it out!!","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"66534","title":"A Studio Visit With Sculptor Taku Obata","alias":"a-studio-visit-with-sculptor-illustrator-and-painter-taku-obata","catid":"17","published":"1","introtext":"Taku Obata is a Japanese artist and B-boy living and working just outside of Tokyo in Tokorozawa. Breakdance, graffiti, and old school hip-hop culture are core features of Taku\u2019s life and artistic <\/span><\/span>","fulltext":"\r\n

During a recent business trip to Tokyo to see UFO<\/a>'s solo show at Hidari Zingaro<\/a>, we met Taku and he invited us to visit his home and studio, where we took these photos. He showed us where he carves his b-boy sculptures and the variety of tools to carve them. <\/p>\r\n

Afrika Bambaataa credited the Japanese electro group Yellow Magic Orchestra<\/a> as an inspiration in the foundation of electro-funk and first-wave b-boy culture, so it was really cool to see Taku working with traditional Japanese wood carving in this cross-cultural context. <\/p>\r\n

We had tea, checked out some of Taku's drawings, paintings, sculptures, and soft vinyl figures. He has a big museum show right now at The Watari Museum of Contemporary Art<\/a> in Tokyo, featuring Taku Obata and Kazuki Umezawa<\/a>, which runs through December 2nd, 2018. The show features two of Taku's breakdancers, as well as photographs and a film featuring his abstract B-Boy Objects<\/em>.<\/p>\r\n

Text and photos by Bill Dunleavy<\/a>.<\/em><\/p>","video":null,"gallery":"{gallery}66534{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"Taku Obata is a Japanese artist and B-boy living and working just outside of Tokyo in Tokorozawa. Breakdance, graffiti, and old school hip-hop culture are core features of Taku\\u2019s life and artistic practice. His drawings are fast and figurative, a visual homage to breakdancing and motion. 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Breakdance, graffiti, and old school hip-hop culture are core features of Taku\u2019s life and artistic practice. His drawings are fast and figurative, a visual homage to breakdancing and motion. 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Isle of Dogs<\/em>, Wes Anderson\u2019s most recent project, is a stop-motion animated film set in a Japanese dystopian future. The story follows a boy\u2019s journey to find his dog after the species is banished to an island following the outbreak of canine flu. Inspired by the adventurous tale that Anderson brought forth, a select group of artists have created character portraits and highly detailed environments and scenes inspired by Isle of Dogs. Featuring a diverse array of painting, sculpture and limited edition prints, each artist offers their own unique perspective and interpretation of the Wes Anderson film. Sets and puppets from the film will be on display. <\/p>\r\n

Participating Artists: Daliah Ammar | Zard Apuya | Brighton Ballard | Derek Ballard | Raul Barquet | Betsy Bauer | Ryan Berkley Eric Bonhomme | Britni Brault | Courtney Brims | Glen Brogan | Nicole Bruckman | Joshua Budich Adam Caldwell | Caroline Caldwell | Phoenix Chan | Matt Chase | Tracie Ching | Dan Christofferson Codeczombie | Concepcion Studios | Cuddly Rigor Mortis | Camilla D\u2019Errico | Max Dalton | Matt Dangler Harmony Deimling | Tim Doyle | Emily Dumas | Pippa Dyrlaga | Tom Ellington | Laura Eliason | Epyon 5 Fabiocs | Jayde Fish | AJ Frena | Alex Garant | Cameron Garland | Sam Gilbey | Lauren Gregg | Dan Grissom Justin Hager | Cameron Hijagos | Kevan Hom | Jackie Huang | Carrie Ann Hudson | Maggie Ivy | Tim Jordan Raphael Kelly | Nan Lawson | Brin Levinson | Adam Lister | Kemi Mai | Marni Manning | AJ Masthay Harry Michalakeas | Arna Miller | Brian Miller | Ed Mironiuk | Scott Mitchell | JP Neang | Chelsea O\u2019Byrne Ruel Pascual | Rich Pellegrino | Minnie Phan | Allison Reimold | Fernando Reza | Miles Ritchie | Matt Ritchie Yohan Sacre | Leonardo Santamaria | Cindy Scaife | Bennett Slater | Jessica So Ren Tang | Andy Stattmiller Mike Stilkey | Nick Stokes | Meghan Stratman | Lindsay Stripling | Roland Tamayo | Anna Tillett | Geoff Trapp Michael Tunk | Liz Vowles | Chris Walker | Thomas Walker | Jan Willem | Zoe Williams | Lawrence Yang Teo Zirinis<\/span><\/p>","video":null,"gallery":"{gallery}66533{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"Spoke Art is hosting a new pop show titled the Isle of Dogs Art Show, a tribute to Wes Anderson\\u2019s most recent film, Isle of Dogs. 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Art is hosting a new pop show titled the Isle of Dogs Art Show, a tribute to Wes Anderson\u2019s most recent film, Isle of Dogs. The dynamic group exhibition will feature over eighty-five artists, painters, sculptors and print makers, debuting one weekend only in New York City\u2019s Lower East Side.","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"66526","title":"A Studio Visit and Interview With Azikiwe Mohammed","alias":"a-studio-visit-and-interview-with-azikiwe-mohammed","catid":"23","published":"1","introtext":"Walk into one of New York-based artist Azikiwe Mohammed\u2019s (previously covered here ) installations and you\u2019ll feel a surge of collective emotion. Part performance, part installation, Mohammed\u2019s<\/span><\/span>","fulltext":"\r\n

Working at Mana Contemporary<\/a> in Jersey City, Mohammed\u2019s studio serves as a sort of reliquary for all his past projects. Shelved high and low with figurines, toys, combs, tools and neon, his studio is packed with objects that he\u2019s received or ones that he\u2019s made. To him, they both serve to better his message. In 2017 he opened Jimmy\u2019s Thrift of New Davonhaime<\/em> - an immersive experience at The Knockdown Center in Queens. New Davonhaime is a fictional place that is an amalgamation of the names of the five most densely populated Black cities in America: New Orleans, Detroit, Jackson, Birmingham, and Savannah. During his time there, Mohammed acted as the thrift store\u2019s owner, Jimmy. According to the Knockdown Center - he accepted \u201cdonations from the public in the form of photographs to be added to , or audio-recorded memories that detail the first time participants realized they were Black. These recordings, called My First Time<\/em> stories, will be compiled and turned into 12\u201d records that are then added to the installation\u2019s growing collection. Both living archives offer an intimate and nuanced portrait of Black lives both contemporary and past.\u201d<\/p>\r\n

New Davonhaime<\/em> carried on to the Ace Hotel in Chicago this past summer and fall, presented by Mana Contemporary. Mohammed continues to source new materials and objects to tell the story of the Black experience in America and we can\u2019t wait to see what he comes up with next. Check out our interview and studio visit with him below.<\/p>\r\n

Jessica Ross: <\/em>Considering a lot of your art and installations require participation from the viewer, do you think it creates a more active experience and engaged discussion regarding your work? What challenges have you faced with this sort of interactivity and how have you worked it out in the past?<\/strong>
Azikiwe Mohammed: <\/em>I hope that the participatory nature of much of my work lends itself to a more engaging experience, but that's for the viewer to say, not me. I could be failing miserably and no one has told me yet. One of the difficult parts of work in this vein is a lot of what I am making needs a human pretense to help walk visitors thru the experience. That can be me or it can be other people, but additional human labor can make what is already a labor-intensive practice even more so. 

Your studio is covered head to toe in different objects and ephemera that you incorporate into your practice, where do you find all these things and why do you think objects carry such important cultural and historical weight? 
<\/strong>I find the different objects from shopping a lot, people mailing me stuff and making stuff via partnerships with manufacturers. Objects carry with them the histories of the people they have lived with, the things they have seen, and more importantly, they create a shared language between the people that are familiar with them. A Black Power afro pick speaks to other choices a person has made in their life, that if you own one are choices you are probably familiar with. A painted box with the name Victor on the front may remind you of the painted box you have that reads Vivian. You got that box from your Grandmother. Maybe you should call your Grandmother. <\/p>\r\n

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

If you had unlimited time and resources, what sort of dream project would you put together?<\/strong>
If I had unlimited time and resources I would take a vacation. After the vacation, I would make a string of restaurants with a rotating selection of chefs and a built-in teaching program re: diet and cheap food sourcing options, and yes, that includes cans. All the locations would be in neighborhoods of need. All the food would be free.

Can you tell us a little bit about your project New Davonhaime? How did the collaborative postcard initiative shape the experience and ultimately the final result?<\/strong>
I needed a place to feel ok as I didn\u2019t feel ok here. New Davonhaime maybe can be that place. The New Davonhaime postcards are a way for me to ask people what them feeling ok looks like. I then try to turn those answers into representative objects that live in different parts of New Davonhaime. Telling people what they need is wack. Asking people, then trying to be present for their answer is less wack.<\/p>\r\n

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

What do you have coming up later this year and in 2019? Where can we follow your work online?
<\/strong>For this year I curated a show at Gloria\u2019s Project Space<\/a> in Ridgewood that I\u2019m super stoked for, and next year there's a few things but let's finish this year up first. Online is www.azikiwephoto.com<\/a> and here<\/a>. Holler.<\/p>\r\n

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