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The show comprises an entirely new series of artworks, ranging from small to medium scale, where the artists' idiosyncratic styles meet and confront each other. This dialogue between their works results in a mutual enhancement, intensifying irony and elevating the visual lexicon. The unexpected elements in their pieces carry a destabilizing, almost surreal beauty.<\/p>\r\n

Chen and Takagi both maintain a strong connection to subculture, history, and religion, and offer fierce criticisms of hypocritical social establishments. These fundamental factors interact in unique ways, creating an unprecedented, multidirectional thread that takes the viewer on an aesthetic journey full of wonders and sardonic innuendos.<\/p>\r\n

Born in Tokyo in 1974, Koichiro Takagi moved to the US after graduating from university in Japan to study silkscreen printing, at the Academy of Art College in San Francisco, he then relocated to New York to start his career as a painter. Since his return to Tokyo in 2005, he has developed a unique aesthetic combining embroidery, printmaking, and traditional painting Takagi\u2019s striking compositions are immediately recognizable by their whimsical cast of anthropomorphic animals. The aggression suggests a distrust of existing social institutions and the people who maintain them, influenced in large part by Takagi\u2019s longstanding passion for American countercultures like punk rock, graffiti, street fashion, and tattoo art. At the same time, the creatures\u2019 theatrical poses are reminiscent of biblical paintings, exuding a mystical aura that is in stark contrast to their defiant disposition. Raised in a Catholic household, the artist was exposed to Christian art since childhood; its distinct imagery and compositional structures eventually found their way into his own creations. The visual discrepancy in Takagi\u2019s work embodies the continuous conflict between the artist\u2019s anti-establishment beliefs and genuine fascination for divine powers. To a cynical eye, these adages may be interpreted as a biting satire of organized religion\u2019s insistence that they hold all the answers to life. Or perhaps they are self-affirming mantras, meant to be repeated silently as a source of personal strength. The viewer is encouraged to engage in their own form of hermeneutics and discover just how nuanced and versatile language can be.<\/p>\r\n

Brian Chen began his career in fashion design over a decade ago, while privately pursuing his passion for creativity. During the COVID-19 pandemic, he merged familiar materials and creative methods, launching his own artistic practice. After numerous failures, Chen recalled the feeling of seeing Thangka during his childhood. This memory connected his techniques and ideas, leading him to the path of fiber art creation. Chen's most distinctive style features a unique embroidery texture. He creates this by layering fibers from dark to light, temporarily fixing them onto fabric with an iron, and then sewing the fibers and fabric together using a sewing machine. This technique is inspired by Tibetan Buddhist Thangka, where teachings, history, and folk stories are embroidered onto fabric for preservation. For Chen, using fibers and a sewing machine to create unique patterns represents a blend of tradition and modernity. Fibers symbolize humanity's traditional civilization, while the sewing machine represents the post-Industrial Revolution era. This intertwining spans from the past to the present, encouraging viewers to contemplate not only the surface of the image but also the essence of the past, present, and future.<\/p>\r\n

The Opening reception will take place Friday June 28, 6:00pm \u2013 9:00pm<\/strong><\/em><\/p>","video":null,"gallery":"{gallery}73089{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"Weaving Wonders\"},{\"id\":\"3\",\"value\":\"Brian Chen and Koichiro Takagi\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"2024-06-28\"},{\"id\":\"2\",\"value\":\"2024-07-21\"},{\"id\":\"10\",\"value\":\"GR gallery, NYC\"},{\"id\":\"9\",\"value\":\"New York\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"1\"},{\"id\":\"16\",\"value\":\"3\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":" Weaving Wonders Brian Chen and Koichiro Takagi GR gallery, NYC New York USA New York ","created":"June 26, 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GR gallery<\/a> is thrilled to announce Weaving Wonders<\/em>, a cutting-edge duo exhibition featuring artists Brian Chen and Koichiro Takagi, showing together and at the gallery for the first time. The exhibition's title reflects the specific technique\u2014embroidery\u2014that both artists use in their creative processes, as well as their ability to generate an irreverent impact through their work.<\/p>","jcfields":[],"event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":"","K2CommentsCounter":""},"videoClass":false,"twitter_introtext":""},{"id":"73078","title":"Isaac Psalm Escoto a.k.a Sickid is About to Have a "Gas Station Dinner" @ Jeffrey Deitch Gallery in Los Angeles","alias":"isaac-psalm-escoto-a-k-a-sickid-is-about-to-have-a-gas-station-dinner-jeffrey-deitch-gallery-in-los-angeles","catid":"5","published":"1","introtext":"Of course we are excited about our own I'd Love To See You, A Juxtapoz Magazine Story, Part 1 opening at Rusha & Co on Saturday, June 29th, but we are so lucky that the night before our friend Is<\/span><\/span>","fulltext":"

Driving along the 101 through Echo Park, I was stunned by a strategically positioned graffitied billboard that looked like nothing I had ever seen. I nearly ran off the road. It was a vivid constellation of candy-colored cartoon-like figures that evoked the signage and packaging in gas station convenience stores. At the bottom of the billboard takeover was the intriguing signature: Sickid.<\/em><\/p>\r\n

I began seeing other Sickid interventions.There was another remarkable billboard on Santa Monica Boulevard in East Hollywood. I asked around and was told that Sickid already had a gigantic following. I had to meet him. It is rare in the world of street art that an artist invents a new vision.<\/em><\/p>\r\n

As part of the preparation for our At the Edge of the Sun exhibition, I visited artist Ozzie Juarez at his Tlaloc Studios in South Los Angeles, where he maintains a neighborhood-oriented exhibition space and residency program. Ozzie was showing me through the studios when we entered a space packed with paintings filled with the same distinctive figures from the renegade billboards that I admired. \u201cThis is Isaac,\u201d Ozzie said, introducing me to the artist who was busy painting. \u201cAre you Sickid?\u201d I asked. Yes, Isaac Psalm Escoto was the serious young painter who was also reinventing Los Angeles street art. The paintings were just as exciting and original as the billboards, only smaller and more detailed and refined. On the spot, I invited Isaac to present a gallery exhibition.<\/em><\/p>\r\n

Isaac\u2019s exhibition title was inspired by his years of \u201cliving off gas station food.\u201d His Los Angeles is not about light and space and L.A. Noire. Isaac\u2019s artistic vision reflects the Los Angeles of fast food, liquor stores, and dirty bedrooms. His visual vocabulary is also shaped by comic book culture and video game animation. Isaac is a first-generation American, growing up in East Hollywood, the child of Guatemalan and Mexican immigrants. His mother was interested in culture and talked to him about Scorsese movies. His father was an athlete and a professional boxer. This unusual fusion of vanguard movies and Mexican boxing helped lead to the combination of athleticism, daring, and artistic expression that spawned what he refers to as his \u201cbillboard practice.\u201d I asked Isaac if the legend was true that when he was fourteen years old, his mother would drive him to his billboard sites, wait for him in the car while he painted, and then drive him back home. Yes, it was true: his family\u2019s version of supporting their son\u2019s artistic aspirations.<\/em><\/p>\r\n

Isaac attended Catholic school grades K \u2013 8, and then the Ramon C. Cortines School of Visual and Performing Arts. The high school was close to Chinatown, Echo Park and downtown, allowing him to immerse himself in gritty urban culture. He would regularly ditch classes to paint on the street. He wanted to stay in Los Angeles after high school and enrolled at the Art Center College of Design. After two and a half semesters there and in debt, he realized that his artistic career would advance more by getting out and painting, rather than staying in class. He wanted to live the graffiti life. He says that if he had stayed at Art Center, he never would have done \u201cthe risky stuff.\u201d In the shadows, he began an entirely new chapter in the history of street art.<\/em><\/p>\r\n

Isaac also began a studio practice, but for a long time his studio was a walk-in closet in his mother\u2019s house. His makeshift studio could only fit one painting at a time, but out of that studio, he created three solo exhibitions. Now that Ozzie has allowed him to have a proper studio, Isaac can more fully realize his artistic vision. In contrast to his billboard practice, where he strives for legibility and speed, the studio paintings have much more detail and depth. Their compositions are like digital collages but unlike the work of many artists today who compose their work on the computer and print out the result, Isaac\u2019s work is meticulously hand-painted. The viewer can get lost in the detailed backgrounds. The work has an inner luminosity that evokes the plastic signs in fast food restaurants backlit by fluorescent tubes. Isaac\u2019s technique displays a mastery of both the airbrush and the painter\u2019s brush. Rather than painting in uniform colors, the geometric sections of his compositions are perfectly rendered gradients. The colors in his paintings are not those found in nature \u2013 they are the colors one would find in convenience stores.<\/em><\/p>\r\n

In his work on the street and in the studio, Isaac Psalm Escoto has created a skewed aesthetic world that mirrors his daily immersion in the confused reality of vernacular Los Angeles where the artificial and the real are conflated. We are excited to present the work of one of the freshest and most original artists to have taken on and taken over Los Angeles. \u2013Jeffrey Deitch<\/em><\/p>\r\n

 <\/p>\r\n

 <\/p>\r\n

 <\/p>\r\n

 <\/p>\r\n

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Of course we are excited about our own I'd Love To See You, A Juxtapoz Magazine Story, Part 1<\/em><\/a> opening at Rusha & Co on Saturday, June 29th, but we are so lucky that the night before our friend Isaac Psalm Escoto a.k.a Sickid<\/a> will open the highly-anticipated Gas Station Dinner<\/em> at Jeffrey Deitch Gallery<\/a> in Los Angeles. A great weekend in LA. Read the press release, below. <\/p>","jcfields":[],"event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":"","K2CommentsCounter":""},"videoClass":false,"twitter_introtext":""},{"id":"73082","title":"A City That Never Sleeps: Nuart Aberdeen's 2024 Edition and the Conversation of Living Heritage","alias":"a-city-that-never-sleeps-nuart-aberdeen-s-2024-edition-and-the-conversation-of-living-heritage","catid":"4","published":"1","introtext":"Around 1957, French artist Fran\u00e7ois Dufr\u00eane, long associated with Lettrist and Ultra-Lettrist poetry, started removing posters off the streets of Paris and began to present them framed and hung as <\/span><\/span>","fulltext":"

One of the great things about the Nuart Festival<\/a>, and now celebrating its 8th year in Aberdeen<\/a>, Scotland, is that it is an actual living, breathing, organized idea of the use of public space. And as he so often does, Nuart's founder and curator, Martyn Reed, sets a yearly theme, wheras this year it was a look at \"Living heritage.\" He wrote of this idea that \"living heritage is the dynamic side of cultural heritage: heritage which is continuously transformed, interpreted, shaped and transmitted from generation to generation. It also represents the participatory, co-creative dimension of cultural heritage, and is characterised by its transient, non-stationary and hard-to-grasp qualities.\"

A relevant discussion point as it pertains to street art festivals, and Nuart is perhaps the best in the world at this, is bringing together an international roster of artists and transforming a particular place into a new space. Each artist brings their own heritage to a wall, a wheatpaste, a tag, and in return, the city obliges and reciprocates with its own history. This is what makes working in public space so powerful: there is a give and take, and a sharing, that occurs. What the 2024 edition of Nuart Aberdeen attempted and successfully contemplated was a sense of a shared past and where that history is best documented and preserved. And it also highlights how much of cultural heritage should be malleable and should be flexible with the times. We live in times of transition, of war, of immigration, of movement, that sometimes the simple act of creating art in public can illuminate the beauty and evolution of shared history. 

The ephemeral nature of street art versus the archival nature of the museum's role was a central discussion this year as well, and what I love about Nuart is that both are completely with their own merit and both serve a role in our society. We need the intangibility of street art and the preservation of the museum. They work together in harmony. And we shouldn't be afraid to ask of our museum's to be privy to our public discussions of how much our cultural heritage is evolving, just as the streets should be welcome to the discourse a museum offers in the likeness of putting our culture into an archival context. 
\"ADDAM
\"ADDAM

There was something quite striking about this idea in this year's line-up, with Tel Aviv-based Addam Yekutieli<\/a>'s collaboration piece with local Aberdonians in a project that Addam asked for those to \"share their experiences of disillusionment and hope, and painted them onto huge banners.\" Those banners, placed as an installation on an abandoned hospital in the center of town, speaks not only to the war in Gaza, but also a powerful message that speaks to a local conversation. The push and pull in these poetic verses felt both personal and international. Cairo's Bahia Shehab'<\/a>s mural in the center of the city was a a \"graphic interpretation of Palestinian poet Mahmoud Darwish\u2019s poem 'You Are Forgotten As If You Never Existed,;\" directly translating to \u201cBear witness that I am free and alive.\u201d CBloxx's<\/a> brilliant mural brought forth imagery of the Picts, a vanished nation, chronicled by Vikings and Romans but not by themselves, as the artist notes. \"The Picts communicate their own existence to us only through their carved stones which are intensely scattered across Aberdeenshire and the east. The last pagans in Scotland before religious conversion, displacement, and cultural erasure.\"

There was also plenty of play this year. SHOE's gigantic text mural <\/a>read \"Real graffiti writers do this illegally hanging from a rope in the dark.\" Molly Hankinson<\/a>, in perhaps the best demonstration of the ephemeral nature of the street art form, painted chalk with local youth, only to have the rain wash it away hours later. Fitting, and quite poetic. Wasted Rita<\/a>'s interventions were the kind that made you stop in your tracks, therapeutic and truth-telling devices disguised as civic instructions. Case Maclaim, KMG, Mahn Kloix and Millo all gravitated to storytelling in their works as well, using bits of Scottish history and personal tales to best bring their own heritage to the granite city. 

Of course Hera<\/a>, one of the pillars of the street art pantheon, returned once again to Aberdeen after her beloved mural painted in 2017 was destroyed as part of a city infrastructure change for a massive mural that felt like a homecoming. The work references Scotland's national animal, the unicorn, with text that reads \"I am the keeper of magic\u2026 but I\u2019m happy to share.\"

\u2060So Dufr\u00eane. Why did I start here? Because it's about how we feel and hear a city, how available we are for that city to change, how vulnerable and strong we have to be to have the city and it's heritage both mirrored back to us, researched deeply, but also given new ideas as to how they can open their doors to new stories to emerge. Cities are alive, and they do speak. We have for so long tried to understand what public spaces are made for, how they should function, and what they say about our heritage. What monuments do we cherish, do we keep, do we build? Nuart, through the lens of street art, is just trying to get us to look at the places we live, understand how they function, and how we can learn from others how to best exist in them. \u2014Evan Pricco<\/em><\/a><\/p>\r\n


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Around 1957, French artist Fran\u00e7ois Dufr\u00eane, long associated with Lettrist and Ultra-Lettrist poetry, started removing posters off the streets of Paris and began to present them framed and hung as paintings. He called his repurposing \u201calmost geological infrastructures,\u201d constructed, on the street, by the different layers of paper. They were time-capsules of a living organism that was the city, a conversation in public spaces that was layered by time, by cultural evolution, by place. You can tell a lot from a city by looking at what we, as citizens and residents, leave behind as opposed to what we see above us in billboards, paid advertising, contemporary architecture, you name it. I didn't know much else about Dufr\u00eane's sound practice, but in actuality, these re-contextualized poster works were full of sound; a sound that we make as a culture when we interact with the place we live.<\/p>","jcfields":[],"event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":"","K2CommentsCounter":""},"videoClass":false,"twitter_introtext":""},{"id":"73076","title":"Lowriding Legacy: Bringing Teen Angels Back to Life","alias":"lowriding-legacy-bringing-teen-angels-back-to-life","catid":"24","published":"1","introtext":"At its core, independent publishing is a labor of love. It can also be a historical act, often an archive for the preservation and contextualization of counter and underground cultures. Teen Angels m<\/span><\/span>","fulltext":"

Although Teen Angel remained anonymous, Dave Holland was the artist and publisher behind the publication, and his passing in 2015 ended what was a rich living document. This summer in Los Angeles, that legacy will be reintroduced with the publication of a special 64-page issue of the magazine along with an exhibition at BEYOND THE STREETS with fellow LA icon, photographer Estevan Oriol. It's a poignant collaboration between Oriol and the late Teen Angel's closest friend and director of his estate, David De Baca, a conversation between legacies, identities sharing a piece of California culture that defines a dynamic period of time. <\/p>\r\n

Yes, it's about a magazine and a culture that might have been misunderstood by a wider audience, but Teen Angels represents an insightful and nurturing chronicle of community, a passionate vault for the documentation of culture. That the publication gave such a voice and outlet to young Chicanos and their art, now a respected genre in the contemporary art lexicon, is testament to the work of the man they called Teen Angel. <\/p>\r\n

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The exhibition Fraenkenstein<\/em>, on view at Fraenkel Gallery<\/a> until August 10, is a collaboration between gallery founder Jeffrey Fraenkel and curator and writer Jordan Stein, of the San Francisco exhibition space Cushion Works.\u200b Bringing together an eclectic selection of photographs, collage, sculpture, painting, and film, the exhibition will take an expansive and incomplete look at fear, the unknown, the threat of technology, and the ways in which the Frankenstein story and its characters have moved through popular culture.<\/p>","jcfields":[],"event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":"","K2CommentsCounter":""},"videoClass":false,"twitter_introtext":""},{"id":"73084","title":"Thinkspace Projects Go Big with Small in "SMOL" Group Show","alias":"thinkspace-projects-go-big-with-small-in-smol-group-show","catid":"23","published":"1","introtext":"SMOL is a very special show for the team over  there at Thinkspace. As Andrew Hosner of Thinkspace wrote, \"Shawn had been wanting to get this show together for a while and we were just about to <\/span><\/span>","fulltext":"

SMOL<\/em> showcases works sized 16\" x 20\" and under. As Hosner continues, \"We want to give young collectors and those on a budget the chance to get something nice for themselves, as well as encouraging all of our patrons to collect smaller works, as they bring so much joy. The show title plays off the popular internet slang for saying someone or something is small in size and so cute that you just want to squeeze \u2018em.\"
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SMOL<\/em> is a very special show for the team over  there at Thinkspace<\/a>. As Andrew Hosner of Thinkspace wrote, \"Shawn had been wanting to get this show together for a while and we were just about to dive into putting it together when cancer took her from us. We had a rough list coming to life and I made it my mission to bring her vision to life and I am so excited with how many creatives from our family were able to take part with such short notice. We\u2019ve always been a champion of starting your collection out with smaller works and I still actively collect smaller works to this day. I like to think Shawn is proud of this show and proud of me and our family as we work to bounce back after the greatest loss any of us could imagine. This was the last show she was actively involved in putting together with me, which definitely makes this all a bit too bittersweet.\"<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":"","K2CommentsCounter":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"73075","title":"Nehemiah Cisneros: Legend of a Wicked City","alias":"nehemiah-cisneros-legend-of-a-wicked-city","catid":"30","published":"1","introtext":"What captures you at first is the density of information. On each canvas, you are immersed in an imagination that is devouring every detail of the subconscious and attempting to make each painting an<\/span><\/span>","fulltext":"

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Nehemiah Cisneros<\/h1>\r\n

The Legend of the Wicked City<\/h2>\r\n

Interview by Evan Pricco \/\/ Portrait by Max Knight<\/p>\r\n<\/div>\r\n<\/header><\/div>\r\n

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 <\/p>\r\n

What captures you at first is the density of information. On each canvas, you are immersed in an imagination that is devouring every detail of the subconscious and attempting to make each painting an entire story of both place and person. It\u2019s as if there won\u2019t be another painting ever made in ode to Los Angeles ever again. It was van Gogh who once wrote, \u201cI dream my painting, and I paint my dream.\u201d In the case of Nehemiah Cisneros, he is painting his dreams and making us see what dreams can be. There is tragedy, romance, and history. A Cisneros painting is Shakespearian, and he is the maximalist director of this play. <\/div>\r\n
 <\/div>\r\n
On a sunny winter day, I visited Cisneros at the UCLA Graduate Art Studios, just as the night before he sent off his graduate thesis, and was surrounded by two massive works for his MFA show. I knew Cisneros for years as just AUGOR, the prolific, enigmatic, and comic-by-way-of-horror inspired graffiti artist who took over billboards in the same way he is now taking over canvases: with every attention to maximal detail. Like fellow MSK writers REVOK and POSE, Cisneros has transitioned his tenacity for graffiti into something with equal energy but studio-bound. Now working on a series he calls Wicked City, these monumental examinations of street life in Southern California are informed by both immersion and distance, a view of Los Angeles as a city with layers and characters that the Hollywood sheen does not reach. Wicked, as both a word of evil and surfer charm, is at play here, and we begin our conversation with dichotomy and balance. <\/div>\r\n

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 <\/p>\r\n

Evan Pricco<\/i>: Okay, so you are on the last legs of your MFA at UCLA. How are you feeling? What is sort of in the headspace of Nehemiah Cisneros right now? <\/b><\/div>\r\n
Nehemiah Cisneros<\/i>: Currently, we are in production on Wicked City\u2014Milestone, my thesis exhibition, which features significant statements in my art practice while attending the University of California, Los Angeles, as a painting candidate at the Graduate School of Arts and Architecture. The exhibition features Wicked City 1 and 7, created in 2023, along with a suite of four works I am completing for the exhibit in the spring of 2024. I'm ecstatic about it. <\/div>\r\n
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What would you say, in the simplest terms, are some \u201csignificant statements in your art practice?\u201d Give me an example of something you are trying to say with your work right now. <\/b><\/div>\r\n
Wicked City documents a through line in cultural and class divides that connect via entertainment media consumption. I'm interested in presenting the viewer with the mundane, shown then erotic and traumatic, narrated through the blackest of humor. My paintings function as arranged marriages between contrasted iconography seamlessly illustrated through dense shape languages. <\/div>\r\n
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My current work in progress, Wicked City\u2014Milestone, functions as my \"Juicy.\u201d According to what a track like \"Juicy\" represented for Notorious B.I.G.'s discography, among his many tracks about dope dealing and killing, Milestone stands firm as a redemption painting celebrating my candidacy to Master of Fine Art\u2014a dedication to my mother, my guardian angel. <\/div>\r\n
 <\/div>\r\n
When I saw your paintings at the Rubell Museum in late 2023 during Miami Art Week, I had this sort of internal monologue of you as an MFA student, being a famous graffiti artist, having works in a museum, and finding yourself in Kansas City for your undergraduate degree. It has been such an adventure for you. Like a chaotic ride where you are just beginning to slow down. How much of all those things I listed make it into the paintings? <\/b><\/div>\r\n
The four paintings the Rubell Museum acquired are Wicked City 2, 3, 4, and 5 for their Singular Views: Los Angeles exhibition. The works chronicle histories of iconic Los Angeles landscapes I call home. Home in Wicked City functions as a relic, the facade of a building with interchanging casts of characters. I look to the landscapes in Wicked City as a memorial, preserving my history as an artist. <\/div>\r\n

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Wicked City 6<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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Where is AUGOR, the graffiti artist, in your painting now? Is he in there? Do you let him in? Or is it just that you let the experience in?<\/b><\/div>\r\n
When I think about the inspiration for my current work compared to my early work, I think about the aesthetics of biomorphic abstraction. The horror vacui is still prominent in the new paintings. The maximalist tendencies remain, with the composition as dense as possible. The design of framing a form within a graphic, bold contour, along with the vignette, is still prevalent. <\/div>\r\n
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Do you stay in tune with graffiti these days? I was thinking about some of your contemporaries and influences, from REVOK to Alex Pardee and ZES to other MSK artists, who have all gone in these exciting and different directions. Are you more tuned into that post-graffiti world, or do you also pay attention to billboards, tunnels, and freeway underpasses? <\/b><\/div>\r\n
I moved back to Los Angeles shortly after the fright of the COVID-19 pandemic intersected with the George Floyd protests. The city was in a crime wave; hence, graffiti flourished, bursting through the cracked gravel of downtown Broadway streets like weeds. There are so many weeds growing now that I don't think the city has enough gardeners. Nonetheless, I'm in awe of vintage works by 1970s and 1980s subway artists like Quik. I often put on Style Wars while in the studio, along with movies from that golden era of Black exploitation films like Rudy Ray Moore's Petey Whiteshaw flick, where he plays the devil's son-in-law. The script is so absurd, so coded, and the costumes electric; the sets have a tethered patina that comes with small-budget film production. If I were to name someone contemporary, I do fawn over this person currently painting Funko-Pop characters as cholos around the city; they are cutesy and ironic, and if that wasn't the intention of the artist, it's even more genuine. I love seeing it. <\/div>\r\n
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You were born in LA and spent most of your life here, having found a voice at Santa Monica College in the mid-2010\u2019s on sort of whim, would you say? I want to know about this pivotal time in your life, where you went from graffiti, SMC and then to the Kansas City Art Institute, where you began this new explosion of work. <\/b><\/div>\r\n
I call Leimert Park, Los Angeles, home, along with a legacy of legendary artists like Timothy Washington, who was my neighbor during my residency there. Santa Monica College is a transfer school, a community of creatives with diverse practices, and the faculty and cohort led me to pursue my terminal degree as a fine artist. I felt comfortable making the type of work I wanted to hang on my walls. That mentality and the fortune of landing in new educational spaces with the same admirable faculty and cohort led me to earn my MFA degree at UCLA. <\/div>\r\n

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What has school taught you about art? Not just your own, but others, too. <\/b><\/div>\r\n
Being a student of the arts has taught me that institutions do not accept the best artists; they take the best students. I'm fortunate to have experienced three versions of an education in the arts chronologically between 2016 and 2024. Studying painting within the studio restrictions of a community college differs from the immersive, cult like atmosphere of a private art college experience. Yet that also differs from studying art at a university that is the size of a small city. Graduating from UCLA bonds me to the bloodlines of John Baldessari and Charles Ray. My thesis committee, Rebecca Morris, Catherine Opie, Rodney McMillian, and Rodrigo Valenzuela,  taught me to address myself as an artist, not solely a painter. <\/div>\r\n
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What did going to Kansas City teach you about your life in LA? Or maybe better put: what did time in Kansas City make you think of Los Angeles,  and how were you able, from a distance, to create works about your hometown? <\/b><\/div>\r\n
On an ethnic level, I drew parallels to the neighborhood nationalism shared between the Midwest's embrace of the Confederate flag and the gang-tagging scrawled throughout mid-city Los Angeles. My residency in Kansas City was between 2018 and 2021. I created an arc of paintings called Violent By Design in those three years. I refer to VBD as an arc of \u201cghetto mythologies\u201d that straddle themes of urban fiction and satires of societal traumas through my renditions of art historical works from the 1500s and 1600s.  <\/div>\r\n
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Through the lens of my Midwest cohort at KCAI, I saw my birthplace described in exotic ways and stereotypes, the same ways people from the coast would make hasty generalizations about Midwesterners. This back-and-forth of hearing opinions from two sides about one another spawned an archetypal portrait of society skinned blue and yellow, which still seeps into the current work.<\/div>\r\n

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Tell me more about Violent By Design. You are now working on a series, Wicked City, but V.B.D. seems to be where you really began to get your voice as a painter. What is the genesis, and was it something you had been thinking about, even if not creatively, for quite some time? <\/b><\/div>\r\n
The name Violent By Design references the Jedi Mind Tricks album titled Violent By Design. This record was my soundtrack in the studio; I played it repeatedly while making the series. I created an arc of stand-out paintings, easily recognizable among my cohort at KCAI, by repeating blue and yellow-skinned figures Victorious and Villainous; the expansion of the V.B.D. universe played out in my head. How can V.B.D. exist as an animated series, fabricated statues, a playing card game, or a movie? Those thoughts kept my interest while painting many, many, many late nights at KCAI. The characters themselves are my renditions of Golliwogs. Instead of blackface characters, I empowered them, augmenting them with a blue color. Blue is endless. Blue is the ocean, the color of a superhero, and a power color. I've had a history with Jim Crow-era Black Americana due to growing up in my mother's antique store, \"The Collectors Safari,\" in Inglewood, California, which sadly burned down during the Rodney King riots of 1992. The salvaged remnants of her collection of vintage Golliwog dolls relocated to my childhood bedroom after the fires turned to ash. I fell asleep to the glistening shine of the Golliwog doll's eyes until I moved out at age twenty. Like shark eyes loaded with the scars of my heritage, the lifeless doll eyes stared at me with a big red grin. I formed an atypical bond with trauma, but eventually, I started smiling back.<\/div>\r\n
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So then tell me more about Wicked City? Where is it? What is it? And how long can this series go? <\/b><\/div>\r\n
Wicked City is a series of nine paintings so far. It is derived from the 1987 anime, Wicked City, which I chose because the name serves as a time-capsule for the era I was born in. Also, the name Wicked City is a double entendre. Wicked can mean something malevolent in addition to existing in the vernacular of Californian surf and skate culture from yesteryear.<\/div>\r\n
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The paintings have a shallow perspective like a stage play, nearly life-sized figurative paintings that function like Greco-Roman freezes. The compositions align with antiquated treasures like Pompeii's Villa of Mysteries, where a side-scrolling narrative unfolds.<\/div>\r\n
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I have no plans on ending the series; yet, I am in production on numerous outlier paintings that are not part of the Wicked City canon.<\/div>\r\n

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Okay, so Wicked City is a double-entendre of good and bad, birth and decay. In your thesis statement here at UCLA, you wrote something I really wanted to hone in on, how \u201cWicked City chronicles humanity unhinged. The role in the studio is that of a director; Wicked City is a stage play. The setting is the iconic backdrop of Los Angeles, a city in flux, where the natives grapple with preserving ever-distorting landmarks plagued with transplant migration or urban decay.\u201d I want to talk about this idea of it being a play and you as the director. Because as a painter, you probably have an idea of what you want to paint, and then as the work develops, improvisation occurs. How much of these Wicked City works evolve in the process of making them? <\/b><\/div>\r\n
I\u2019m painting over all the faces in my current painting, I clash back and forth with my inspirations, applying realist painting techniques similar to Gustave Courbet along with an obsession with the crisp sticker-like line qualities of artists like Takashi Murakami. I had this grand idea to show the internal conflict of contrasting formal interests in the painting. I'm not struggling with it because this is not the first time I slugged it out with a painting in the studio. I often take photos of the work after leaving the studio to sit in bed Indian style on Procreate, digitally finishing the paintings in my pitch-black bedroom. I'm creating a guide for the next move to play the following day in the studio. I hope I have more time in future works to build the thinking processes out on the canvas where you can see more histories of the painting arguing with itself, but we are in thesis mode; as of this interview, I have less than twenty days to finish. <\/div>\r\n
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Are you thinking about theater or film as you make these works? It feels so cliche to ask that of a Los Angeles artist, but it\u2019s hard not to think of film when you begin to put LA\u2019s landscape and cast of characters into visuals. <\/b><\/div>\r\n
I was vacationing in Bar Harbor, Maine, during the summer, which allotted time to read both volumes of The Directors' Voice, which logs multiple interviews with directors of stage plays and how they live their lives as artists. It was encouraging to share ideologies with creators who were not studio artists. I have since found myself daydreaming about the theater backdrop, the set props, and how I could connect with a director to collaborate on designing a play or co-writing a play myself. As for film, those intentions are there too, yet my cohort says my loglines for scripts might function better in an animated format.<\/div>\r\n

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I want to jump back a second. Your life as a graffiti writer and your life as a fine artist, too, are inspired by comics, animation, and skate graphics\u2014just real, authentic visual culture that wasn't based on a fine art lexicon. I always thought you were the closest thing to an essential aesthetic of this magazine: where Robert Williams and graffiti collided. Did you find yourself a bit of an outcast with your inspirations once you got to art school, or are we so far past that at this point? <\/b><\/div>\r\n
My favorite visual stimuli are from various subcultures and fandoms. I am currently working on a painting that cites furry culture; yet, it is subverting Manet's Olympia painting, where she has a \"fursona.\" On the other hand, the picture plane is peppered with sassy Buldak ramen mascots. I am drawn to caricaturesque depictions of the figure, regardless of medium. I mostly pull from film these days, with lots of screenshots, and yes, the unapologetically imaginative works of Robert Williams have planted seeds in my formal desires since adolescence. Williams, along with artists like Jim Shaw, are what encouraged me to make large scale narrative paintings. <\/div>\r\n
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Maybe you don\u2019t, but do you remember the first time you pulled something like this off? Like taking an element from subculture, art history, and say, popular culture like ramen and making work? It sort of takes real insight to get here. <\/b><\/div>\r\n
While working as an illustrator with Upper Playground, I did a set of pieces portraying famous rappers in fantastic situations. The series mood board had the farty humor of Garbage Pail  Kids' trading cards. I adopted it for the series, transforming Soulja Boy into a troll doll with a fluorescent pink gemstone in his belly button. \"Trollja Boy Tellum,\" get it? I was 22; what can I say? That was in 2008, so it's been part of my practice for a while now. <\/div>\r\n
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In each of your paintings, you drop little clues, little autobiographical elements that only you and a close knit group of friends and family would understand. In the massive painting that was in your studio the other day, there was a nod to your mother and Mark Bode graffiti dropped in. Tell me about these elements you place on, well, often, on the bottom of your paintings\u2014these little borders that contain so much information.<\/b><\/div>\r\n
Consider each grouping of tiny figures to be a melody to the painting, a soundtrack. These figures provide depth, making the central figures appear totemic. When you pair smaller forms next to larger ones, they appear massive. My work applies contrasting strategies, whether scale shifts or contrast shifts, or dense patterning to void spaces, in order  to slow down the viewer's read of the imagery and to dictate focal points. <\/div>\r\n
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You are part of the unique legacy of a group of Afro-Futurist and Pop Surrealist painters that have been given both new attention and deserved reexamination. I was even thinking about you the other day when Kerry James Marshall came up, and I was thinking about his comic work and the incredibly bold storytelling he does. But there is a great group of painters that have come from Afro-Futurist and Pop Surrealist aesthetics, and I wonder where you feel you fit in. <\/b><\/div>\r\n
The current work aligns with movements like post-internet art and, to an extent, zombie figuration. I recently discovered the work of the Narrative Figurative movement in Paris, and I share the philosophies that artists like ERRO convey with the collaging of appropriated imagery.<\/div>\r\n
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Most work I see today, especially by artists younger than myself, seems to have some connection to the tropes of pop surrealism due to its timely references, collaging together of atypical imagery, and highly imaginative and ambitious Frankenstein paintings. I love it. <\/div>\r\n
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What's the part of finishing your MFA that excites you? <\/b><\/div>\r\n
Earning my terminal degree excites me. It took all my life; I earned it.<\/div>\r\n

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What's the part of finishing your MFA that makes you nervous? <\/b><\/div>\r\n
The mindset that something is finishing, I look at it as a beginning I am looking forward to. After eight years as a student of the arts, I will get to make work outside of a classroom setting, so that my work will no longer be helmed \u201cstudent work.\u201d That, to me, is more exciting than nerve-racking. <\/div>\r\n
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What was the last show or painting you saw that made you stop in your tracks?<\/b><\/div>\r\n
The Hernan Bas show at the Bass Museum in Miami was the most inspirational exhibition I attended recently. We share multiple formal tendencies, which I would love to discuss in a studio visit one day. <\/div>\r\n
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If you were going to ask Hernan a question, what would it be? I see a similarity here. <\/b><\/div>\r\n
I want to talk about lore. I want to compare the processes of information building and sourcing references. I love the themes of exploration and adventure in his works. I got an assignment in undergrad to draft covers for fictional science fiction novels, and I get that feeling of mystery and suspense novels from his paintings; I think about the Hardy Boys covers when I see his paintings.<\/div>\r\n

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I\u2019m going to set the stage: When you were hitting billboards, sky high above Los Angeles and creating some of the most ingenious, detailed and original graffiti many had ever seen at such great heights, did you ever look down at the sprawl below you and start to create Wicked City in your head? Was there something about going out at night, finding the angles and vantage points few see, that helped inform these narrative paintings you are making now?<\/b><\/div>\r\n
Man, it's hard to answer that. It's been so long since I have been in that headspace. I feel like the people, the fandom, want to read about those situations, yet my enthusiasm can only read those situations as anthropological. People do those things because they are not concerned with seeking adventure or seeing the city from a skyscraper; that's irrelevant. A real writer's only concern is to make themselves seen and to show everyone that they matter. That's what graffiti brings you: relevance. Graffiti is for the shy, the lonely, and the misunderstood; graffiti is a form of communication for those who lack the social cues of a normative society; they have connected to a fraternity of other damaged men\u2014hurt men who are fatherless, black sheep, orphaned. I think about my painting On The Swarm, which has three versions of myself in different states of vulnerability; they are reaching out for one another to be consoled, held, and acknowledged together, and a bond forms, uniting a crew. It might be one of my most potent pieces. Maybe I\u2019ll expand this series in the future. <\/div>\r\n
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Nehemiah's forthcoming solo exhibition with Josh Lilley Gallery<\/a> will open in London in spring 2025. He will also feature in I\u2019d Love to See You at Rusha & Co. in Los Angeles<\/a>, opening on June 29, 2024. This interview was originally published in our SUMMER 2024 Quarterly<\/a>. <\/i><\/b><\/div>\r\n
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NehemiahCisneros.com<\/i><\/b><\/a><\/div>\r\n

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What captures you at first is the density of information. On each canvas, you are immersed in an imagination that is devouring every detail of the subconscious and attempting to make each painting an entire story of both place and person. It\u2019s as if there won\u2019t be another painting ever made in ode to Los Angeles ever again. It was van Gogh who once wrote, \u201cI dream my painting, and I paint my dream.\u201d In the case of Nehemiah Cisneros, he is painting his dreams and making us see what dreams can be. There is tragedy, romance, and history. A Cisneros painting is Shakespearian, and he is the maximalist director of this play.<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":"","K2CommentsCounter":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"73081","title":"Barry McGee and OSGEMEOS Solo, Together, in NYC","alias":"barry-mcgee-and-osgemeos-solo-together-in-nyc","catid":"23","published":"1","introtext":"This feels quite special, as two giants of graffiti showcase together as their careers have become more and more refined and yet still with the edge of their youth. 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This feels quite special, as two giants of graffiti showcase together as their careers have become more and more refined and yet still with the edge of their youth. And rarely do we get to see the kids and the suits mingling together. Lehmann Maupin<\/a> gave us a chance for that scene as they opened up OSGEMEOS' Cultivating Dreams<\/em> and Barry McGee's Talk to Nature<\/em> together in their Chelsea space. OSGEMEOS<\/a>, in their way, have continually brought Subway Art and Wild Style to the contemporary art world, with the Brazilian twins anchoring street culture's rise into a more refined circle of art patrons (their Hirshhorn<\/a> show later this Fall will be a huge moment). Barry McGee,<\/a> on the other hand, is master at controlling chaos. He has defied the logic that a gallery show shouldn't bleed itself into the street, that paintings needs to have a set shape and installations a certain form. As a lifelong San Franciscian, his work is an embodiment of a city in flux, a city in conversation with itself, overlapping with cultures and economies and energies. Don't miss this. \u2014Evan Pricco<\/em><\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":"","K2CommentsCounter":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"73061","title":"Hayley Barker Debuts in Scotland with "The Ringing Stone"","alias":"hayley-barker-debuts-in-scotland-with-the-ringing-stone","catid":"19","published":"1","introtext":null,"fulltext":"

\"I am from Oregon, a part of the US where seasons are very distinct,\" Barker says. \"However, I have been living in LA for the past nine years, and I have had the opportunity to witness the seasons in a new light. The sun and mild weather of southern California offer less dramatic changes in the landscape but changes that are no less impactful. Because the plants, flowers, and trees remain somewhat contiguous, I became more aware of the small changes and the moods they inspire. Digging deeper, I realized that living between the natural world\u2019s cycles and the calendar of our seasonal rituals and holidays became a way of showing that time does pass even while the landscape of my garden remains somewhat the same. While painting this show, it became clear that making a cycle of paintings about the seasons required me to consider how we experience the passage of time, both in nature and culturally. Holidays pass almost in an instant, as does a flower bloom and wither. A tree springs new leaves and drops them. The moon is always moving through her cycles. Stones have slow and long lives, their stories too old to know. How do we move through these many lives we live amongst with grace, respect, and dignity? How do we honor the earth and her many inhabitants over time and space?  How does it feel to live a year with special attention to how one celebrates, marks, and notices seasonal changes while experiencing the long and almost invisible cycles of time passing?\" <\/p>\r\n

The exhibition is anchored by four majestic paintings of the artist\u2019s garden across the course of the year, alongside seasonally specific depictions of other scenes and still lives that play to Barker\u2019s balance of recording intimately personal, often ritualistic, subjects that have an invitingly universal frame of reference. <\/p>\r\n

Stylistically Barker\u2019s paintings present something of a contradiction. Dryly painted with a deft touch and fine brushes, the intricate brushwork and patterning gives an overall impression of almost claustrophobic density, yet they also seem wide-open and full of space, colour and light, striking an unlikely and yet nuanced balance between intimacy and grandeur.

\"My husband and I visited the Ringing Stone of Tiree last summer,\" Barker notes on the inspiration of the show. \"The Ringing Stone was brought to Tiree once upon a time. It has pock marks carved into it from the Bronze Age which were used for ritual, but what kind of ritual is unknown. Trekking to this stone across sheep-filled fields along the stunning coast of Tiree, simply visiting this stone was a pilgrimage. But meeting it was arresting! Taking a stone to strike the boulder, then standing back to hear the resonant ringing sound - this took my breath away. I felt myself in the company of countless people before me who honored this stone being and met to perform some kind of marking of time with word or action. Communion with the natural world, moving through time with rituals to mark our shared physical and energetic lives! - this is what I live for. I wanted to paint the Ringing Stone immediately.\"<\/p>","video":null,"gallery":"{gallery}73061{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"The Ringing Stone\"},{\"id\":\"3\",\"value\":\"Hayley Barker\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"2024-06-15\"},{\"id\":\"2\",\"value\":\"2024-08-31\"},{\"id\":\"10\",\"value\":\"Ingleby, Edinburgh\"},{\"id\":\"9\",\"value\":\"Edinburgh\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"3\"},{\"id\":\"16\",\"value\":\"\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":" The Ringing Stone Hayley Barker Ingleby, Edinburgh Edinburgh Europe ","created":"June 24, 2024","created_by":"18541","created_by_alias":"","checked_out":"0","checked_out_time":"0000-00-00 00:00:00","modified":"2024-06-18 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Barker Debuts in Scotland with \"The Ringing Stone\"","numOfComments":"0","text":"

This summer, as part of this year\u2019s Edinburgh Art Festival, Ingleby<\/a> presents the first exhibition in Europe of paintings by Los Angeles-based painter and Jux alum, Hayley Barker<\/a>. Barker\u2019s big, bold and beautiful paintings combine apparently prosaic personal details of the artist\u2019s immediate surroundings in her home and studio in LA with an awareness of time passing and the contradiction of painting as a means of both measuring time\u2019s passage and freezing the moment. Specifically, in this exhibition, Barker celebrates the cycle of the seasons in response to the play of light across the four walls of the main gallery in the old Glasite Meeting House, designed in the 1830s as a religious space, and carefully positioned to channel the shifting light, as if the building were a giant sundial.<\/p>","jcfields":[],"event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":"","K2CommentsCounter":""},"videoClass":false,"twitter_introtext":""},{"id":"73071","title":"A Portfolio: Natia Lemay","alias":"a-portfolio-natia-lemay","catid":"19","published":"1","introtext":"Today on A Portfolio we look at the works of Canadian-born Natia Lemay, who's work with Wilding Cran at Expo Chicago was an absolute showstopper. Lemay is also a recent grad of Yale School of Ar<\/span><\/span>","fulltext":"

Natia Lemay (b. 1985 in Toronto, Ontario) is an Afro-indigenous artist of Black, Mi'kmaw, and Settler descent, raised in Winnipeg, Manitoba, Canada. Natia received her BFA from Ontario College of Art and Design (2021) in drawing\/painting with a minor in social sciences and received her MFA from The Yale School of Art in painting\/printmaking. Natia's work is interdisciplinary to address the expansiveness of conditions under which IBPOC people live. Drawing on childhood experiences, she explores semiotic, philosophical, and socio-psychological themes of identity, hypervisibility, orientation, and consciousness to untangle how the body and mind interact with space and shift through time. 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Today on A Portfolio<\/a> we look at the works of Canadian-born Natia Lemay<\/a>, who's work with Wilding Cran<\/a> at Expo Chicago was an absolute showstopper. Lemay is also a recent grad of Yale School of Art's  Painting \/ Printmaking department. <\/p>","jcfields":[],"event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":"","K2CommentsCounter":""},"videoClass":false,"twitter_introtext":""},{"id":"73077","title":"Early Call for Entries for the 2024-25 A' Design Awards & Competition","alias":"early-call-for-entries-for-the-2024-25-a-design-awards-competition","catid":"13","published":"1","introtext":"You hear (read) that? That is the sound of summer, and that sound means we are ready to kick off a new year with our friends at the A' Design Awards & Competition and their 2024-25 campaign.<\/span><\/span>","fulltext":"

Here is what we always tell you, but in case you forgot or are a new reader to the Juxtapoz experience... What is the A' Design Award<\/a>\"? It is, indeed, a little bit of everything. There are over 100 categories for which this competition<\/a> is judged, and judged it is: an international jury pane<\/a>l of scholars, professionals and media members will be the ones to decided who wins!

From Architecture<\/a> to Communication<\/a> Design, Furniture<\/a> Design to Food Packaging<\/a>, Lighting<\/a> to our favorite, Interior Space and Exhibition Design,<\/a> there is a little bit of everything to submit for. Take a look at the categories here.
<\/a><\/p>\r\n

What are the benefits to submitting? There are so many benefits to winning the award<\/a>, not to mention credibility, publicity and international awareness, free gala-night invitation for two people to the award ceremony, free participation and space allocation in the winners' exhibition (both online gallery inclusions as well as physical exhibition in Italy), and mainly, you get to get the attention of press and editors like ourselves that can help promote your design to the greater design world. <\/p>\r\n

Each judge is an expert and professional in their field,<\/a> with vast knowledge of successful design projects that will both help enhance and properly overview your entry. The jury includes design professionals, press members and academics.

Deadline for early submission is June 30, 2024. Results will be announced to public on May 1st, 2025, which we will share as well! <\/strong><\/em><\/p>","video":null,"gallery":"{gallery}73077{\/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 24, 2024","created_by":"18541","created_by_alias":"","checked_out":"0","checked_out_time":"0000-00-00 00:00:00","modified":"2024-06-19 23:51:04","modified_by":"18541","publish_up":"2024-06-24 07:00:15","publish_down":"0000-00-00 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design","published":"1","link":"\/tag\/a-design\/"},{"id":"18850","name":"a design awards","published":"1","link":"\/tag\/a-design-awards\/"}],"imageXSmall":"\/media\/k2\/items\/cache\/020870493bbe011ea09ccd8cbc3dc864_XS.jpg?t=1718841064","imageSmall":"\/media\/k2\/items\/cache\/020870493bbe011ea09ccd8cbc3dc864_S.jpg?t=1718841064","imageMedium":"\/media\/k2\/items\/cache\/020870493bbe011ea09ccd8cbc3dc864_M.jpg?t=1718841064","imageLarge":"\/media\/k2\/items\/cache\/020870493bbe011ea09ccd8cbc3dc864_L.jpg?t=1718841064","imageXLarge":"\/media\/k2\/items\/cache\/020870493bbe011ea09ccd8cbc3dc864_XL.jpg?t=1718841064","imageGeneric":"\/media\/k2\/items\/cache\/020870493bbe011ea09ccd8cbc3dc864_Generic.jpg?t=1718841064","cleanTitle":"Early Call for Entries for the 2024-25 A' Design Awards & Competition","numOfComments":"0","text":"

You hear (read) that? That is the sound of summer, and that sound means we are ready to kick off a new year with our friends at the A' Design Awards & Competition and their 2024-25 campaign. As we often do throughout the year,we share updates on the A' Design Awards,  and we have spent almost a decade now <\/a>showcasing and making \"call for entries\" in the annual and prestigious competition. You can register to submit here<\/a>. It's summer, you are on the beach, on a boat, or just sitting on the couch thinking about life, and you may have a design thought that the rest of the world hasn't thought of. We would love to see this. <\/p>","jcfields":[],"event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":"","K2CommentsCounter":""},"videoClass":false,"twitter_introtext":""},{"id":"73066","title":"Sound, Dance and Ink: JR's New Show in Paris","alias":"sound-dance-and-ink-jr-s-new-show-in-paris","catid":"23","published":"1","introtext":"The gallery is delighted to present Dans La Lumi\u00e8re, JR's fourth exhibition at Perrotin Paris and his thirteenth with Perrotin.The exhibition presents a series of recent artworks inspired by the CHI<\/span><\/span>","fulltext":"

In his Natural History<\/em>, Pliny the Elder recounts an ancient Greek legend about the origins of art. The young Corinthian Kora, daughter of the potter Butades of Sicyon (Dibutade), is saddened to see her beloved leave and wants to preserve his memory forever. Using the light of a lantern, she traces the outline of his shadow on her wall. Her father then models the face in clay and bakes it with fire. Together, they produce the first portraits in history, in two dimensions by capturing the silhouette and in three dimensions by creating a life-size sculpture. The work of art thus replaces the material reality of a human being, their memory, and their ghost, which might come to haunt us. From that point on, art is able to conjure up reality, time, and space.

This story is reminiscent of Plato\u2019s more famous \u201cAllegory of the Cave\u201d in Book VII of The Republic<\/em>. Here, human beings have been chained in a cave since birth. With their backs turned to the outside world and its natural light, they only see the shadows on the wall (once again) of everything that passes before the cave\u2019s entrance. They think they perceive reality when, in truth, they only see its projection. This text distinguishes a world below \u2013 sunless, dark, chaotic, and full of hallucinations, illusions, and falsehoods \u2013 from a world above \u2013 luminous, harmonious, organized, and filled with knowledge, clarity, and truth.<\/p>\r\n

In both worlds, it\u2019s a matter of light and shadow, but above all, of perspective and gaze. In other words, light can be found within darkness, provided we direct our minds and vision towards its source, towards the origin of all things. This is precisely what is at stake in JR\u2019s project Retour \u00e0 la caverne<\/em>, Act I & II, created specifically for the Op\u00e9ra Garnier in Paris in autumn 2023. In September, for Act I, the artist transformed the scaffolding covering the fa\u00e7ade of the cultural monument into a stone cave entrance that faced the Avenue de l\u2019Op\u00e9ra. The black-and-white trompel\u2019oeil was so realistic that it could have easily deceived some passers-by into thinking that the building\u2019s restoration work had unearthed a geological cave within Charles Garnier\u2019s architecture.
\"jr
\"jr<\/p>\r\n

In November, for Act II, the cave did not close in on itself but instead revealed its point of origin, the source of its identity and existence. Its outer wall was covered with human handprints, like those in cave art. On Sunday, November 12, from 7:00 pm to 9:00 pm, over twenty-five thousand spectators gathered at the Place de l\u2019Op\u00e9ra, each bringing a light source to illuminate what was about to unfold before their dazzled eyes: CHIROPTERA<\/em>, a unique ballet performance devised by JR, Damien Jalet, and Thomas Bangalter. The performance began with the striking shadow of principal ballerina Amandine Albisson, creating contours so intense and powerful that even Kora and Butades of Sicyon would have been unable to capture them. Then, 153 dancers from all over Europe, swirling like bats, transformed the scaffolding into a screen of giant pixels, alternating between dark and reflective sides. At the end, the 30-meter-high kaleidoscope conveyed this message to the world: \u201cDarkness holds the grace of the light.\u201d<\/p>\r\n

This exceptional event will live long in the audience\u2019s memory, remembered as a moment of togetherness, unforgettable images, movements, sounds, lights, emotions, vibrations, and positive energies. The dancers\u2019 (or bats\u2019) distinctive black-and-white outfits either absorbed or reflected the light from the headlamps or smartphones held by the audience in the darkness of the night. Each spectator illuminated their neighbor. Each was unique, and all were complementary. Each had their own identity, and they all formed the community of the world.<\/p>\r\n

For the exhibition dedicated to this project at Perrotin Paris, it was not only necessary to produce specific works but also to find a mode of representation that would convey the intensity felt by those who had been present at the event. In addition to films and photographic prints showing the various moments of CHIROPTERA<\/em>, JR also experimented with an unprecedented fusion of several singular techniques: photo transfer reinforced with black ink on wood with hand-drawn charcoal highlights. L\u2019Ombre de la caverne<\/em> recreates the balletic interplay between Amandine Albisson and her shadow. The G\u00e9nome<\/em> series shows bird\u2019s eye views of the different configurations created by the 153 dancers on the thirty-meter-high scaffolding, while Chromosome<\/em> features close-up shots.<\/p>\r\n

The Dans la lumi\u00e8re<\/em> series focuses on their radiant silhouettes, symbolizing the liberation of the chained prisoners from Plato\u2019s Cave and their difficult but triumphant return to the light. This is reinforced by the use of wood as a base, alluding to the barriers that enclose and conceal urban construction sites, the graffiti that often covers them \u2013 a truly unruly urban art \u2013 and the rebirth of life symbolized by visible veins and cracks in the wood.<\/p>\r\n

\u201cYou can\u2019t banish darkness with darkness,\u201d JR told me. Yet, each of us can come out of \u201cour\u201d cave, leave the shadows, and embrace the light we all carry within us. What can we do about the darkness in the world? Become the luminous protagonists of the world we all share... \u2014Marc Donnadieu<\/em><\/p>","video":null,"gallery":"{gallery}73066{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"Dans La Lumi\\u00e8re\"},{\"id\":\"3\",\"value\":\"JR\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"2024-06-07\"},{\"id\":\"2\",\"value\":\"2024-07-27\"},{\"id\":\"10\",\"value\":\"Perrotin, Paris\"},{\"id\":\"9\",\"value\":\"Paris\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"3\"},{\"id\":\"16\",\"value\":\"17\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":" Dans La Lumi\u00e8re JR Perrotin, Paris Paris Europe Paris ","created":"June 21, 2024","created_by":"18541","created_by_alias":"","checked_out":"0","checked_out_time":"0000-00-00 00:00:00","modified":"2024-06-18 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The gallery is delighted to present Dans La Lumi\u00e8re<\/em>, JR's<\/a> fourth exhibition at Perrotin Paris<\/a> and his thirteenth with Perrotin.The exhibition presents a series of recent artworks inspired by the CHIROPTERA project - a unique ballet performance devised by JR, Damien Jalet, and Thomas Bangalter - created specially for the Op\u00e9ra de Paris in November 2023.<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":"","K2CommentsCounter":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},[{"type":"next-url","url":"\/news\/page\/2\/?json=true&"},{"type":"next-link","url":"\/news\/page\/2\/"}]]