Juxtapoz paintings & tradition journal (pronounced Jucks-tah-pose) is created in 1994 by way of a gaggle of artists and creditors together with Robert Williams, Fausto Vitello, C.R. Stecyk III (aka: Craig Stecyk), Greg Escalante, and Eric Swenson[1] to either aid outline and rejoice city replacement and underground modern artwork. It was once edited from 1996 to 2006 via Jamie O'Shea. Juxtapoz is released through excessive velocity Productions, an identical corporation that publishes Thrasher Skateboard journal in San Francisco, California.
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Additional info for Juxtapoz (August 2015)
Sample text
Lots of family camping trip photos? Yes, and then I’m using the photos of just doing this or that, accidental snapshots when you had those bad cameras as a kid and took pictures of everything. There’s the view, and there are people in this interesting light. I’ve been going back to those and doing drawings. For the “containerscapes,” I have piles of wooden blocks that I strategically stack up on my studio floor and draw from. I want to do oil left to right Overlook Acrylic, ink, and magazine photo on panel 11" x 14" 2015 Fleet Acrylic and found photograph on panel 12" x 12" 2014 China Wall Animation, Scene 7 Acrylic and found photograph on panel 10" x 10" 2015 paintings with people but haven’t found the right setup.
There's a part of me that's conservative because it's a conservative art form. What I do is something that's a traditional Japanese art form. It had its organization and a way of doing things. I've played with it and tweaked it for the modern world, but I think if you want to master something, it's good to have sets of restrictions in disciplines that impose some sort of limit on you. And then you can, within those boundaries, impose them yourself. I decided that I was going to do things like Katsushika Hokusai.
I was going to do them from drawings because there were no cameras during his time. I was going to use carving tools and oldstyle materials as much as possible. And within that little, tiny world, I got really good at it. It wasn't that I wanted to master something, but I did want to do things that looked like Japanese prints. And to really do it, you have to put in your time. What was it about Japanese printmaking that grabbed you? I liked Hokusai's views of Mt. Fuji that I saw in a book when I was probably ten.
Juxtapoz (August 2015)
by Brian
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