POPSURREALISM

magazine

FALL 2010

LAURIELIPTON“Machine Punk”

JESSICAJOSLIN“Brass and Bone”

NOVEMBER 5th– 28th 2010Opening ReceptiOn: Friday, November 5th 8 –11 PM

LA LUZ DE JESUS GALLERY4633 Hollywood Blvd. Los Angeles, CA 90027 (323)666-7667 www.laluzdejesus.com

LAURIELIPTON“Machine Punk”

JESSICAJOSLIN“Brass and Bone”

NOVEMBER 5th– 28th 2010Opening ReceptiOn: Friday, November 5th 8 –11 PM

LA LUZ DE JESUS GALLERY4633 Hollywood Blvd. Los Angeles, CA 90027 (323)666-7667 www.laluzdejesus.com

POP SURREALISM

10 Bold Hype

11 Jonathan Levine

16 Longview

14 Black Book

13 Copro

20 Josh Wigger

12 La Luz de Jesus

Joseph McSween 21

Heidi Alamanda 22

Jeni Yang 23

Amy Shawley 24

K

ym40 26

ARTISTS

EXHIBITIONS

popsurmag.com

Designer Eric KalisherPublisher Richard Kalisher

magazine

Contributing Writers Megan Laurine, Tracy Tomko

COVER IMAGE

LISA ALISA Jumping Angel

2010, acrylic on wood, 15.74” x 11.81”

FALL 2010

254 Gil One

Benefit Opening: January 8, 2011 7:00pm-10:00pmBenefit Opening: January 8, 2011 7:00pm-10:00pm

2808 Elm St. LA CA 90065New Puppy Gallery

2808 Elm St. LA CA 90065New Puppy Gallery

ArtMusic

Good Spirits

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Jason Limon first showed his artis-tic expression at a fairly young age doodling characters and sceneries inspired by his bustling neighbor-hood and surroundings. He entered the field of commercial graphic de-sign in 1995 acquiring comprehen-sive knowledge of type, color and composition. Following twelve years of commitment to producing award winning logos and designs, he then turned his focus and concentra-tion to where his heart truly began: developing artwork by hand and brush, no longer by the clicks of a mouse. Of his new show Blood/

Nectar, Limon says, “I continue a tale in imagery. With only glimpses of the beginning, middle and end this story takes shape over time, filling in the gaps with every new painting that is completed." Bethany Marchman uses traditional oils to create paral-lels between innocence and influ-ence, history and popular culture. Her paintings are sometimes funny and sometimes sad. They are reflections of the awkward changes we experience as individuals and as a society, while questioning whether or not growth is

synonymous with improvement. Flor-ida-based artist DOLLA is best known for his character illustration and Dolla Lama campaign. Aside from being a constant on the street with both legal and illegal works, this self taught artist has also begun his transition from the street to the gallery. With a number of installations, solo, and group shows, Dolla has proven to be a prolific art-ist with a unique vision. This man of few words prides himself on flawless craftsmanship and clean illustration style. using stencils and spray paint.

Jason Limon [Oct 14 - Nov 12]

Bethany Marchman [Nov 18 - Dec 11]

Dolla [Dec 16 - Jan 8]

Bold Hype New York City

(left side images) Jason Limon; (top right) Bethany Marchman; (bottom right) DOLLAFor more information, visit www.boldhype.net.

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Discrepancies, a series of new paint-ings and mixed media works by the Los Angeles-based artist. The highly involved, figurative oil paintings of Alex Gross defy categorization. His unusual hybrids—for all their nostal-gic quality and dreamlike mystery—powerfully convey universal themes such as love, despair, globalization, consumerism, communication, or a lack thereof. The artist’s skepticism about corporate-dictated mass cul-ture and the impact of media on our visual environment are unifying themes throughout the series of work in this exhibition. In Discrepancies, Gross’ lush, incongruous worlds fea-ture an assortment of mythical beasts and historical figures. Fashionable men and women are depicted while talking or texting on their cell phones, drinking Starbucks beverages, eating french fries and riding mopeds. These seemingly banal figures are juxta-posed with crucifixions, decapitated creatures, serpents and centaurs. The artist sets his subjects against skies peppered with butterflies, bees, con-

fetti and other debris. To complement the larger canvases, several smaller pieces on panel and paper parody the visual vernacular of our genera-tion—magazine ads, billboards, and television commercials. References to brands such as Apple, British Petro-leum, Marlboro, and Coca-Cola add a timeliness to the otherwise timeless aesthetic of Gross’ work. [This new show corresponds with a new book published by Gingko Press, catalogu-ing the artist’s best work int he past four years. The monograph features an introduction by LA Weekly art critic Doug Harvey, with over 50 new and recent images including oil paintings, mixed media work, and sketches.]

Alex GrossJonathan Levine New York City[ended Oct 9]

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S Laurie Lipton La Luz De Jesus Los Angeles[Oct 28 - Nov 28]

Recalling her experience learning art at university, Laurie Lipton says, “It was all abstract and conceptual art. My teachers told me that figurative art went ‘out’ in the Middle Ages. But splashes on canvas and rocks on the floor bored me.” Instead, Liption “used to sit for hours in the library copying Durer, Memling,Van Eyck, Goya and Rembrandt.” Inspired by these reli-gious paintings of the Flemish School, Laurie Lipton tried to teach herself how to paint in the style of the 16th century Dutch Masters. She failed. When traveling around Europe as a student, she began developing her very own peculiar drawing technique building up tone with thousands of

fine cross-hatching lines like an egg tempera painting. “It’s an insane way to draw”, she says, “but the resulting detail and luminosity is worth the amount of effort. My drawings take longer to create than a painting of equal size and detail.” Diane Arbus was another of her inspirations. As Lipton notes, “Her use of black and white hit me at the core of my Being. Black and white is the color of ancient photographs and old TV shows… it is the color of ghosts, longing, time passing, memory, and madness. Black and white ached. I realized that it was perfect for the imagery in my work.” For her new show, Lipton was inspired by the Streampunk movement that is widespread in Britain. Instead of stream, though, Lipton’s devices are mostly run by “electricity and mad-ness”. She also sees her work as a comment on our current age. “I was vacuuming one day and noticed the amount of plugs and cables on the floor, a veritable wasp’s nest of wires and sockets connecting a hoard of gadgets and doo-dads intertwining around the house and my life. I was trapped like a fly in an electrical web. Were these things making my life eas-ier or more complex? These machines are designed to hinder, control and/or give the illusion of technology. I had a tremendous amount of fun creating the images and think that this show will touch anyone who has ever be-come entwined, up to the eyebrows, in the Technological Age.”

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“Abstract Fables” replaces the sto-ryline in Anthony Ausgang’s earlier work with an oblique description of events and abstract visual puzzles. These new paintings depict a multi-faceted narrative that invites the viewers’ scrutiny and debate. Since the “meaning” of the painting is to be defined by its audience, a story devel-ops that is unspecified by the artist. Released from the tyranny of a linear narrative, Ausgang is able to expand the visual quotient of his paintings and let his psychedelic cats roam free-ly. Ausgang’s use of cartoon characters is an attempt to explain the human condition, the unheralded heroics of just staying alive, without resorting to the overt, hammer-on-the-head use of “we, the people”. In the ritual dances of Bali as well as ancient Egyp-tian polytheism, many types of ani-mal deities are represented by actors wearing stylized masks. The adulation that certain cartoon characters get in contemporary Western culture is just the most modern version of this, and they get worshipped at megastores.

“Consumed by You” expands upon Nouar’s character-based aes-thetic. A feast for the eyes in the most literal sense, her highly stylized, crisp-ly rendered figures depict a variety of edible subjects, personified and bursting with life. The artist’s work is reminiscent of—and inspired by—vintage imagery that encompasses post-WWII era animation, packaging and advertising art, particularly of the food industry. Paintings in this show are tied together by theme, and pre-sented in a vibrantly appetizing col-or palette. The messages in Nouar’s paintings parallel the aberrations and accidental humor found in advertis-ing imagery, intertwined with the art-ist’s darker personal narratives. While humorous and inviting on the surface, her subjects convey multiple levels of meaning and connotation.

Anthony Ausgang & NouarCopro Los Angeles[Oct 16 - Nov 6]

(top and bottom) Ausgang (middle) Nouar

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Sandi Calistro’s new body of work titled Le Carnaval Des Imbeciles pres-ents us with the subject of a circus sideshow, drawing our attention to a slew of interesting characters whose oddities are as alluring as their beau-ties. There is so much mystery in the expressions of the “Imbeciles” that I wished I could question each of them to find out their secrets, one by one. I imagined them preparing in their dressing rooms, feeling the emotions of their daily lives as much as in their acts and stage personalities, which each painting’s curtains draw to re-veal. They pulled at my heartstrings and made me love them in the fash-ion of many of Calistro’s past charac-ters. Some of them have a deep sad-ness about them, but then there is hope in a vine or budding tree limb that grows from within or is visited by some innocent and lovely looking animal. Others seem haunted by little ghost-like spirits, thoughts, or even the devil.

The delicacies with which she has painted their vintage and Victorian circus costumes, teases us with what lies beneath while tickling us with beautifully rendered ruffles, laces, and

feathers at every turn. Her line-work is unbelievably fine and evolved from years spent in the precision art of tat-tooing, where perfection is expected. It is not surprising that she chooses to paint in thin washes of color, on wood panels, allowing the wood to become somewhat of a character in itself. The grain in the wood adds to the emo-tion and warmth of the work, much like the living skin she is accustomed to working on. These new paintings reveal a high level of confidence and talent and left me in anxious anticipa-tion for what Calistro will create next.

Le Carnaval Des Imbeciles is was on view in September. The show was host -ed by The Black Book Gallery in the Santa Fe Art District of Denver, Colo-rado. Black Book is Tom Horne and Will Suitts’ new gallery,. They started the gallery after years of work with the highly acclaimed Andenken Gallery. With deep roots in supporting street art, lowbrow, and pop surrealism, they carry on the tradi-tion of bringing

some of the brightest established art-ists to Denver’s ever growing and pro-gressive art scene, and as with Calis-tro’s new solo exhibition, showcasing the finest of the local talents. Living in Denver, Colorado since 1997, Sandi can now be found at Kaze Gallery, of which she is partial owner, working as a custom tattoo artist and painter.

For more information visit: theblackbookgallery.com and

sandicalistroart.com. Both can be found on Facebook, as well.

Sandi CalistroBlack Book Denver[ended Sept 30]Reviewed by Tracy Tomko

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This solo show by Scott Brooks will highlight a body of twelve new works inspired by the current state of socio-economic affairs faced within the na-tion’s capital. His characteristic style of painting -- “straightforward oil on canvas” -- features apocalyptic scenes inhabited by buxom figures in repre-sentation of distinctly American per-sonas. Each painting is rich in surreal-ist distortion stemming from the focal figurative portraiture, to the Giger-esque machines, and onward to the marionette-like representation of the

public masses. He also includes subtle satirical nods to both historic and po-litical figures, complex layers of ico-nography, environmental concerns, and the overwhelming contempo-rary presence of industry, technology, and the media. At each glance, one is bombarded with aesthetically intrigu-ing chaos; a well-interpreted reflec-tion of the dilemmas infiltrating the

American dream.The focal point of Brooks’ work

resides in his figurative depictions, in which he incorporates burlesque per-formers, studio models, and an occa-sional colleague or two as inspiration for each character. He also dresses each figure in a manner representa-tive of their purpose in depicting char-acteristic archetypes, prominent eras, and social fads found en masse in American culture. For instance, in Lib-erty Leading the People, a bombshell pin-up is dressed in red, white, and blue lingerie, clutching a ray-gun in one upraised hand, while she leads a tiny Chihuahua in the other. With her eyes averted upward and her stance casual, Liberty stands in repose within a Boschian landscape, solely inhab-

ited by a colossal, arthropodic ma-chine spewing exhaust into the atmo-sphere, and housing within its bowels an entire urban community, as seen through its frontward cabin.

While living in Washington, Brooks states that it is hard not get-ting wrapped up in what is going on around him; and that is definitely portrayed throughout the motif of

his pieces. This series is much more geared to addressing the controver-sial and heavily-debated issues on the political front, but at the same time in-fusing current events with his unique style of dark humor. Looking at the procession in his work We the People, one can identify the central figure as a male version of the Birth of Venus, a fresh protagonist placed within a scene of unrest and disillusionment. However, his uterine shell is tainted with the vanity of the coy peacock bedecked with gold “bling,” and the mass of media-feeding umbilicals protruding from his head.

Conclusively, Brooks’ new series of work pokes at the idiosyncrasies of contemporary American culture by illustrating the severity of current

situations within a gritty, uninviting environment and creating a unique parallel with the caricatured perso-nas ensnared therein. Judging from a sampling of this exhibition, it can be expected that We the People as a whole will incite the necessary provo-cation to encourage critical analysis, while procuring a few knowing snick-ers along the way.

Scott BrooksLongview Washington DC[Oct 28 - Nov 28]Previewed by Megan Laurine

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With contemporary pioneers like Shepard Fairey and Robbie Conal, coupled with a rich history of wheatpaste culture stemming from Socialist and Communist propaganda art, the LA scene has truly taken to heart the new practice of public arts called wheatpasting. Marxist Glue, a forthcoming event at Hold Up Art, will feature an overwhelming instal-lation of LA’s top wheatpaste art-ists, converting the gallery’s exhibi-tion space walls into neutral battle grounds for this hand full of talented image makers. Mark of the Beast will also be offering free screen printing on posters (via Hit and Run Crew) for the participating audience to get into the wheatpasting action themselves. The show will also feature brand new limited edition silkscreen prints from each of the participating artists. For the Marxist Glue contributors, “This is not a group art show. This is not a fine art show. It’s fucking propa-ganda.” Wheatpasting, like graffiti, is a direct action technique for com-

Marxist Glue [Oct 28]Jordan & Kaye [Nov 20]Hold Up Los Angeles

municating with your neighbors and redecorating your environment. Since its possible to mass-produce posters with little cost, wheatpasting enables people to deploy a nuanced, complex message at a number of lo-cations with minimal effort and risk. Repetition in the streets makes the group’s message familiar to everyone and increases the chances that others will think it over. All the walls in the gallery will be reinforced with wood so that we can wheatpaste the entire space in the gallery from floor to ceil-ing. Each artist will have an equal section of the gallery to glue with posters. Marxist Glue seeks to have everyone contribute new work. For them, “this isn’t an exercise in brand-ing”, it’s about people who care, who “give a fuck, who want to make a change”.

Parallel Universes showcases the most recent works from two of today's most innovative surrealists, Jeff Jordan and Sonny Kay. Though these two artists linked up through their art production for the prog-rock giants The Mars Volta, the juxtaposi-tion of the two artists illuminate con-cepts of medium specificity, execu-tion and process. Strikingly similar

compositions and color values be-tween the duo clash when the viewer notices the subtle, yet defining dif-ference between the two; Jordan is a traditional oil painter and Kay is a new media Digital Collagist. Though the two practices and medi-ums are worlds away, the two artists utilize the differences in mediums to pull at the same cords. Both Jordan and Kay's use of imagery play to a subliminal reading of interrelations and conventions. The artists drive you to re-evaluate the commonalities of our subconscious and to redefine typ-ical image associations. Though the direct inspiration for both Jordan and Kay's bodies of work stem from more contemporary sources like subversive low brow magazines (MAD, Rat Fink etc.) and punk, in addition to rock and roll cultures, their understanding of the classic surrealist masters show through in their ability to tackle large concepts with subtlety and ease.

(left side) Jordan & Kaye; (above) ex-amples of work from Marxist GlueFor more info, visit holdupart.com.

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“When the process of painting imagery for me is precon-ceived, I lose all interest. The starting point is somewhere in between a vague concept, and stream of consciousness. I find great joy in fucking up, falling apart, destroying, and moving spastically through my paintings -- like an all-en-compassing confrontation with all my demons and pooh-poohs. A balance is rarely found, considering my life is in a constant ebb-and-flow state, which resounds through my isolated social dealings.”

JOSH WIGGER

IN HIS OWN WORDS

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The fine art of Seattle-based artist, illustra-tor, and graphic designer Jospeh McSween (aka 2H) falls into a mixture of contempo-rary genres, including lowbrow, street art, graffiti, pop surrealism, and impression-ism. His work explores a love for the female figure juxtaposed with rich textured layers seeking to reflect the emotion and inspi-ration found in the urban environment of modern society. His current work is rapidly evolving with new realistic dimension and an expanding use of bright colors and oils. Being a color-blind artist might be con-sidered a disadvantage by many, but he chooses to see this as an important advan-tage to his developmental process. “Most of my earlier works were primarily in black and white focusing on the form in= beau-tiful compositions between positive and negative space. Now that I have a greater knowledge over the years it has helped me gain a higher understanding of using color in conjunction with my balanced compo-sitions to accentuate my painting process as a whole.” His work has been exhibited extensively throughout the U.S. with 50+ exhibitions including L.A., Hawaii,NYC and also abroad in London,Australia, Belgium, Philipinnes and the U.K. His work is repre-sented by, among others, Ronin and Think-Space in Los Angeles and BLVD in Seattle.

JOSEPH 2HMCSWEEN

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A self-taught artist borned and raised in Indonesia, Heidi Alamanda moved to the US with her husband in 2003, eventually settling in New Haven. Alamanda's Beautiful Little World of My Solitude gives you a peek into her

HEIDI ALAMANDAworld through her oil paintings and drawings. It is a world that reflects her adolescent spirit, emotions and imagination, where you can live freely among a friendly angelic Panda and a flying bunny, lean on a fluffy Hakku

dragon, and communi-cate with a little robot. She creates a place filled with visual elements that are connected to her nostalgic experi-ences, moods, and self-

reflection, including elements from her subconscious mind associated in a way that sometimes remains mys-tifying to her. The elements in each piece are built intuitively from the beginning to the end and accentuate the emotion of the main character. Each main character looks inhuman, yet exudes serenity, melancholy and intensity. They exist in their own mys-terious realm, yet at the same time they give the sense of peacefulness to the viewer. The works in this show bring you to those places.

To learn more about the artist, visit. heidialamanda.com.

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I remember there was a time, grow-ing up watching animation and read-ing graphic novels. When I was little, I collected junk; I was really into craft making; and I drew only because it is a hobby. I was not sure if I want to work in the art industry when I grow up. I didn’t know I would get involve in the world of art after I graduate from college. Even until now, I’m still grow-ing and evolving. I really enjoy what I am doing right now, playing with the imagination and ideas, and then mak-ing it visual is really a blissful activity to do.

I like projects. I enjoy making stuff. I think my projects are more about a personal self-expression to begin with, to tell a story, to create a vision of what I see in my head to a picture I can see in my own eyes -- and other people’s eyes if they, some-how enjoy what they see. I think of art making as a way to figure myself out but also an easy way to get lost.

I began with working two-di-mensional in drawing and painting, and then I wanted to see more of it, then I would turn them into three-dimensional forms. I’ve experienced and worked with different materials from graphite and paint to clay to fabrics to wool and wood and metal. I found wood is one of my favorite and major materials, to cut, to build and to paint on. I usually start my projects with simple sketches and then move on to the wooden canvas, and when I want more, I will try to make a sculp-ture out of it. My projects are always related.

Lately I get pretty excited about baking wooden bread in my magic oven. I have started a series of work based on a simple concept – bread – something I know is as important as I will need daily. I’m challenging myself

to create different forms of objects with the concept of bread. I think it is interesting to turn the same subject into different stuff. So far I have made a sandwich chair, a birdhouse, and a loaf of bread cat condo. I plan on con-tinue to make more relative work.

I blend some narrative main dish with imagination as condiments; add a bit of culture of where I am from and who I am as flavors. I wish the viewers think my work is fresh and interesting (and delicious, somehow, my work al-ways have a strong connection with foods), a visual enjoyment, because each dish is prepared with care and cooked with thoughts.

To learn more about the arist, visit jeniyang.com.

JENI YANGIN HER OWN WORDS

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For me, art has always been a con-stant, be it as a creator or admirer. My background is in Art History and I currently hold a position as an Art Appraiser for a small company in the Valley (think: Antiques Roadshow meets Pawn Stars). Additionally, I was trained by Golden Artist Colors for their Working Artist program and I conduct lectures and workshops on acrylic painting in my Downtown LA studio and all over Southern Califor-nia. I feel nestled in the thick of the art world, and along with a healthy curiosity with life, this has given me a perpetual "on" switch for inspiration and I've never been more enthusias-tic about channeling that energy into my artwork.

When it comes to inspiration, I'm especially influenced by color, forms in nature, cycles of growth and decay, the Belle Epoque era, the beauty and intangibility of love and the heart-break that comes when it's lost, vivid dreams, and the subtle details not everyone always notices, like the spaces between things, whispers and moss emerging from an urban sidewalk. An ap-preciation for history plays a big role as well, since it has been in-grained in me since childhood to connect with the past, the good, the bad and the ugly, and be able to reference it like a road map to guide me on the right path. I'm always looking for the magic in things and exploring how the interconnectedness of random moments weaves the fabric of our experience.

Armed with my interests and a bit of imagination, I cre-ate my art with the idea that I'm giving a glimpse into a variety of narratives inspired by real events. My paintings are vi-

gnettes of memories and fleeting mo-ments imprinted on the far corners of the mind. They represent symbiotic relationships between organisms and thoughts, and usually involve female figures interacting with different types of organic and industrial envi-ronments. I like to imagine that these ladies live in a time without advanced technology, when engineering feats like flying machines and the Ferris Wheel were new, because there is something a little barbaric and inno-cent about them, like they still have so many things to discover. Their role is to provide the viewer with a subject to relate to, though their stylized ap-pearance keeps their exact meaning open for interpretation.The vision I have for my work keeps growing and evolving, and it's been exciting to see how that unfolds. My art is my visual language, it is the way I document life and communicate how I process my surroundings. That resonates deeper now that I'm an ed-ucator and can teach students how to

AMY SHAWLEYrealize their creative voice with paint, which relates back to part of what in-spires my work to begin with, symbio-sis and connecting to others through shared experience. That's also why I love being an artist in LA, finding those close-woven bonds within the art community and having the oppor-tunity to be a part of something truly wonderful.

To learn more about this artist, visit amyshawley.com.

IN HER OWN WORDS

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Kym40Los Angeles graffiti artist,

kym40, has been writing under the name for four years. Born and raised in LA, she has always been interested in art and enrolled as many art classes as she could. At age 7, she was en-tered into an art contest by her teach-

er and garnered a second place award. In the early ‘90s, her brother would take her through alleys

on Melrose to show her grafitti art by the CBS Crew. She was blown away by the “eye-candy” that they creat-ed. Today, she cites

mear and axis as her two biggest in-fluences and her characters are in-spired by them. She has recently be-come a part of CBS Crew – the first female writer in 20 years – and she is “overwhelmed by their support, love, and inspiration”.

Charles Swenson

8835 Crescent Drive, Los Angeles, CA 90046323 656-9733 charlesgswenson.com unklbob@mac.com

Showing at The Hive, Los Angelesand Marji Gallery, Santa Fe

Featuring!

Carrie Ann Baade!

Clifford Bailey!

Alex Chavez!

Daniel Martin Diaz!

Brandon Maldonado!

Aunia Kahn!

Junker Jane!

Kristen Margiotta!

CJ Metzger!

Miss Mindy!

Kathie Olivas!

Brandt Peters!

Marie Sena!

Lynden St. Victor!

Among others…!

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133 West Water St. !

Santa Fe, NM 87501!

505.820.0788""""""

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popsantafe.com

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Featuring!

Carrie Ann Baade!

Clifford Bailey!

Alex Chavez!

Daniel Martin Diaz!

Brandon Maldonado!

Aunia Kahn!

Junker Jane!

Kristen Margiotta!

CJ Metzger!

Miss Mindy!

Kathie Olivas!

Brandt Peters!

Marie Sena!

Lynden St. Victor!

Among others…!

!"

133 West Water St. !

Santa Fe, NM 87501!

505.820.0788""""""

#$%&'()*(*+#&,#'-./(0"

popsantafe.com

123#4-&5&6"('"7(**-$,(*8"9:";:&<-&"=,.">5/,($"

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