JUXTAPOZ ISSUE 200 / SEPTEMBER 2017

Issue 200 feels like a milestone victory lap—Juxtapoz taking stock of the artists, ideas, and oddities that shaped two decades of art culture, while still pushing forward with that signature messy-beautiful mix of highbrow, lowbrow, and everything-between. It opens with Dan Lam’s neon-drip universe in Studio Time, her sculptures oozing across the page like candy-coated organisms, before swinging into a rare museum moment: Edvard Munch arriving at SFMOMA, giving the issue a surprising jolt of early expressionist angst.

The early sections keep the energy loose: Bonethrower, Haring, and palm-tree-soaked product picks; Tabitha Soren’s Fantasy Life photographing the emotional aftermath of baseball dreams; and a look at Queens of the Stone Age crafting the visual identity around Villains. Wesco’s Oregon-built boots bring a tactile, Americana break before Kozyndan return with their rabbit-riddled surrealism in Influences. A Tampa travel piece, an LCAD residency recap, and a rewind/fast-forward on street art connect the magazine’s past and present.

The big features kick off with Ralph Steadman—ink explosions, gonzo chaos, and the kind of feverish draftsmanship that makes you feel like the page might bite back. Add Fuel’s tiled illusions follow with clean, geometric trickery, while Dan Lam reappears for a deeper dive into her psychedelic sculptural world. Caleb Weintraub adds a blast of hyper-saturated, sci-fi-adjacent figuration, and David Cook (a.k.a. Bonethrower) gets a myth-building profile that leans into his cultish, filigree-heavy visual language.

The back pages are classic Juxtapoz: Sieben dropping a life riff (“Canadian Digital Funeral” era), book reviews spanning Brutalism to fantasy, a whirl through the global Pop Life scene from Montreal to Taipei, and a final Perspective reminding readers—loudly—to wake up. It’s a celebratory, chaotic, fully Juxtapoz issue.