Issue 169 has that winter-into-spring Juxtapoz rhythm—bright, fast-moving, and stacked with artists blending fine art, street culture, and design. It opens with Sage Vaughn in Studio Time, where his winged figures and neon-washed nature paintings set the emotional tone: tender, messy, urban, and wild. From there it jumps into a Miami Beach recap—murals, fairs, sun-soaked chaos—then to Mr. Pops in Seattle, a quirky event detour. Stephen Shames’ Picture Book brings raw, socially charged documentary photography, grounding the issue before the mood jumps again.
Peter Shire takes over the design section with Memphis-style geometry and bright sculptural play, followed by a fashion spotlight on the Andy Warhol x Converse collection—pop art melted straight into sneakers. Influences travels through Printed Matter’s history, zines, and artist-made books, tying perfectly into how Juxtapoz operates as part of that ecosystem.
The middle of the issue is the heavy hitter zone: a deeper feature with Sage Vaughn, Sam Friedman’s vibrant abstractions, the haunting German cinematic aesthetics of Haunted Screens, a Pretty in Plastic/Cleon Peterson crossover full of glossy sculpture and violent silhouettes, Vizie’s graffiti precision, Maria Kreyn’s classical, romantic figurative paintings, and Jaybo Monk’s loose, fractured forms.
The back pages wrap it all together with a Travel Insider trip to Milan, an inside look at the Academy of Art University, book reviews, a Small Business Saturday event recap, product picks (Dilla, Parra, Ponte City), and a Sieben-on-Life section doing its usual wry, philosophical drift. Pop Life closes the issue with quick cultural snapshots.
A colourful, layered, artist-packed issue—classic early-2015 Juxtapoz.
