Issue 176 feels like Juxtapoz in total technicolor—patient where it needs to be, chaotic everywhere else, and filled with artists who bend reality into new shapes. It opens with Richard Colman in Studio Time, his geometric figures and collapsing, candy-coloured worlds giving the issue an immediate pulse. A quick shift to Perspective looks back at five years of Outside Lands—music, murals, fog, and San Francisco energy—before the magazine dives into a full retrospective on designer toys, charting the rise of vinyl icons, DIY sculptors, and the crossover between illustration, street art, and collectible culture.
Clint Woodside’s Picture Book brings grainy, documentary-style photography, and Sister Corita Kent anchors the design section with bold, spiritual pop graphics that feel as fresh now as they did in the ’60s. LCAD’s In Session segment spotlights Timothy Robert Smith, the master of ultra-bent perspectives and impossible architectures, while Influences hands the mic to The National—yes, the band—whose melancholic, painterly mood surprisingly fits right in.
The features come stacked: Richard Colman returns for a deeper dive into his cosmic, symbolic worlds; David Jien unfolds obsessively detailed pencil universes filled with anthropomorphic fantasy; and Felipe Pantone injects electric gradients, digital glitch aesthetics, and optic overload. Two narrative features—The Divine and The Gilded Age—add a literary-meets-illustrative sweep, blending mythology, futurism, and stylised history.
The back of the issue rounds things out: a Travel Insider visit to Manila’s wild contemporary art scene, a KAWS event at the Brooklyn Museum, book reviews, and a profile on Hueman, whose neon-splattered, dreamlike murals sit perfectly within the issue’s energy. Product picks, Sieben’s “Impress Yourself” life note, and a Pop Life section filled with global culture snippets send it out on a lively close.
A high-color, high-detail, genre-crossing issue—prime mid-2010s Juxtapoz.
