JUXTAPOZ ISSUE 210 — SUMMER 2019

Issue 210 is Juxtapoz in full global-summer mode—bright, playful, design-forward, and carried by a lineup of artists who reshape figurative art, sculpture, comics, and pop surrealism in wildly different ways. It opens in Paris with Studio Time, where Jean Jullien works by the canal, turning everyday observations into bold, witty drawings with that unmistakable Jullien warmth.

The Report heads to Chicago’s MCA for Jessica Campbell’s brilliant fusion of comics and woven carpet panels—deadpan humour meeting domestic craft. Product reviews hit LACMA merch, Stance socks, and Fluevog shoes before the Picture Book section explores snap+share, a museum survey on the evolution of digital photography and the way image-sharing has rewired visual culture.

The design feature spotlights Rewina Beshue, whose pop-bright RGB aesthetic flips color theory into a kind of vibrant personal mythology. Fashion turns to LA Roxx, the studio outfitting musicians, performers, and nightlife figures with custom-made futurist garments. Influences doubles up with Hilda Palafox (Poni)—soft, fluid, feminine figuration—and Alex Chinneck, the sculptor known for architectural illusions that bend, melt, and unzip physical space.

A Sieben column titled “Stay in Texas” brings wry philosophy, while Travel Insider looks at evolutionary art projects and In Session spotlights Parsons School of Design. On the Outside checks in with Nuart Aberdeen, showing how public murals narrate a city’s identity from the ground up. Book reviews cover The Book of Weirdo, Hamburger Eyes, and Tiffany Bozic’s nature-rich works.

The core features hit hard:
• Ellen Berkenblit, with her looping symbols, reappearing characters, and gestural, electric color fields.
• Tschabalala Self, reimagining the body through stitched fabric, paint, and sculptural layering—bold, tender, and fiercely contemporary.
• Ed Hardy, seen not through the tattoo clichés but as a serious painter and printmaker with deep historical roots.
• Mario Ayala, fusing lowrider aesthetics, LA signage, and hyperreal gradients into hallucinatory West Coast narratives.
• Danielle Orchard, who paints intimate, stylised vignettes of contemporary womanhood—cool, angular, emotionally rich.
• Paul Insect, the pop-surrealist trickster with collage sensibilities, neon palettes, and masked figures.
• Joe Roberts, drifting between outsider psychedelia, altered states, and deep-cartoon cosmology.

Events span MASS MoCA, Dallas Museum of Art, Boca Raton Museum of Art, MOAH Lancaster, and Station 16 Gallery. Pop Life sweeps across Hong Kong, NYC, SF, Tokyo, Berlin, Copenhagen, and London.

The final Perspective lands on Phlegm’s Mausoleum of Giants—a monumental installation of handmade creatures, a cathedral of melancholy and imagination that closes the issue on a mythic note.

A colorful, international, art-meets-design-heavy issue—warm, weird, and packed with personality.