JUXTAPOZ 10

Juxtapoz Vol. 3 No. 2 rides straight through biker culture, surrealism, graffiti and underground illustration with the loud, grease-stained energy that defined the magazine’s early years. The issue is anchored by Dave Mann whose paintings of outlaw bikers, chrome nightmares and desert freedom turn counterculture mythology into fine art with cigarette burns around the edges. Robert Williams opens things with his usual anti-establishment fury, attacking institutional art culture while defending lowbrow creativity as something dangerous, alive and unapologetically working-class. The entire issue feels powered by hot engines, spray paint fumes and late-night diner coffee.

Elsewhere, Isabel Samaras twists pop culture and television nostalgia into strange reimagined realities, while the rediscovery of Stanisław Szukalski adds a heavier historical gravity to the issue through his bizarre visionary sculptures and mythological obsessions. Glenn Barr’s “Sin and Steel” blends industrial noir with comic-book surrealism, Frank Kozik dives into satanic cartoon filth with The Pizz, and the graffiti section captures street art as pure visual warfare. Wrapped in gallery listings, underground reviews and chaotic editorials, the issue feels like a time capsule from an era when Juxtapoz proudly sat somewhere between an art magazine, punk zine and outlaw manifesto.