Source Juxtapoz Magazine – Juxtapoz Magazine – Home  On today’s A Portfolio, we look at the works of Jamilla Okubo, a Washington, DC-based painter. Currently, she has work with Mehari Sequar Gallery, and we take a look at the new works from 2022 in the gallery above. 

Source Juxtapoz Magazine – Juxtapoz Magazine – Home  pt.2 gallery is pleased to present Viewpoint, a solo exhibition by Copenhagen-based artist Sune Christiansen. Working with oil stick, pastel, acrylic and industrial enamel paint, Christiansen creates a colorful world of vibrant figurative abstractions. The works are simple upon first glance, almost child-like in their rendering, and…

Source Juxtapoz Magazine – Juxtapoz Magazine – Home  KÖNIG GALERIE is pleased to announce the first solo exhibition of Slovenian-born, Berlin-based artist, Evgen Čopi Gorišek, in the Chapel space at St. Agnes in Berlin. Gorišek creates large-format paintings that he crafts with a mixture of traditional techniques and spray-painted characters taken from popular images. For…

Source Juxtapoz Magazine – Juxtapoz Magazine – Home  “Fashion is life-enhancing and I think it’s a lovely, generous thing to do for other people,” Vivienne Westwood once said, and what a generous life she gave to all of us. As a purveyor and historian of all that was Punk, Westwood achieved something that an icon…

Source artforum.com  As one walked into this inaugural exhibition at the New York Print Center’s new location on West Twenty-Fourth Street in Manhattan, one heard ambient murmurs ricocheting throughout the gallery. To the

Source artforum.com  June Wayne (1918–2011), the founder of the Tamarind Lithography Workshop, was primarily a self-taught artist with strong convictions and lofty ideals. In 1959, frustrated by a dearth of technical

Source artforum.com  The title of Marina Rheingantz’s recent exhibition “Sedimentar” (Sedimentary) alludes to an image present throughout the artist’s nearly twenty-year career: the dissolution or suspension of solid

Source artforum.com  Though encompassing nearly one hundred works on canvas and paper, “Sam Szafran: Obsessions of a Painter” did not offer a full-scale retrospective of its subject. Instead, the exhibition provided a deep