Since 1994, Juxtapoz Magazine, published in San Francisco, has provided a forum for so called Lo-Brow art-work inspired by comics, hot rods, and popular culture --and has become, in the years since, the most widely read art magazine in the United States. Juxtapoz provides a voice and validation for a brand of artist, like founder Robert Williams, Mark Ryden, Coop, Camille Rose Garcia, Glen Barr, the Clayton Brothers, Isabel Samaras, Joe Coleman, and many, many others, who have not historically been accepted by the typical art-world infrastructure of collector, curator, and critic. However, since its founding, it has become the leverage point for the creation of its own infrastructure that supports Juxtapozian art with galleries around the world, collectors, increasing critical attention, and museum exhibitions at adventurous institutions. This exciting and provocative collection presents a group of artists who rejected traditional rules of the art establishment and created their own canon, known as the Juxtapoz School. Published in conjunction with the Laguna Art Museum for the 2008 exhibition In the Land of Retinal Delights.
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Editorial Reviews
Review
A magazine's true success is measured in carving out a niche in marketplace readership that doesn't already exist. Fifteen years ago Juxtapoz' founders, most notably Robert Williams, did just that by giving wayward artists a platform to display their blood, sweat and oils, as well as express to legions of art enthusiasts-those accepting and others not so much- their style of work was as legitimate as it was high end. The Juxtapoz Factor 'is not an art movement,' Meg Linton writes in her essay. 'It is a cultural movement...breaking down barriers and boundaries between disciplines, industries, institutions, and individuals.'
In June 2008, the Laguna Art Museum hosted the exhibition from which this book reaps its conception, honoring hundreds of artists considered contemporary, lowbrow, writers and painters all connected by the momentum of the machine they built and operate, both alone and together. As the magazine now forges to impress into the next 15 years, when can we finally just call it art? --Juxtapoz Magazine
In June 2008, the Laguna Art Museum hosted the exhibition from which this book reaps its conception, honoring hundreds of artists considered contemporary, lowbrow, writers and painters all connected by the momentum of the machine they built and operate, both alone and together. As the magazine now forges to impress into the next 15 years, when can we finally just call it art? --Juxtapoz Magazine
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Most Helpful Customer Reviews
21 of 22 people found the following review helpful:
5.0 out of 5 stars
Mine Eyes Have Seen the Glory,
By Whamo (San Clemente, California) - See all my reviews
This review is from: Heart & Torch - Rick Griffin's Transcendence (Paperback)
I collect Rick's art. I've loved it since I first saw it on album covers and in SURFER magazine in the 60's. I had the pleasure of visiting his studio, and speaking to him several times. He was a passonate man, and his art reflects his passions: God, surfing, rock and roll, and the psychedelic experience. This book tells and shows of his journey better than any previous efforts. If you like Rick's art, you will love this book.
20 of 22 people found the following review helpful:
5.0 out of 5 stars
more in sight,
By Ranth "Ranth" (OK UK) - See all my reviews
This review is from: Heart & Torch - Rick Griffin's Transcendence (Paperback)
Readers who already possess the McClelland book on Rick Griffin's work may be wondering whether it is worth buying this as well. In my view the answer is yes. Most non-surfers came to Rick via a handful of
quintessential psychedelic images - Aoxomoxoa, Eternal Reservoir, the Flying Eyeball etc - and subsequently became aware of other more whimsical examples of his art. If we dug a bit further we learnt of Murph the Surf and were perhaps underwhelmed, because the original Murph's moment had surely passed. We may also have learnt that Rick later became a born-again Christian, which would surely have alarmed some, for did not the same information bring Robert Zimmerman's reputation to its knees (pardon the pun). This overview from the Laguna Art Museum rises above such pettiness and identifies a theme running through Griffin's career. Griffin immersed himself in a series of rebel subcultures, illustrating their preoccupations and elevating their concerns to new levels through the medium of his art. First it was Californian surf culture - enter Murph - then it was the psychedelic movement, and later the so-called Jesus freaks. In all cases it is probable that Griffin took the members to places they did not initially want to go - witness Murph Mk 2, the drug-crazed anarchist, or the sin-soaked junkie praying to God for salvation and conjuring up some rather ahem.. unusual images. This book provides us with a much more balanced take on Rick's artistic endeavours, few of which fail to astound. If you missed the apocalypse first time around, Rick can refresh the parts that other artists, except perhaps Hieronymous Bosch, fail to reach. I for one had been steeped in Griffin's psychedelia, and vaguely aware of Murph, but had almost completely overlooked the transcendent beauty of some of Rick's "Christian" work. The mainstream art world is held up by two pillars: snobbery and exclusivity, they will not be recognising Rick's genius for a century or so, but you can get yours now: take a look through Rick's Mystic Eyes.
18 of 20 people found the following review helpful:
5.0 out of 5 stars
A Surfer's Eye,
By
This review is from: Heart & Torch - Rick Griffin's Transcendence (Paperback)
I have been a Fan of the Amazing Talents of Rick Griffin since 1969, when I first layed eyes on the Cover of Zap Comix, Number 3. The First Collection of his Work was published by Paper Tiger Books in 1980, and that Book has always been a Favorite of mine.
This Brand New Collection: "Heart And Torch", from The Laguna Art Museum, is just as impressive as Paper Tiger Edition. Printed on Heavy Stock Art Paper, it is Overflowing with Work from all Phases of Rick's life. From the images of Murphy The Surfer that appeared in Surfer Magazine whilst Rick was still a teenager to Posters of San Francisco Music and happenings from 1966-1980's. Covers for early editions of Rolling Stone Magazine in the late 60's. Album Covers for The Grateful Dead, Jimi Hendrix, Robert Hunter and Man. What set Rick apart from his fellow Graphic Illustrators such as R.Crumb and Stanley Mouse was his Fantastic Vision to really get Far Out There with a very Good Third Eye {And while all this happened on our Planet, Rick only had a single Eye to see from!}. This Artist did not 'See' Boundaries in Art, his imagination could not be Locked-Down or Controlled to the Rules of the Medium, he Expanded Worlds and wasn't Trapped in them. The "Flying Eyeball" Poster for a Jimi Hendrix/John Mayall Concert at The Filmore West in 1968, alone would have made Rick's career, But...there is so much more. He created new languages in his Art, such as for The Grateful Dead's Album Cover {1969] Aoxomoxia, that for many of us Defines, The Sixties in San Francisco as THE Piece of Art. When Rick would draw his own image he usually gave himself a "Third Eye", and I believe this is perfectly correct as the Man always saw something that the rest of us would miss, this Book tells his Story in Words and Pictures and it is indeed a "Transcendence". The most Perfect way to enjoy Rick Griffin, outside of this book would be for you to find a copy of: "Tales From The Tube" his 1973 Comix Book. For me it's a Peak and a Crest, in a Life filled with water and skies. This Comix explains where Rick was coming from and shows where he was headed, it is simply amazing. If you see a Poster in the Skies above you, I'll bet you it is Rick, still creating his Wonderful Art in the Heavens...FIVE STARS !!!
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