POP

SURREALISM
magazine

FALL 2010
 JESSICA
JOSLIN
“Brass and Bone”

NOV E M BE R 5th– 28th 2010

Opening ReceptiOn: Friday, November 5 th 8 –11 PM

LAURIE
LIPTON
“Machine Punk”

LA LUZ DE JESUS GALLERY

4633 Hollywood Blvd. Los Angeles, CA 90027 (323)666-7667 www.laluzdejesus.com
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ARTISTS
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COVER IMAGE

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LISA ALISA
Jumping Angel
2010, acrylic on wood,
15.74” x 11.81”
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popsurmag.com
POP SURREALISM
Publisher Richard Kalisher Designer Eric Kalisher
magazine

Contributing Writers Megan Laurine, Tracy Tomko

 254 Gil One

New Puppy Gallery

Art 2808 Elm St. LA CA 90065
Music
Good Spirits

Benefit Opening: January 8, 2011 7:00pm-10:00pm

 Jason Limon [Oct 14 - Nov 12]
EXHIBITIONS
Bethany Marchman [Nov 18 - Dec 11]
Dolla [Dec 16 - Jan 8]
Bold Hype New York City
Jason Limon first showed his artis-
tic expression at a fairly young age
doodling characters and sceneries
inspired by his bustling neighbor-
hood and surroundings. He entered
the field of commercial graphic de-
sign in 1995 acquiring comprehen-
sive knowledge of type, color and
composition. Following twelve years
of commitment to producing award
winning logos and designs, he then
turned his focus and concentra-
tion to where his heart truly began:
developing artwork by hand and
brush, no longer by the clicks of
a mouse. Of his new show Blood/
Nectar, Limon says, “I continue a tale
in imagery. With only glimpses of the
beginning, middle and end this story
takes shape over time, filling in the
gaps with every new painting that
is completed." Bethany Marchman
uses traditional oils to create paral-
lels between innocence and influ-
ence, history and popular culture. Her
paintings are sometimes funny and
sometimes sad. They are reflections of
the awkward changes we experience
as individuals and as a society, while
questioning whether or not growth is
synonymous with improvement. Flor-
ida-based artist DOLLA is best known
for his character illustration and Dolla
Lama campaign. Aside from being a
constant on the street with both legal
and illegal works, this self taught artist
has also begun his transition from the
street to the gallery. With a number of
installations, solo, and group shows,
Dolla has proven to be a prolific art-
ist with a unique vision. This man of
few words prides himself on flawless
craftsmanship and clean illustration
style. using stencils and spray paint.

(left side images) Jason Limon; (top right) Bethany Marchman; (bottom right) DOLLA
For more information, visit www.boldhype.net.

10
Alex Gross fetti and other debris. To complement
the larger canvases, several smaller
Jonathan Levine pieces on panel and paper parody
New York City the visual vernacular of our genera-
[ended Oct 9] tion—magazine ads, billboards, and
television commercials. References to
Discrepancies, a series of new paint- brands such as Apple, British Petro-
ings and mixed media works by the leum, Marlboro, and Coca-Cola add a
Los Angeles-based artist. The highly timeliness to the otherwise timeless
involved, figurative oil paintings of aesthetic of Gross’ work. [This new
Alex Gross defy categorization. His show corresponds with a new book
unusual hybrids—for all their nostal- published by Gingko Press, catalogu-
gic quality and dreamlike mystery— ing the artist’s best work int he past
powerfully convey universal themes four years. The monograph features
such as love, despair, globalization, an introduction by LA Weekly art critic
consumerism, communication, or a Doug Harvey, with over 50 new and
lack thereof. The artist’s skepticism recent images including oil paintings,
about corporate-dictated mass cul- mixed media work, and sketches.]
ture and the impact of media on
our visual environment are unifying
themes throughout the series of work
in this exhibition. In Discrepancies,
Gross’ lush, incongruous worlds fea-
ture an assortment of mythical beasts
and historical figures. Fashionable
men and women are depicted while
talking or texting on their cell phones,
drinking Starbucks beverages, eating
french fries and riding mopeds. These
seemingly banal figures are juxta-
posed with crucifixions, decapitated
creatures, serpents and centaurs. The
artist sets his subjects against skies
peppered with butterflies, bees, con-

11
 Laurie Lipton Recalling her experience learning art
EXHIBITIONS
La Luz De Jesus at university, Laurie Lipton says, “It
was all abstract and conceptual art.
Los Angeles My teachers told me that figurative
[Oct 28 - Nov 28] art went ‘out’ in the Middle Ages. But
splashes on canvas and rocks on the
floor bored me.” Instead, Liption “used
to sit for hours in the library copying
Durer, Memling,Van Eyck, Goya and
Rembrandt.” Inspired by these reli-
gious paintings of the Flemish School,
Laurie Lipton tried to teach herself
how to paint in the style of the 16th
century Dutch Masters. She failed.
When traveling around Europe as a
student, she began developing her
very own peculiar drawing technique
building up tone with thousands of
12
fine cross-hatching lines like an egg
tempera painting. “It’s an insane way
to draw”, she says, “but the resulting
detail and luminosity is worth the
amount of effort. My drawings take
longer to create than a painting of
equal size and detail.” Diane Arbus
was another of her inspirations. As
Lipton notes, “Her use of black and
white hit me at the core of my Being.
Black and white is the color of ancient
photographs and old TV shows… it
is the color of ghosts, longing, time
passing, memory, and madness. Black
and white ached. I realized that it was
perfect for the imagery in my work.”
For her new show, Lipton was inspired
by the Streampunk movement that
is widespread in Britain. Instead of
stream, though, Lipton’s devices are
mostly run by “electricity and mad-
ness”. She also sees her work as a
comment on our current age. “I was
vacuuming one day and noticed the
amount of plugs and cables on the
floor, a veritable wasp’s nest of wires
and sockets connecting a hoard of
gadgets and doo-dads intertwining
around the house and my life. I was
trapped like a fly in an electrical web.
Were these things making my life eas-
ier or more complex? These machines
are designed to hinder, control and/or
give the illusion of technology. I had
a tremendous amount of fun creating
the images and think that this show
will touch anyone who has ever be-
come entwined, up to the eyebrows,
in the Technological Age.”
Anthony Ausgang & Nouar
Copro Los Angeles
[Oct 16 - Nov 6]
“Abstract Fables” replaces the sto-
ryline in Anthony Ausgang’s earlier
work with an oblique description of
events and abstract visual puzzles.
These new paintings depict a multi-
faceted narrative that invites the
viewers’ scrutiny and debate. Since
the “meaning” of the painting is to be
defined by its audience, a story devel-
ops that is unspecified by the artist.
Released from the tyranny of a linear
narrative, Ausgang is able to expand
the visual quotient of his paintings
and let his psychedelic cats roam free-
ly. Ausgang’s use of cartoon characters
is an attempt to explain the human
condition, the unheralded heroics of
just staying alive, without resorting
to the overt, hammer-on-the-head
use of “we, the people”. In the ritual
dances of Bali as well as ancient Egyp-
tian polytheism, many types of ani-
mal deities are represented by actors
wearing stylized masks. The adulation
that certain cartoon characters get in
contemporary Western culture is just
the most modern version of this, and
they get worshipped at megastores.
“Consumed by You” expands
upon Nouar’s character-based aes-
thetic. A feast for the eyes in the most
literal sense, her highly stylized, crisp-
ly rendered figures depict a variety
of edible subjects, personified and
bursting with life. The artist’s work is
reminiscent of—and inspired by—
vintage imagery that encompasses
post-WWII era animation, packaging
and advertising art, particularly of the
food industry. Paintings in this show
are tied together by theme, and pre-
sented in a vibrantly appetizing col-
or palette. The messages in Nouar’s
paintings parallel the aberrations and
accidental humor found in advertis-
ing imagery, intertwined with the art-
ist’s darker personal narratives. While
humorous and inviting on the surface,
her subjects convey multiple levels of
meaning and connotation.
(top and bottom) Ausgang (middle) Nouar

13
 Sandi Calistro
EXHIBITIONS
Black Book Denver
[ended Sept 30]
Reviewed by Tracy Tomko
Sandi Calistro’s new body of work
titled Le Carnaval Des Imbeciles pres-
ents us with the subject of a circus
sideshow, drawing our attention to a
slew of interesting characters whose
oddities are as alluring as their beau-
ties. There is so much mystery in the
expressions of the “Imbeciles” that I
wished I could question each of them
to find out their secrets, one by one.
I imagined them preparing in their
dressing rooms, feeling the emotions
of their daily lives as much as in their
acts and stage personalities, which
each painting’s curtains draw to re-
veal. They pulled at my heartstrings
and made me love them in the fash-
ion of many of Calistro’s past charac-
ters. Some of them have a deep sad-
ness about them, but then there is
hope in a vine or budding tree limb
that grows from within or is visited
by some innocent and lovely looking
animal. Others seem haunted by little
ghost-like spirits, thoughts, or even
the devil. With deep roots in
The delicacies with which she
has painted their vintage and Victorian
circus costumes, teases us with what
lies beneath while tickling us with
beautifully rendered ruffles, laces, and
14
feathers at every turn. Her line-work some of the brightest established art-
is unbelievably fine and evolved from ists to Denver’s ever growing and pro-
years spent in the precision art of tat- gressive art scene, and as with Calis-
tooing, where perfection is expected. tro’s new solo exhibition, showcasing
It is not surprising that she chooses to the finest of the local talents. Living
paint in thin washes of color, on wood in Denver, Colorado since 1997, Sandi
panels, allowing the wood to become can now be found at Kaze Gallery, of
somewhat of a character in itself. The which she is partial owner, working as
grain in the wood adds to the emo- a custom tattoo artist and painter.
tion and warmth of the work, much
like the living skin she is accustomed For more information visit:
to working on. These new paintings theblackbookgallery.com and
reveal a high level of confidence and sandicalistroart.com. Both can be
talent and left me in anxious anticipa- found on Facebook, as well.
tion for what Calistro will create next.
Le Carnaval Des
Imbeciles is was on
view in September.
The show was host
-ed by The Black
Book Gallery in the
Santa Fe Art District
of Denver, Colo-
rado. Black Book is
Tom Horne and Will
Suitts’ new gallery,.
They started the
gallery after years
of work with the
highly acclaimed
Andenken Gallery.
supporting street
art, lowbrow, and
pop surrealism, they
carry on the tradi-
tion of bringing
15
 Scott Brooks
EXHIBITIONS
Longview Washington DC
[Oct 28 - Nov 28]
Previewed by Megan Laurine
This solo show by Scott Brooks will
highlight a body of twelve new works
inspired by the current state of socio-
economic affairs faced within the na-
tion’s capital. His characteristic style
of painting -- “straightforward oil on
canvas” -- features apocalyptic scenes
inhabited by buxom figures in repre-
sentation of distinctly American per-
sonas. Each painting is rich in surreal-
ist distortion stemming from the focal
figurative portraiture, to the Giger-
esque machines, and onward to the
marionette-like representation of the
public masses. He also includes subtle
satirical nods to both historic and po-
litical figures, complex layers of ico-
nography, environmental concerns,
and the overwhelming contempo-
rary presence of industry, technology,
and the media. At each glance, one is
bombarded with aesthetically intrigu-
ing chaos; a well-interpreted reflec-
tion of the dilemmas infiltrating the
16
American dream.
The focal point of Brooks’ work
resides in his figurative depictions, in
which he incorporates burlesque per-
formers, studio models, and an occa-
sional colleague or two as inspiration
for each character. He also dresses
each figure in a manner representa-
tive of their purpose in depicting char-
acteristic archetypes, prominent eras,
and social fads found en masse in
American culture. For instance, in Lib-
erty Leading the People, a bombshell
pin-up is dressed in red, white, and
blue lingerie, clutching a ray-gun in
one upraised hand, while she leads a
tiny Chihuahua in the other. With her
eyes averted upward and her stance
casual, Liberty stands in repose within
a Boschian landscape, solely inhab-
ited by a colossal, arthropodic ma-
chine spewing exhaust into the atmo-
sphere, and housing within its bowels
an entire urban community, as seen
through its frontward cabin.
While living in Washington,
Brooks states that it is hard not get-
ting wrapped up in what is going
on around him; and that is definitely
portrayed throughout the motif of
his pieces. This series is much more
geared to addressing the controver-
sial and heavily-debated issues on the
political front, but at the same time in-
fusing current events with his unique
style of dark humor. Looking at the
procession in his work We the People,
one can identify the central figure as
a male version of the Birth of Venus,
a fresh protagonist placed within a
scene of unrest and disillusionment.
However, his uterine shell is tainted
with the vanity of the coy peacock
bedecked with gold “bling,” and the
mass of media-feeding umbilicals
protruding from his head.
Conclusively, Brooks’ new series
of work pokes at the idiosyncrasies
of contemporary American culture
by illustrating the severity of current
situations within a gritty, uninviting
environment and creating a unique
parallel with the caricatured perso-
nas ensnared therein. Judging from
a sampling of this exhibition, it can
be expected that We the People as a
whole will incite the necessary provo-
cation to encourage critical analysis,
while procuring a few knowing snick-
ers along the way.
Marxist Glue [Oct 28]
Jordan & Kaye [Nov 20]
Hold Up Los Angeles
With contemporary pioneers like
Shepard Fairey and Robbie Conal,
coupled with a rich history of
wheatpaste culture stemming from
Socialist and Communist propaganda
art, the LA scene has truly taken to
heart the new practice of public arts
called wheatpasting. Marxist Glue,
a forthcoming event at Hold Up Art,
will feature an overwhelming instal-
lation of LA’s top wheatpaste art-
ists, converting the gallery’s exhibi-
tion space walls into neutral battle
grounds for this hand full of talented
image makers. Mark of the Beast will
also be offering free screen printing
on posters (via Hit and Run Crew) for
the participating audience to get into
the wheatpasting action themselves.
The show will also feature brand new
limited edition silkscreen prints from
each of the participating artists. For
the Marxist Glue contributors, “This
is not a group art show. This is not
a fine art show. It’s fucking propa-
ganda.” Wheatpasting, like graffiti,
is a direct action technique for com-
municating with your neighbors
and redecorating your environment.
Since its possible to mass-produce
posters with little cost, wheatpasting
enables people to deploy a nuanced,
complex message at a number of lo-
cations with minimal effort and risk.
Repetition in the streets makes the
group’s message familiar to everyone
and increases the chances that others
will think it over. All the walls in the
gallery will be reinforced with wood
so that we can wheatpaste the entire
space in the gallery from floor to ceil-
ing. Each artist will have an equal
section of the gallery to glue with
posters. Marxist Glue seeks to have
everyone contribute new work. For
them, “this isn’t an exercise in brand-
ing”, it’s about people who care, who
“give a fuck, who want to make a
change”.
Parallel Universes showcases
the most recent works from two of
today's most innovative surrealists,
Jeff Jordan and Sonny Kay. Though
these two artists linked up through
their art production for the prog-rock
giants The Mars Volta, the juxtaposi-
tion of the two artists illuminate con-
cepts of medium specificity, execu-
tion and process. Strikingly similar
compositions and color values be-
tween the duo clash when the viewer
notices the subtle, yet defining dif-
ference between the two; Jordan is a
traditional oil painter and Kay is a new
media Digital Collagist.
Though the two practices and medi-
ums are worlds away, the two artists
utilize the differences in mediums to
pull at the same cords. Both Jordan
and Kay's use of imagery play to a
subliminal reading of interrelations
and conventions. The artists drive you
to re-evaluate the commonalities of
our subconscious and to redefine typ-
ical image associations. Though the
direct inspiration for both Jordan and
Kay's bodies of work stem from more
contemporary sources like subversive
low brow magazines (MAD, Rat Fink
etc.) and punk, in addition to rock
and roll cultures, their understanding
of the classic surrealist masters show
through in their ability to tackle large
concepts with subtlety and ease.
(left side) Jordan & Kaye; (above) ex-
amples of work from Marxist Glue
For more info, visit holdupart.com.
17
 IN HIS OWN WORDS
ARTIST SPOTLIGHT

JOSH “When the process of painting imagery for me is precon-

ceived, I lose all interest. The starting point is somewhere
in between a vague concept, and stream of consciousness.

WIGGER
I find great joy in fucking up, falling apart, destroying, and
moving spastically through my paintings -- like an all-en-
compassing confrontation with all my demons and pooh-
poohs. A balance is rarely found, considering my life is in a
constant ebb-and-flow state, which resounds through my
isolated social dealings.”

20
The fine art of Seattle-based artist, illustra-
tor, and graphic designer Jospeh McSween
(aka 2H) falls into a mixture of contempo- JOSEPH 2H
MCSWEEN
rary genres, including lowbrow, street art,
graffiti, pop surrealism, and impression-
ism. His work explores a love for the female
figure juxtaposed with rich textured layers
seeking to reflect the emotion and inspi-
ration found in the urban environment of
modern society. His current work is rapidly
evolving with new realistic dimension and
an expanding use of bright colors and oils.
Being a color-blind artist might be con-
sidered a disadvantage by many, but he
chooses to see this as an important advan-
tage to his developmental process. “Most
of my earlier works were primarily in black
and white focusing on the form in= beau-
tiful compositions between positive and
negative space. Now that I have a greater
knowledge over the years it has helped me
gain a higher understanding of using color
in conjunction with my balanced compo-
sitions to accentuate my painting process
as a whole.” His work has been exhibited
extensively throughout the U.S. with 50+
exhibitions including L.A., Hawaii,NYC and
also abroad in London,Australia, Belgium,
Philipinnes and the U.K. His work is repre-
sented by, among others, Ronin and Think-
Space in Los Angeles and BLVD in Seattle.

21
 HEIDI ALAMANDA
ARTIST SPOTLIGHT
A self-taught artist borned and raised
in Indonesia, Heidi Alamanda moved
to the US with her husband in 2003,
eventually settling in New Haven.
Alamanda's Beautiful Little World of
My Solitude gives you a peek into her
22
reflection, including elements from
her subconscious mind associated in
a way that sometimes remains mys-
tifying to her. The elements in each
world through her oil paintings and piece are built intuitively from the
drawings. It is a world that reflects beginning to the end and accentuate
her adolescent spirit, emotions and the emotion of the main character.
imagination, where you can live freely Each main character looks inhuman,
among a friendly angelic Panda and yet exudes serenity, melancholy and
a flying bunny, lean on a fluffy Hakku intensity. They exist in their own mys-
dragon, and communi- terious realm, yet at the same time
cate with a little robot. they give the sense of peacefulness
She creates a place filled to the viewer. The works in this show
with visual elements bring you to those places.
that are connected to
her nostalgic experi- To learn more about the artist,
ences, moods, and self- visit. heidialamanda.com.
 IN HER OWN WORDS
I remember there was a time, grow-
ing up watching animation and read-
ing graphic novels. When I was little,
I collected junk; I was really into craft
making; and I drew only because it is a
hobby. I was not sure if I want to work
in the art industry when I grow up. I
didn’t know I would get involve in
the world of art after I graduate from
college. Even until now, I’m still grow-
ing and evolving. I really enjoy what I
am doing right now, playing with the
imagination and ideas, and then mak-
ing it visual is really a blissful activity
to do.
I like projects. I enjoy making
stuff. I think my projects are more
about a personal self-expression to
begin with, to tell a story, to create
a vision of what I see in my head to
a picture I can see in my own eyes --
and other people’s eyes if they, some-
how enjoy what they see. I think of art
making as a way to figure myself out
but also an easy way to get lost.
JENI YANG
I began with working two-di-
mensional in drawing and painting,
and then I wanted to see more of it,
then I would turn them into three-
dimensional forms. I’ve experienced
and worked with different materials
from graphite and paint to clay to
fabrics to wool and wood and metal. I
found wood is one of my favorite and
major materials, to cut, to build and
to paint on. I usually start my projects
with simple sketches and then move
on to the wooden canvas, and when I
want more, I will try to make a sculp-
ture out of it. My projects are always
related.
Lately I get pretty excited about
baking wooden bread in my magic
oven. I have started a series of work
based on a simple concept – bread –
something I know is as important as I
will need daily. I’m challenging myself
to create different forms of objects
with the concept of bread. I think it is
interesting to turn the same subject
into different stuff. So far I have made
a sandwich chair, a birdhouse, and a
loaf of bread cat condo. I plan on con-
tinue to make more relative work.
I blend some narrative main dish
with imagination as condiments; add
a bit of culture of where I am from and
who I am as flavors. I wish the viewers
think my work is fresh and interesting
(and delicious, somehow, my work al-
ways have a strong connection with
foods), a visual enjoyment, because
each dish is prepared with care and
cooked with thoughts.
To learn more about the arist,
visit jeniyang.com.
23
 AMY SHAWLEY
ARTIST SPOTLIGHT
realize their creative voice with paint,
which relates back to part of what in-
spires my work to begin with, symbio-
sis and connecting to others through
IN HER OWN WORDS gnettes of memories and fleeting mo-
ments imprinted on the far corners of
shared experience. That's also why
I love being an artist in LA, finding
For me, art has always been a con- the mind. They represent symbiotic those close-woven bonds within the
stant, be it as a creator or admirer. relationships between organisms and art community and having the oppor-
My background is in Art History and thoughts, and usually involve female tunity to be a part of something truly
I currently hold a position as an Art figures interacting with different wonderful.
Appraiser for a small company in the types of organic and industrial envi-
Valley (think: Antiques Roadshow ronments. I like to imagine that these To learn more about this artist,
meets Pawn Stars). Additionally, I ladies live in a time without advanced visit amyshawley.com.
was trained by Golden Artist Colors technology, when engineering feats
for their Working Artist program and like flying machines and the Ferris
I conduct lectures and workshops on Wheel were new, because there is
acrylic painting in my Downtown LA something a little barbaric and inno-
studio and all over Southern Califor- cent about them, like they still have
nia. I feel nestled in the thick of the so many things to discover. Their role
art world, and along with a healthy is to provide the viewer with a subject
curiosity with life, this has given me a to relate to, though their stylized ap-
perpetual "on" switch for inspiration pearance keeps their exact meaning
and I've never been more enthusias- open for interpretation.
tic about channeling that energy into The vision I have for my work keeps
my artwork. growing and evolving, and it's been
When it comes to inspiration, I'm exciting to see how that unfolds. My
especially influenced by color, forms art is my visual language, it is the way
in nature, cycles of growth and decay, I document life and communicate
the Belle Epoque era, the beauty and how I process my surroundings. That
intangibility of love and the heart- resonates deeper now that I'm an ed-
break that comes when it's lost, vivid ucator and can teach students how to
dreams, and the subtle details
not everyone always notices,
like the spaces between things,
whispers and moss emerging
from an urban sidewalk. An ap-
preciation for history plays a big
role as well, since it has been in-
grained in me since childhood
to connect with the past, the
good, the bad and the ugly, and
be able to reference it like a road
map to guide me on the right
path. I'm always looking for the
magic in things and exploring
how the interconnectedness of
random moments weaves the
fabric of our experience.
Armed with my interests
and a bit of imagination, I cre-
ate my art with the idea that I'm
giving a glimpse into a variety
of narratives inspired by real
events. My paintings are vi-

24
ARTIST SPOTLIGHT

Kym40 Los Angeles graffiti artist,

er and garnered a
second place award.
In the early ‘90s, her
brother would take
her through alleys
on Melrose to show her grafitti art by
mear and axis as her two biggest in-
fluences and her characters are in-
spired by them. She has recently be-
come a part of CBS Crew – the first
female writer in 20 years – and she is
“overwhelmed by their support, love,
kym40, has been writing under the the CBS Crew. She was blown away and inspiration”.
name for four years. Born and raised by the “eye-
in LA, she has always been interested candy” that
in art and enrolled as many art classes they creat-
as she could. At age 7, she was en- ed. Today,
tered into an art contest by her teach- she cites

26
 Charles Swenson

Showing at The Hive, Los Angeles

and Marji Gallery, Santa Fe
8835 Crescent Drive, Los Angeles, CA 90046
323 656-9733 charlesgswenson.com unklbob@mac.com
 !"
123#4-&5&6"('"7(**-$,(*8"9:";:&<-&"=,.">5/,($"

Featuring!

Carrie Ann Baade!

Clifford Bailey!
Alex Chavez!
Daniel Martin Diaz!
Brandon Maldonado!
133 West Water St. ! Aunia Kahn!
Santa Fe, NM 87501! Junker Jane!
Kristen Margiotta!
505.820.0788"""""" CJ Metzger!
#$%&'()*(*+#&,#'-./(0" Miss Mindy!
Kathie Olivas!
popsantafe.com Brandt Peters!
Marie Sena!
Lynden St. Victor!
Among others…!
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