Photos by Kohshin Finley

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Find out more at: knowngallery.com/bratrud

Casey Eklips Interviewed by Katie Zuppann for Juxtapoz

If I'm not mistaken, Known Gallery started off as a venue for Seventh Letter artists to show of their work-both on the streets and on canvas. Why did you organize the group as Known Gallery?

You are correct. Known Gallery was started to showcase our friends and family which turns out to be mostly The Seventh Letter artists and our associates, much like The Seventh Letter is made up of mostly AWR and MSK members. This doesn't mean we only work with crew members, it just means we know a lot of people through graffiti and our roots in street culture. We originally didn't want to display graffiti but only gallery works, but that didn't last very long.

The name KNOWN came from KNOWN SURVIVOR which came from this track I was listening to that reminded me of my father who fought in the Hungarian revolution in 1956 and lived to talk about it. I know that's kind of deep but that's where the name comes from to be honest. Almost everything I do starts with a crazy thought that is usually sparked by a music track or something. I've always liked the word KNOWN, like in: known affiliate, known graffiti writer, also known as, etc. so I had to do something with it. The name was also really appealing because I felt it was our way to be KNOWN NOW or NOW KNOWN.


Known Gallery has grown from a daily blog into a full-fledged website and movement. Describe Known Gallery's progression.

In the beginning we never planned to be a daily blog, but the site wasn't completely ready when we went on tour to Japan and Taiwan with the LETTERS FIRST art show. We wanted to share our experiences with our supporters so we launched the blog and people really liked it so we decided to continue.  When we got home we finished the site with the artist profiles and began to represent artists, curate more shows and with the success of Letters First and help from The Seventh Letter, it all fell into place.

To what do you contribute the success of Known Gallery?

All the amazing artists that are involved, all the great shows we've curated, The Seventh Letter crew, our street credit and our supporters. The list goes on..

What do you have planned for the future?

More art shows with more artists in more countries. Always continue to improve the site. We just added a forum so we can communicate closer with our supporters. We also launched our online store, so with that comes more prints, exclusives, etc. And we should have a new gallery in Los Angeles by the the beginning of 2010.

What artists are you excited about right now?

I'm really feeling all the new stuff coming out of James Jean, Sonny Gerasimowicz aka Coax AWR, Push, Revok, Mr. Cartoon, Keegan Gibbs, JR, BLU, Aaron Horkey, Roid, Pose is really on fire right now, Young Savannah of course, too many to list. It's a great time for art and the internet allows us to see so many amazing people from everywhere in the world.

Where do you see graffiti and street art heading?

I think very soon graffiti will be more accepted into the fine arts world and museums, much like the Olympics will accept skateboarding. And if not, we will make an alternative and be bigger like the X-games did for skating. Hopefully writers will be treated with more respect from the corporate world and paid accordingly. The whole "you do it free anyways" thing is really old.

One of my favorite ongoing series you guys run is The Seventh Day Project, where you film different Known Gallery artists completing a piece. They take various styles, but overall, the films are fast paced, time-lapse videos documenting an artist work on a graffiti piece from start to finish. Tell us a bit about the origins of this project and how it has evolved, and where it will go.

Another crazy idea. Basically we wanted to let the world see what we do from beginning to end. Releasing it monthly on the 7th just made it fun and exciting.  A lot of our supporters had never seen us paint before so it's always really cool to hear their feedback. It also allows our videographers, photographers, beat-makers and video editors to share their skills with our audience. We plan to release some DVDs, books and more products from the Seventh Day Project in the near future.

Any final parting words?

Thank you to all the people who check KnownGallery.com daily, Katie for this interview, all our supporters around the world, our crews, Ralph Guzman for building and maintaining our sites, The Seventh Letter crew and everybody involved in our lives. RIP Adam Goldstein, Forever PURE.

Join us at forum.knowngallery.com

Read interview at: www.juxtapoz.com

I have a set of three pieces up for the Juxtapoz Art Auction BID NOW! Support the Powerhouse Project of Detroit, definitely a great cause.

Find out more at: PatrickMartinez.com and KnownGallery.com/patrickmartinez

Hi there, I was just sent my bid card for the Juxtapoz Art Auction which went live online today. I donated my brown tone hand painted giclee print of my 'Move A Head' image. There are alot of really talented artists and galleries who are donating to this event and it's all for a great cause, check it out....

***I plan on attending the show in LA in a couple of weeks, so if you
are around...come through!

- Amandalynn

JUXTAPOZ ART & CULTURE MAGAZINE TURNS 15 AND THROWS CHARITY ART AUCTION AND EVENT IN LOS ANGELES HOSTED BY UPPER PLAYGROUND

All Proceeds from the Event Support Power House Project of Detroit

WHO: Juxtapoz Art & Culture Magazine celebrates its 15th anniversary with “The Big Payback,” an online charity art auction and a special event in Los Angeles hosted by Upper Playground. The event benefits the non-profit Power House Project of Detroit.

WHAT: “The Big Payback” auction features original artwork from over 100 national and internationally renowned contemporary artists including: Swoon, CR Stecyk III, Robert Williams, Todd Schorr, Estevan Oriol, Mister Cartoon, Shepard Fairey, Doze Green, Todd “Reas” James, Thomas Campbell, Tim Biskup, KR, Big Daddy Roth, WK Interact, Clayton Brothers, Andrew Schoultz, James Jean, Ron English, Craola, David Choe, Mike Giant, Paul Insect, Jeremy Fish, Alex Pardee, Saber, David Ellis, Boogie, D*Face, Cody Hudson, Herbert Baglione, Amandalynn, and many more....

From October 28th – November 20th, 2009, the public can bid on artwork, which will be auctioned off solely at www.CharityBuzz.com

All proceeds from the auction to be donated to the Power House Project to help purchase and renovate foreclosed and abandoned homes in the Detroit area.

In celebration of the auction and Juxtapoz’s 15th anniversary, Upper Playground will host an exclusive event in Los Angeles on November 14, 2009 to view the featured artwork on display and meet with the contributing artists.

WHEN: Saturday, November 14, 2009 from 7-11 pm

WHERE: The Factory Place Arts Complex, 1308 Factory Place, Los Angeles, CA 90013

WHY: Proceeds from “The Big Payback” auction will support the goal of purchasing five homes and employing local Detroit contractors, electricians, plumbers, and carpenters to perform the renovations. Selected artists will also be invited to participate in the remodeling.

The event aims to raise the consciousness of both the problems of people disenfranchised by the nation’s economic crisis, as well as encourage a sense of community in the art world and inspire people to effect positive social change in their own communities.

Read the first part of the interview at: www.juxtapoz.com

A few months back our good friend Katie Zuppann invited us to have our own blog on Juxtapoz.com. First they gave us our own issue, then throw us a bunch of parties and now this. Thanks JUXTAPOZ!

Mike Shinoda will be opening his second solo exhibition at the Japanese American National Museum on August 29th, entitled "Glorious Excess (Dies)."  If the success of his first solo at that Museum is any indication we are all in for quite a treat.  Shinoda was gracious enough to take a few moments out of his busy schedule to talk about his upcoming show, his music career and the exciting things which lay ahead for this gifted artist.

Read the rest of the interview on Juxtapoz.com

Find out more about Mr. Shinoda at: KnownGallery.com/Shinoda

Chances are, you are already familiar with the individual names behind We Are Supervision, an artist collective spearheaded by graff-writing god Pose MSK, whose work can’t be described by words, and photojournalist KC Ortiz who aims to create words and raise awareness, one genuine photo at a time.

Read up on our exclusive interview with We Are Supervision and find out how cigarettes, lawyers, and straight-up hustlin’ explain who they are and how it’s incorporated into their artistic agenda. 

Exclusive Interview with We Are Supervision
By Jamie Kim

We Are Supervision. The name makes me think of a group of superheroes with loaded spray paint and steely cans for weapons. Who’s involved and how did you guys become an “artist collective” under the umbrella name of We Are Supervision? 

Pose:

Who – KC and I run the ship, but it has always been a revolving door of wayward friends, admired peers and creative criminals. 

Why –  Strength in numbers.

Name – When we were trying to put a name on things, we had an insanely long list that no one could decide on. In 2003-2004, I was doing a bunch of guerilla installations (installing fake security cameras in the shape of peace or anarchy signs, uninstalling real ones, installing surveillance cameras made out of cheese, putting together see-through plexi cameras, cutting plenty of holes in fences, etc) that were a response to the growing amount of excessive paranoia, surveillance, homeland security, etc. All the pieces were created under the title “Supervision Series.” So somehow the “Supervision” play on words ended up wining, and the “We Are” was due to available URLs and the collaborative agenda. 

 

Ten words to describe Supervision’s artistic mission:   

 

Just keep playin’ it cool; that is our golden rule. 

 

 

Pose recently described Supervision as a “legal hustle.” As more people become aware of your individual names and (legal) projects, has it been harder to use outdoor canvases and simultaneously stay safe from the law?

KC: “Legal Hustle” comes more from a background point of view – both of us having a personal background of a bit of struggle. For many years we had to hustle just to make it in the day to day. Growing up in a place like Chicago, it’s just part of the process. When you don’t have money behind you or many options, you end up hustling. To different people that means different things. One man’s hustle could be slinging dope, another could be strong-arming, getting over on stores, just making something from nothing, or what have you. That is our personal background, so to us, we almost feel like this is just as much of a hustle. I think our mentality is to stay on the grind, always aware, always searching for an opening no matter how small, just to get our foot in the door and then make the most out of it from there. Staying hungry…

Pose: It’s a different game these days for sure. What I do on a day to day or night to night is much different than it’s been for most of my life, but I’m following what I believe in, doing my thing and having a ball. Honestly it’s all the age old grand experiment to see if you can be successful and free doing what you love for the rest of your life. And unfortunately what my peers and I love doing is the easiest way to stay in constant legal drama, and fail.  

As my guy Skrew MSK so eloquently put it… I’m in somewhat of a “transitional phase.”

Is it challenging to collaborate when everyone has a different angle or idea about a project?   

KC: When it comes to collaboration it is a pretty healthy process. I think we know each other well enough that we are completely open to each others’ ideas. Our egos are put to the side. We may go into a project, and I think I have the perfect idea, and then when we get together to talk about it I hear Pose’s idea and it’s better than mine or vice versa. I like how our process works out like that actually. We are able to look at what’s best for that specific project as opposed to a personal agenda and constantly learn from each other and those around us. 

Pose: Challenges or uncomfortable spots can be the most fruitful because they are fertile ground for growth and learning/understanding someone else and their artistic perspective. If you’re open, it’s the quickest and best way to expand yourself. Some people can be ego maniacs or dicks but for the most part, if you signed up to be an artist and follow that path, you’re cool in my book and I’m sure I can learn something from working with you.

Do clients know exactly what they want you guys to produce? Or is there generally a lot of artistic freedom? 

Pose: Normally “clients” equal a check, which equals artistic freedom after the job’s been completed. Unfortunately, most clients normally don’t shoot for true artistic freedom; we are just a vehicle that helps them achieve their agenda. 

Coolest client you’ve had to date:  

Pose: Coolest clients are the smaller ones, hands down. Honestly, just friends or crew mates with companies have been the best ‘cause it’s always “art first” to an extent. The companies that actually have the money to do really amazing things always do the exact opposite; the ones with smaller billfolds tend to be way cooler because they are closer to home. Basically fam clients are always the coolest.

As an artist collective, what is the creative process like for Supervision? How does it change how you guys approach your art and/or projects as a collective group?  

Pose: Thankfully it’s very organic. If someone gets an idea, or drives to work on a specific project, we stand behind them and try to do what we can to help see that individual’s vision come to fruition. If we are approached to do something, whomever it suits best (or comes up with the best idea) takes the lead and everyone else helps facilitate in the same fashion. Even when we are collaborating with, say, our friends in New York on a project, it’s always really easy. We all come from similar, longstanding graff/street backgrounds, so we speak the same language and it’s very easy to be democratic. 

KC: Our creative process pretty much consists of a whole lot of cigarettes, coffee and beer. And vodka. 

If Supervision could recruit one artist living today, who would it be and why?  

Pose: Just one…ouch. Definitely have to get back to you; the list is far too long to fire off without a serious pow-wow first.

On a side note, we are truly blessed to have the insanely talented friends/crew mates we have, and although we already love painting and collaborating with them, I wouldn’t mind being able to have any single one on a SV full-time salary!

The new graffiti-inspired T-shirts designed by Pose and KC are dynamite. What’s next? Any exciting projects we should start a countdown for?   

KC: Thankfully, we’ve always had a number of projects on the burner. A few shows are coming up, one in September at the Hurley Space. More apparel with bands like Upper Playground, LRG, TLFI, and some more limited SV shirts. Outside of that we always continue doing our personal projects. 

Pose: KC’s got some really sick photo journalist projects in the works. I have a solo show coming up at Canvas LA this winter, big things in Australia this fall. And we definitely have tons of collaborative projects in the works that will be dropping soon. 

What would you guys like to be remembered for?  

Pose: For working hard to create good progressive artwork that might inspire someone to just bug out, be themselves and do their damn thing. 

And collectively, for creating a venue that did not exist for someone like myself, i.e. a place or thing that allows graff writers with a serious artistic agenda, who want to continue to follow their own path (with minimal compromise) while being able to pay their bills, lawyers and live doing what they love. 

KC: A lot more than silly cartoon characters. For me personally, I have a much larger personal reward working in photojournalism than design and art. I’d much rather take a photo of an issue that makes it into the right person’s hands, creates awareness, or better yet, leads to change. I’d take that any day over selling a painting or creating a T-shirt for some kid to wear. I’d rather have a photo or photos remembered than myself or my name personally.

Source: Juxtapoz.com

Find out more at: Juxtapoz.com, Reyes78.com and Kristyn Stroble

Songs of Songs

7 Color Screenprint,
Printed on Black Stonehenge 310 gsm 100% Cotton Archival Deckled Edge Paper.
Dimensions: 30 x 42 Inches.

Edition of 50
Signed, Numbered, and embossed
by the Artist
$350 + S&H

Get it HERE

Since having started painting graffiti as "The Mac" in the mid 90s, he has been commissioned to produce murals around the world, he has exhibited in museums, and his work has graced the cover of numerous publications. Mac has gained increasing notoriety for his almost photorealistic depictions of both ordinary people and ethereal women, in a style that is uniquely his own. Mac's intricate brushwork styles have also gained attention, while some of his murals have become mini-landmarks. Elements, themes and techniques of classic art are often incorporated into a modern context in Mac's artwork, usually with an emphasis on the human face and figure. His work is the result of a life devoted to art.

Find out more at: ElMac.net and Juxtapoz.com

Seventh Letter member and fine artist Amandalynn stopped by the Juxtapoz Magazine headquarters in San Francisco this afternoon. We pulled her outside, sat her down on her massive truck, and chatted about the new direction her art has been taking, getting up on the streets, and future plans.

Did we mention this girl is rad? Well, she is. After wathcing the quick video, check out her work at www.amandalynn.biz

Source: juxtapoz.com