west coast scene more generally, where the aesthetics of pop surrealism, folk art, post-graffiti, or street art are wholly embraced.īut artwork infused by Juxtapoz's colorful spirit is no longer uncommon in New York galleries. Juxtapoz is representative of the Los Angeles art scene, and the U.S. Until recently, the artwork featured in ArtForum was very different from that seen in the pages of Juxtapoz. The " ArtForum world" of Kelli William's statement references the magazine of that name, but also the "high art" scene it covers, of which New York City, for the time being, remains an - if not the - epicenter. Unidentified chef, from Burkhard Bilger's Noodling for FlatheadsIn 2007, commenting on the blog PaintersNYC, artist Kelli Williams observed that it's hard to be a Juxtapoz artist "in an ArtForum world." Juxtapoz is a popular magazine dedicated to showcasing contemporary " lowbrow art." It was founded by the artist Robert Williams in 1994. If you order it in a French restaurant, it's high." It’s a big book for a big town.Cover art by Shepard Fairy "A frog is either lowbrow or highbrow. It is packed with behind-the-scenes stories from New York’s writers, editors, designers, and journalistic subjects-and frequently overflows its own pages onto spectacular foldouts. Through stories and images of power and money, movies and food, crises and family life, it constitutes an unparalleled history of that city’s transformation, and of a New York City institution as well. Marking the magazine’s fiftieth birthday, Highbrow, Lowbrow, Brilliant, Despicable: 50 Years of New York draws from all that coverage to present an enormous, sweeping, idiosyncratic picture of a half-century at the center of the world. On “The Approval Matrix,” the magazine’s beloved back-page feature, New York itself would fall at the crossroads of highbrow and lowbrow, and more brilliant than despicable. Again and again, it introduced new words into the conversation-from “foodie” to “normcore”-and spotted fresh talent before just about anyone.Īlong the way, those writers and their colleagues revealed what was most interesting at the forward edge of American culture-from the old Brooklyn of Saturday Night Fever to the new Brooklyn of artisanal food trucks, from the Wall Street crashes to the hedge-fund spoils, from The Godfather to Girls-in ways that were knowing, witty, sometimes weird, occasionally vulgar, and often unforgettable. Magazine, branded a group of up-and-coming teen stars “the Brat Pack,” and effectively ended the career of Roger Ailes. It was among the originators of the New Journalism, publishing legendary stories whose authors infiltrated a Black Panther party in Leonard Bernstein’s apartment, introduced us to the mother-daughter hermits living in the dilapidated estate known as Grey Gardens, launched Ms. From its early days publishing writers like Tom Wolfe, Jimmy Breslin, and Gloria Steinem to its modern incarnation as a laboratory of inventive magazine-making, New York has had an extraordinary knack for catching the Zeitgeist and getting it on the page. Covering culture high and low, the drama and scandal of politics and finance, through jubilant moments and immense tragedies, the magazine has hit readers where they live, with a sensibility as fast and funny and urbane as New York itself. Since its founding in 1968, New York Magazine has told the story of that city’s constant morphing, week after week. It was the place to be-if you could afford it. It again became the capital of wealth and innovation, an engine of cultural vibrancy, a magnet for immigrants, and a city of endless possibility. Over the next generation, the city was utterly transformed. A battered town left for dead, one that almost a million people abandoned and where those who remained had to live behind triple deadbolt locks, was reinvigorated by the twinned energies of starving artists and financial white knights. The great story of New York City in the past half-century has been its near collapse and miraculous rebirth.
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