News

Art, exploration and activism with Los Angeleno Carolyn Castaño August 11 2018



Carolyn Castaño's piece, Heroine (After Policarpa Salavarrieta Jose Maria Espinosa), featured in her most recent solo show at Laband Art Gallery.

Summer is Carolyn Castaño’s season. We’re saying that partly because the LA-based visual artist’s bright, passionate color palettes and energetic compositions feel warm-weather apropos, ebullient like a newly opened summer bloom. But we’re also saying that because we know Castaño was looking forward to the summer months and finally having more time to spend in her studio—which means more art we can ogle (always a good thing). We hear she’s hunkered down near MacArthur Park, experimenting with colors, patterns, and textures, focussing on the relationship between the production of textiles and its effect on the environment. Can’t wait to see what she comes up with!

Dedicated studio time is a serious blessing for this artist after an awesome but exceedingly busy fall and spring. Besides becoming a mom for the second time (!!), Castaño had a lot going on art-world-wise. She participated in a handful of artist talks and panels, including at appearance at Azusa Pacific University and a visiting artist lecture in painter Mary Anna Pomonis’ class at Cal State Long Beach. Her art was part of fundraising efforts for two projects close to her heart: AMBOS, a project using bi-national art as a means of generating healthier cross-border relationships, and SASSAS, an organization that highlights music and art. Activism is entrenched in Castaño's artistic ethos. Similarly, her work was shown in The Art of Protest: Epiphany and the Culture of Empowerment at the Church of the Epiphany, an Eastside LA Episcopalian congregation and designated Los Angeles Historic-Cultural Monument that’s been a hub for various Chicano social justice movements since the 1960s. The exhibition, which ran through March 29th, brought together an incredible range of work by more than 60 artists, culminating in a beautiful cacophony of artistic voices. Take a look at what the Los Angeles Times had to say about it and you’ll also catch sight of one of Castaño's artworks pictured in the article...


MORE after the jump »

Lisa Congdon colors outside the lines + straight into our hearts. June 30 2018



A preview of Lisa Congdon's work in her upcoming solo show at Stephanie Chefas Gallery

Staying hopeful ain’t easy these days, but if there’s one person who’s work always makes us feel fired up and optimistic, it’s fine artist, illustrator, educator, author, and all-around awesome person Lisa Congdon. We checked in with Congdon to get the 411 on all that she’s been up to, and the list is characteristically long, cool, and fomo-inducing. Pull up that calendar!

MORE after the jump »


Get personal: Qiana Mestrich mines her own identity for art. May 12 2018



Qiana Mestrich's work recently appeared in MFON: Women Photographers of the African Diaspora.
If you’re in the market for some motivation, Qiana Mestrich might inspire your inner mover and shaker. Wowing collectors with her debut 20x200 edition is just a blip of what she’s been up to. For a taste: this past November, Mestrich’s art was featured in the debut issue of MFON: Women Photographers of the African Diaspora, a captivating collection of work by one hundred black women photographers of all ages and origins. Around that same time, she also participated in Relative Material, a group show curated by Janna Dyk at Brooklyn’s Nurture Art that ran through mid-December. Her installation incorporated photography, poetry, and ephemera from her Hard To Place series, collectively exploring questions of motherhood, race, identity and more. Mestrich does not shy away from complexity—in fact, it powers her process.

More recently, her The Black Doll Series stunned at London Art Fair 2018’s Photo50 exhibition, Resolution is not the point, alongside a handful of other innovative artists in the contemporary art and photographic spheres. The Black Doll Series is the same body of work from which Mestrich’s limited-edition 20x200 print—OOAK Vintage Black Francie Doll 2—originates. Read our introduction to this incredible piece on the blog, then pop over to Photoworks for extra credit ...

MORE after the jump »

Our love letter to Jen Sanchez. (Shine on, you crazy diamond.) April 07 2018

One of the paintings in Jennifer Sanchez's latest series, Pattern Fuck.
Put your shades on, collectors: we’re shinin’ our Artist Spotlight on loooongtime 20x200 artist, color connoisseur, and plucky, foulmouthed pattern master Jennifer Sanchez.

A proud Lower East Sider and New York neighbor of ours, Sanchez’s art stands out. Geometry is her main muse. She draws inspiration from her surroundings, from Native American textiles, from Bauhaus queen Gunta Stölzl, and more. Of course, there’s also her colors: can’t-miss neons and bold brights are sorta Sanchez’s thing. Beyond that, her approach is free-wheeling at its finest. She starts with a general motif in mind, but never plans her art pieces in their entirety, letting the works evolve with her whims. That experimentation and spontaneity comes beaming through. Her electrically-hued pattern-dense paintings capture the vibrancy of the city, and her own unstoppable ebullience. This artist’s work ain’t for the faint of heart. It is energy epitomized...

MORE after the jump »

Julia Rothman runs the world (or pretty close) March 03 2018

Julia Rothman's latest animated illustration for The New York Times is just too doggone cute!
If the title “working artist” calls to mind the image of a smock-swathed aesthete arched over an easel in the afternoon light, serenely surveying their subject … spot on! That’s pretty much it. J/k: full time artist-ing is a lot of elbow grease and go-getterdom, and our 20x200 artist fam cumulatively possesses enough hustle to give Van McCoy a run for his money. A perfect example of permabusy gung-ho artist gumption: Julia Rothman.

When she’s not sketching ballerinas or surveying the crowd scene at the Whitney Museum for future art fodder, she’s soaking in her NYC surroundings, drawing other everyday people, places and things. Take her Guess These New York City Elevators and New York’s Clocks Ring in the New Year features in The New Yorker, the latter of which is also included in an exhibition at CUNY’s Lehman Gallery through May 5th.

Unsurprisingly, other prominent NYC publications are hip to Rothman’s playful, expressive artwork. She recently created the cute AF visual accompaniment for the cover story of the New York Times Real Estate section (trigger warning for the dog obsessed: her pupper masterpieces are squeal-worthy). When her art’s not appearing in New York pubs, she’s teaching Surface Design at a New York institution, School of Visual Arts, and chairing the Society of Illustrators 60th Annual Exhibition. All in a day’s work for this wonder woman...

MORE after the jump »

This Newsletter Is (Not) a Planetarium October 07 2017

Anderson's new book is out! And you're gonna wanna go in...
We couldn’t begin to imagine what it’d be like to take a behind-the-scenes tour of Kelli Anderson’s brain, but we can say unequivocally that it’d be full of surprises. A multi-talented, deep-thinking maker of creative magic, Anderson is idiosyncratic as all get-out—a true agitator in the purest, most honest, affirmative way.

The Brooklyn-based artist and designer (and longtime 20x200 collaborator!) is beyond fluent in a wildly broad range of media: illustration, photography, printing, papercraft, animation, coding, and design, to name a few. It’s obvious that the joy of experimentation and discovery is central to her work, to her existence, even. Anderson seems to approach her creative process with a driving sense of wonder and a fundamental freedom—with materials and ideas, from axioms and expectations. Her TED talk from a few years back may have tipped you off to that. Her 20x200 edition, Perspective, prolly clued you in too. She is a tinkerer, a scholar, an iconoclast, always aiming to dig beyond her projects themselves into their deeper meaning...

MORE after the jump »

Gouache, Glue + Guts: Helena Wurzel Paints Her Way August 05 2017


Helena Wurzel's studio: gouache tubes, paper, and jars of YES! glue for her gouache + paper creations


When we’re thirsting for a piece to pump some electricity into our art collection, we’re wont to turn to Helena Wurzel, whose cool factor, bright color palette, and topsy-turvey take on perspective always keep us on our toes. Wurzel’s been part of the 20x200 artist roster since wayyyy back in the day—2011, to be specific (!!!). Through the years we’ve watched her work evolve, and its newest metamorphoses are as refreshing and ingenious as always...

MORE after the jump »

Art Bites Back: Cue the Resistance with Edel Rodriguez June 03 2017



Edel Rodriguez at the De Hache conference in Queretaros, Mexico with Resist. showing on the screen


Edel Rodriguez is a busy man. Since the release of his 20x200 edition a few months back, the Cuban-American artist has continued to produce some of the most staggeringly powerful imagery out there, both topical and timeless in its appeal to our humanity. Much of his current work is the modern embodiment of art as activism. His pointed, poignant, no-nonsense approach to artmaking is unafraid of ruffling feathers in the name of resistance. A Rodriguez piece is a reminder to stay alert and active.

MORE after the jump »


20x200 Artist Spotlight: Joseph O. Holmes September 13 2016


We don’t play favorites when it comes to our artists, but Joseph O. Holmes definitely has a special place in our hearts. Maybe it’s because he’s been a longtime 20x200 collaborator, or because his photographs of NYC never fail to remind us why we’re so smitten with our home city, OR because he’s one of the most easy-going, positively zen people we’ve ever had the pleasure to get to know IRL. All we can tell you is we can’t stop collecting his editions.

 

MORE after the jump »

20x200 Artist Spotlight: Carrie Marill July 30 2016

If you’re wondering why Carrie Marill’s name sounds familiar, it might be because we’ve had the pleasure of presenting 16 (!!!) editions from her. Marill has been with us since the very beginning—we released her first 20x200 edition shortly after we launched—and she’s also participated in several shows at Jen Bekman Gallery.

What keeps us coming back to Carrie Marill? Her saturated, spirited color palette and the ease with which she embraces whimsy make her art instantly irresistible. What’s more, beneath the surface her work is characterized by a profound curiosity for the world around her. She’s freely explored ideas as complex and inscrutable as string theory and mother-child relationships. Marill has said, "I use art as a tool to investigate the world."

 

MORE after the jump »
  • Page
    of 2