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In the land of retinal delights :; the Juxtapoz factor

Colburn, Bolton T. ; Linton, Meg

11 ratings by Goodreads
ISBN 10: 1584233176 / ISBN 13: 9781584233176
Published by Laguna Art Museum, Laguna Beach, Calif, 2008
Condition: fine Soft cover
From Owl & Company Bookshop (Calvello Books) (Oakland, CA, U.S.A.)

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About this Item

Illustrated white quarto (orange and white spine) ; 192 p. : chiefly color illus ; 26 cm. Vividly colorful reproductions // Art, Modern -- 20th century -- Exhibitions -- Popular Culture. A fine bright copy First edition (presumed; no earlier dates stated). Bookseller Inventory # 31062

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Bibliographic Details

Title: In the land of retinal delights :; the ...

Publisher: Laguna Art Museum, Laguna Beach, Calif

Publication Date: 2008

Binding: Paperback

Book Condition:fine

Edition: 1st Edition

About this title


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.


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

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