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Meet Johnny Ramirez and Ahn Co Tran.
the voice of a hair generation.
Johnny and I have been friends for a long time, no one else comes anywhere near my hair, and no one else ever will. He is not just a colorist, he is an artist. Johnny breaks the mold. I have never known him to conform, to anything, and the result is such visionary forward thinking, that he is constantly ahead of trend. He is the voice of a boundless generation, seeking creative and original style. How many times have you felt like a change? Johnny IS change. A hair movement is happening, and Johnny is standing on the front line.
A few years ago Johnny and Ahn decided to join forces. They are kindered spirits. Equally as forward thinking, and industrious. The pair fly all over the world, catering to the needs of a vast and loyal clientele. Many of which are the Hollywood elite. They are as descrete as they are talented, and although they'll never kiss and tell, many a magazine cover, and Oscar red carpet, has been graced by their iconic creations. 

This year Jonny and Ahn set their vison in another direction. They decided to find a space of their own, and are now settled in a peaceful spot in Beverly Hills. The salon is entirely a reflection of their work. Simple but unique, with the flow of an art gallery, and no lack of attention to detail. From the moment you enter to the moment you leave, the vibe of the place is contagious. And you hair is your parting gift. Your finished look makes you feel as though you too are a part of the movement, your "coolness factor" just quadrupled, this is the crowd you run with. As long as your hair has the Ramirez Tran seal of a approval you are officially "in".

To the left is my sun kissed look coutesy of the boys. And below are some before and afters, Enjoy.

Ramirez|Tran Salon • 310.724.8167 • 
instagram : Johnnyramirez1

Rest In Peace - Harold Ramis (Egon Spengler)

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NOV. 21, 1944- FEB. 24TH 2014

Swedish Artist - Peter Hammar Interview

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H A M M A R  T I M E 
Peter Hammar works with everyday objects as sculpture with smart placement of lights and composition in spaces. We first saw his work during Scope Art Fair during Art Basel 2013 and his booth was a wonderful arrangement of simplicity and beauty. Hammar has an upcoming exhibition "Mapping Empty Spaces" at the Swedish American Museum in Chicago on March 7th. We had a chance to talk to him before the opening about his new work which addressses immigration and the many stories of the past and present. 

Most of your latest work consists of everyday objects. What happens in the creative process that makes you select the objects that you do?

I use whatever materials I have at hand, it used to be paint and canvas, now I take whatever discarded material I find that is forgotten and has outlived it's purposes, I re-vamp it, give it a second life. Usually the object talks to me in regards to the subject matter/thought process I'm working on currently. It sort of falls into place naturally. And not to forget, as a struggling artist money is also part of it, out of necessity I have to look elsewhere for affordable materials. 

How does light play into your installations, what is the relationship between object and illumination for you? 

When I use moving programmed LED-lights it's a notion for time, when static light,  it's more of painting the object/installation or highlighting some specific part that I wanna draw attention to. I find that light is a great way to emphasis negative space and shadows, which is a lot of times more fascinating and open ended. The light also works a in set designs for theater, it immediately sets the mood and carries multiple. 

I love the balloon installation.  Could you tell us a little about it? 

The piece is titled 'Status Quo', it is a very experimental piece that I still have not quiet completed.. The fan on top of the plexiglas box is supposed to push down the helium balloon and keep it suspended, in a status quo, which seems to be an impossible state of being for just about anything, as it proved to be for the balloon, hence I had to use magicians thread to keep it in place. And it failed, somehow the constant failure of the piece and the Sisyphus task that it

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 became in keeping the piece alive was great since that was the actual intent. At the time I just had not quite realized it. I'm still in the process of making this piece complete, maybe it's impossible and by so I love it even more. The unattainable status quo. 

You have a show opening March 7th in Chicago at the Swedish American Museum. What do you have in store for the public to view? 

It's going to be a modern take on the immigrants story, having researched the museums archives, statistics and my own experience of being an immigrant for more than a decade. The tonality will be universal so that everybody and not only Swedish immigrants can relate. Questions about identity, loss, gain, dreams, myths and selective memory that comes into play after years of disunion. 

How do you feel about being picked? How was the selection process? 

I was very honored and extremely happy of course for the opportunity given. I did a fantastic artist residency in Chicago last summer at ACRE, Artist Cooperative Residency and Exhibitions, the residency actually turned out to be miles and miles away from Chicago in beautiful Steuben, Wisconsin. Before the trip I researched a little about Chicago and that's when I found the Swedish American Museum. To my great surprise a museum dedicated to Swedish culture and heritage. It fascinated me so much that I immediately felt a want and need to connect my own practice and work with this institution. So, I wrote a proposal a little more than a year ago and here we are after a museum committee accepted it.
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You are a transplant living in Miami. Is there a general aesthetic you feel is apparent from both places artistically? How do they differ? How do they unite? 

The art world is pretty homogenous where ever you turn today. In Sweden though strong use of color is still considered a bit too decorative and not really tasteful art. I figure the climate and Swedish mentality makes up for a careful approach to boldness. But good conceptual art in Sweden as elsewhere is always recognized. Then of course there's only 9 million Swedes and their local exposure or gene pool of artists isn't that big, no matter how much you Google or travel to NY once a year, will never reach the multitude and mixture that we have here in America and Miami. Everybody is here!
To learn more about Peter Hammar's work visit his website right here. 

"Mapping Empty Spaces" opens March 7th at the Swedish American Museum. For more information on the exhibit visit the museums website right here. 

Angry Artist Smashes Ai Weiwei's Work (Video Stills)

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Maximo Caminero is caught on camera smashing a $1 million vase from Chinese artist Ai Weiwei's collection at Perez Art Museum Miami, Sunday, Feb. 16, 2014. Caminero, 51, was arrested on criminal mischief charges. (VIDEO STILL/CNN, WSVN, Viewer Video)

Phoenix Artist: Kristin Bauer

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Your work is very graphic and uses text and color. Do you come from a graphic design background? 

I don’t have a formal background or training in graphic design, but I’ve done a decent amount of design work for projects and jobs I’ve been involved with in the arts in the past.  More than that I am naturally drawn to how information is presented to the general public in order to brand something or sway society’s thinking and feeling.  Specifically speaking, 20th century propaganda and advertising are some of the things I find most influence my work, although I don’t try to replicate them.

What are the stages that go into making one of your pieces? 

It certainly varies.  With my paintings and sculptures I generally start with a shell of an idea- the idea, the crafting of dual tension and symbiosis between text and image, or text and shape, is the most important thing to me.  Once I know the nuts and bolts of the content, I begin intuitively playing with the color, typography, shapes and composition until the piece carries new implications on a level where I myself can find new levels of meaning and hidden nuances.  At that point the piece has a life of its own- its own intangible agenda, if you will- and then I feel like I have done my work.

I also have a funny habit of making piles of semi paintings on small irregularly shaped or partial panels.  They feel a bit like puzzle pieces to me.  I rearrange them periodically until I find an arrangement that works fluidly as a cohesive whole.  

As well, I create text installations/interventions within my home and other spaces.  Those works come from a more poetic perspective and are derived from and constructed for their spaces- working with the architecture and energy already present.  I regard them as minimal partial narratives in the sense that they interject an implication for a story into a space. 


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We recently had a chance to catch up with multi-disciplinary artist Kristin Bauer. She has been a fixture in the Phoenix art scene for some time. She makes work, writes for art publications and even ran her own art gallery with her husband artist Emmett Potter. As an artist she bends and divides compositions that play with visual commentary; graphic figurations, clip art, over commercialized ironic consumer imagery and thought control propaganda. We were curious about her thought process and where she is headed with her new work. Check it out. 

You are married with kids. How do you manage it all? 

I’m married to an artist (Emmett Potter) who is die-hard supportive of me, and we exhibit our work together really frequently.  Having a partner who is also an artist is a tremendous gift- we both understand the necessity of time and space for making work and our lives really are constructed around art.  Emmett and I met when I was a single mom and we had studios in the same building- it was very tough back then to find time for my art.  At this point the kids have grown up around art studios and galleries, and even though they are only 6 and 8 years old they seem to understand and honor the need for creative space- there’s a real value for it in our home.  Being a mom and an artist does make my schedule totally insane sometimes, but above all it forces me to keep my priorities in check.  As well, it’s terribly important for me to raise daughters who know that they can pursue their passion and build a career out of it and have a family at the same time if they want to. It is possible to be fully present with both- you just have to be hella tenacious and smart with your time.

Tell us a little bit about the gallery you use to run? Any plans in the future to open a new space? 

Emmett and I had a gallery called Squeeze Gallery back in 2010-2011.  We focused on progressive contemporary art with a conceptual pop vibe and worked with some of the most fantastic artists.  It was never intended to be permanent, although it flourished tremendously and showed a lot of promise.  Since then Emmett has continued to do work as an art dealer and I have done a lot of art writing- so that’s our way of engaging with other artists in a business sense.  At this point we don’t have plans to open another gallery, but you never know where life will take you.  

Have you seen a change in your work at all within the past year? If so, what would you say that would be? 

In this past year I’ve begun taking a new interest in form and movement and establishing a sense of conversation within my work.  Within this approach I take consideration of where separate surfaces connect and how they move in space.  I create my work in a very flat hard edged manner, so creating works that move from the wall to the floor, or transition from flat panels into painted cubes establishes additional ways for the painted imagery and words to interact.  

Another change is the nature of the content I use. In a number of my works I began using new types of iconic references- some easily identifiable and others more obscure.  I like pulling from the distant past and recent past and combining elements from seemingly disconnected periods, such as Homer’s The Odyssey and Brave New World, or E.T. and MacBeth.  A friend and mentor of mine, John Randall Nelson, remarked that these function like “hybrid mythologies” and I thought that was a really astute observation. To me they carry an equal sense of weight and playfulness, but more importantly, an opportunity for a new open ended narrative to emerge.

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To learn more about Kristin Bauer visit her website right here

Any upcoming projects we should know about? 

I’m really looking forward to being in the show with  Bill Dambrova, Jel Martinez and Kiki Valdes in Phoenix this April.  That show is going to be fantastic.  Emmett and I are collaborating on another big mural in Phoenix as part of a huge mural event in early March.  Then, Emmett and I have a huge 3 month long show together at the Joseph Gross Gallery at University of Arizona, opening at the end of May.  The space is outstanding with huge walls and high ceilings, and the curator Brooke Grucella has brought a number of artists I respect a great deal into the space in the recent past- Ben Venom, Erin Riley, Gregory Euclide and Josh Keyes, amongst others.  So to do a show there is a real honor.  And, of course, I am stoked to show in Miami next November with a bunch of fantastic Miami artists with the Michael Margulies Artist Agency.  2014 is an exciting year.

Lowest point in your art practice was when? Highest point thus far in your art practice was when? 

That’s hard to say.  I feel like being an active artist is a balance between moving slow and steady enough to be present and hustling your ass off.  Woven into all of it are so many highs and lows- days where things fall into place magically in the studio and days where the work just isn’t coming together right.  I feel like if there was a lowest point it would have been several years ago before I knew well enough that this is just the rhythm of this whole rollercoaster and that “low points” really are an opportunity to find the “high points.”  Polarities define one another- so it’s all the same to me.  An art teacher of mine said to me a decade ago “After the breakdown comes the breakthrough.” In other words, without a hurtle, what would force you to jump higher? In that regard I view hurtles and “breakdowns” as a good omen of what is to come. The Wheel of Fortune is constantly in motion swinging us up and down- just got to keep on keeping on.

Whoosh back to the top!