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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)

Posted by ArtInterviews Views: 4,063
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

(interview continues below) 
 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.
(Interview continues below)
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)

#artherradura - Kiki Valdes - Miami .

Posted by KikiValdes Views: 6,290
Well it's Art Basel week and the final contest for Herradura's barrel art project is coming to a finish.  It's truly been an honor being involved in this amazing program and I really learned a lot from working on my barrel and learning from all of the artists involved.  When I think back at this whole experience I think about all of the new friendships I have developed through this and seeing the world a bit differently. 
I  also think about my family and good friends that have helped me throughout this experience wether it be showing moral support or helping me move the barrel around the backyard or playing congas to inspire me and remind me of my roots and where I came from. 

The day after I won the Miami prize I thought it would it be interesting to post the barrel up in different parts of the city of Miami in places that mean a lot to me and where I grew up.  Every part of me started here. My first art class, my first art fair to where my parents first stepped foot in this country.  It all started here.  I hope you enjoy the photos. Thank you for letting me share this experience with you -  Kiki Valdes 
Images by: Rudy Perez 

Local Crit - Group Show - Nov. 27th

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Interview: Cynosure Andrew-Lozano

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Cynosure Andrew-Lozano
Cynosure Andrew-Lozano
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1. How did you first get into Guitar-making? Did you have a mentor starting out?

A lot of my art is built on a multitude of influences and inspirations, surreality and reality, Modernism and Postmodernism…I am directly and indirectly influenced by everything I see and everything I think. From an early age, music was the most impactful source of expression and individuality that I could identity with. After growing up listening to bands from The Beatles, The Eurythmics, Led Zepplin, Gary Numan, Marilyn Manson and The Sex Pistols to name very few, I realized another world existed. A world full of unlimiting potential, self-expression and creative ideologies. I had always wanted to be a part of the music industry, whether that meant playing in a band or otherwise. After self-learning how to play the guitar from the rudimentary, yet fundamentally important, guitar scales to semi-advanced shredding, I knew this was a life-changing paradox. I wanted to create something new, not just conceptually but physically; and since I knew how to play Guitar, it just seemed so natural to progress into the mechanism of the instrument and its creation. I had never had the luxury of knowing Guitar-builders nor taking any wood-working/carpentry classes, but purely relying on my own skills, honing my talent, putting tools to wood and creating the objects that I had birthed in my mind. After much research I set out to build an Electric Guitar, focusing my study of research into the engineering aspects that made a Guitar what it is. In particular, using specified wood varieties for sound delivery, stylistics and conceptualization for aesthetic appreciation and technology for innovation. Utilizing my own designs based around ergonomic comfortability and visual specification, the Cyberpunk Guitar was born. Ultimately, in each of my Art creations is a systematic message and representation of reality expressed through a variety of metaphor - this progeny was concepted through the decadence and degradation of a dystopic future dichotomized with the ever-evolving obsession with technology and dataspheric information. Always maintaining its distinction as a fully-functional instrument, this Guitar no longer aspired to the demographic of cliche models, more a departure, an aberration of commonality and into the realm of surrealism and art.

You are so good with detail, what's the preparation for it and is it okay to make mistakes with this kind of work?

I always spend a vast quantity of time designing my Art, but adhering continuously to the concept I choose to base it upon. From the construction of the shaping to the meticulous detailing of small intricacies, the Guitar exists on paper before the chisel carves the wood. Mistakes are common-practise and always accidental, yet inevitable…without the advantages of computerized assistance, human error is somewhat ineludible. Mistakes, dependent on their severity, can mostly be incorporated into the design, whether obvious or not…sometimes mistakes are serendipitous and add to the complicity of the concept.

Do you play your own self-made instruments?

Yes. In order to build Guitars, you need at least a basic acknowledgement of playability. The famous 20th century Russian composer, Stravinsky once said, "…Musical form is close to Mathematics - not perhaps to Mathematics itself, but certainly to something like Mathematical thinking and relationship…"

Guitar-building and Luthiery is indeed implicit within Mathematics as you are always calculating, using Mathematics in angles, design, scale, parameters, permutations and precise measurement. Playing the Guitar is much the same…to work as both a Luthier/Artist and a Musician utilizes the balance of a mutualistic-symbiosis needed to create my instruments.

You made your very first Acoustic Guitar recently. How is it different than making Electric ones?

Acoustic Guitars differ greatly in manufacture to Electric Guitars…undoubtedly, it is an entirely different process. From the design aspects to the manufacturing-tools needed, the Acoustic Guitar has its own set of ideals and idiosyncrasies…unlike the Electric Guitar, the Acoustic relies heavily on the vibrations of the wood-open space ratio. Without prior knowledge of Acoustics (and a deal of ignorance), I had to research and learn the construction methods, the wood parameters, shaping, thickness, bracing and countless other facets; building an Acoustic Guitar was a laborious challenge in itself. I built an Acoustic Guitar for the Herradura Tequila Barrel Art Program, in which I built my first Acoustic from a Tequila Barrel. featuring an abundance of synonymous metaphor to relate to the History and Culture of Mexico; fortuitously, the barrel is curved and as I composed its architecture of the guitar on the Mariachi Guitar (well known for its arched back), it was simply a matter of developing a stable design to incorporate and necessitate this feature. Electric Guitars depend ultimately on the 'Pickup' or 'Humbucker' which are essentially copper-coiled magnets that act as a Transformer, enheightening the sound output of the the plucked/strummed strings. this is the reason that you see Electric guitars built from an assortment of materials, such as wood, metal, composite, carbon-fiber, plastic, plexiglass/perspex, whereas the tonal qualities of the Acoustic Guitar are delivered by resonant, porous and malleable materials, namely, wood…thought, you can research and find the odd carbon-fiber or metal Acoustic but thats certainly not the norm.

you mentioned that you work with themes of PostModernism/PostApocalyptica. Can you explain further, what do you do for keep-up with the trends of the industry?

The Guitars I build are unique in most ways. I do not adhere to any industry-standard method with an exception of the Mathematical scale length and composition of materials used to maximize the soundscape. My Guitars primarily focus on Industrial aspects, taking inspiration from surrealism, literature, cult film and music. Essentially, I create a physical representation of what is in my mind. Currently, I am working on a series of guitars each focused on the concept of Postmodernism and PostApocalyptica yet with individual thematics. For instance, the Cyberpunk Guitar, as aforementioned, is a 25.5" scale, Swamp Ash solid body with a real working fan, skeletal framing and light-up LED fret-markers…certainly not something you'd see in a Guitar shop!! the fan serves no purpose other than as a manneristic purveyance of Postmodernism…a stylized art-form that literally delivers a creation devoid of practicality or understanding. I do keep-up with trends of any industryas, to me, this is something of a conformist approach to produce inferior work. I have my own style, my own influences and inspirations and aspirations. I cannot accept categorical reasoning nor compartmetalized ways of thinking. I believe that life is quantum. Everything exists in fluidity and it is the greatest travesty of human nature to believe itself to be subject to socio-ritualistic methods and practices. I am an artist, a creator, an inventor, an innovator...not just in relation to guitars and the industry, but every single aspect of my life is unbound by limitation. 

Making a Guitar is an art-form, but have you dabbled with more traditional fine-art mediums?

I am an artist firstly before anything. I do despise labels in any form as its not natural to me in any sense or demographic. I can produce fine art or plastic art or visual art, though whatever the medium, I consider myself an Artist without any prefix. 

I used to paint in both Water Colour and Oil mediums, but was always attracted to more 'physical' realms of expression. 

You may notice I am comfortable to use the term 'Artist'. This is because I do not consider it a label, per se, however, a means of identifying characteristic traits of professional approaches to such mediums. Art to me is GOD, and to me, GOD is Art. The definition of 'CYNOSURE' in the dictionary is "…something that attracts attention by its brilliance…". My name itself is another word for visual captivation, or 'Art'. In essence, Cynosure is Art and Art is Cynosure. 

Any words for anyone wanting to get into Guitar-making?

Research. Create your own style and personal approaches. If you want to be recognized as an Artist or individual, you need to acquire a 'signature',  both artistically and dynamically. Have you ever heard of the Charles Caleb Colton phrase, "…imitation is the sincerest form of flattery…"? Well, in the Art-world, this does not pass. If you want to be like me, be yourself.

To learn more about cynosure andrew-lozano visit his site right here. 

post modernism/PostApocalyptica art guitar maker Cynosure andrew-lozano takes some questions about his non-confirmist way of being.  

Local Crit - Wed, Nov. 27th 2013

Posted by ArtInterviews Views: 4,174
L   O   C   A   L     C   R   I   T 
Presented by: 











Presented by:
Michael Margulies 
Artist Agency 
Opening Reception: 
Wed, Nov. 27th 2013 
Show runs Jan. 21st  

300 SW 1st Ave. Suite 1300 Fort Lauderdale, FL 33301 (at Las Olas Riverfront) /


Herradura Art Program - Kiki Valdes - #artherradura

Posted by KikiValdes Views: 8,548

Leveraging its long established art platform in Mexico, Tequila Herradura will be sharing their history, heritage and passion for crafting quality tequila with art aficionados nationwide through the Herradura Barrel Art Program.

For our Tequila, the oak barrel is the final stage in our creative process, the aging period where each handcrafted batch develops its individual character. For 80 professional and emerging artists, these same barrels will serve as departure point for the creation of a unique work of art.

We know how to craft great tequila—the finest in the world. We have selected great artists to make great art. We understand that to create something interesting you need freedom, so we only made one rule: the artists have to use the barrel. How they use it is entirely up to them

"Amigos de Herradura
2013 - (Oil paint on tequila barrel)
For me it was important to display the wonderful and original shape of the barrel. I challenged myself into making a 365 degree angle painting on the surface. By doing this, there is no front and no back to the art piece. The painting and imagery is a testament of where I am at as an artist. In the same way I did not take apart the barrel, I did not chip away at the direction of my work. The barrel and the art are united as one without compromising each other. There is a long history of how the tequila is made, there is a history to my life and how I make my work. This is truly what my art barrel is about. I wanted to show enjoyment and togetherness with the abstract figures and colors, just as Herradura and I are coming together with support and friendship
All photos are works in progress. The finished piece will be presented on Nov. 12th in South Beach.