{"id":2365,"date":"2007-09-15T01:32:41","date_gmt":"2007-09-15T00:32:41","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=2365"},"modified":"2008-07-21T15:02:47","modified_gmt":"2008-07-21T14:02:47","slug":"avaf-at-mao-mag","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2007\/09\/15\/avaf-at-mao-mag\/","title":{"rendered":"AVAF at Mao Mag"},"content":{"rendered":"

\"avaf.jpg\"<\/a><\/p>\n

New York-based Mao Mag<\/a> seems to have a predilection for a particular brand of psychedelic imagery if recent issues are anything to go by. Peter Max<\/a> was on the cover of #8<\/a> earlier this year and appeared inside together with a feature on the equally eye-popping work of Kenny Scharf<\/a>.<\/p>\n

For #9<\/a> it’s the turn of AVAF aka Assume Vivid Astro Focus<\/a>, a Brazilian artist also based in NYC whose paintings and installations combine a psychedelic vibrancy with frequent gay themes. The work in the magazine looks considerably more interesting than the show I saw at Tate Liverpool in 2005 which seemed to suffer from bad lighting and being separated from the Summer of Love<\/em> exhibition it was intended to complement.<\/p>\n

Elsewhere on { feuilleton }
\n\u2022 The gay artists archive<\/a><\/p>\n

Previously on { feuilleton }
\n\u2022 Heinz Edelmann<\/a>
\n\u2022 Verner Panton’s Visiona II<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

New York-based Mao Mag seems to have a predilection for a particular brand of psychedelic imagery if recent issues are anything to go by. Peter Max was on the cover of #8 earlier this year and appeared inside together with a feature on the equally eye-popping work of Kenny Scharf. For #9 it’s the turn … Continue reading “AVAF at Mao Mag”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2,5,43,44,17,41],"tags":[585,364,1199],"class_list":["post-2365","post","type-post","status-publish","format-standard","hentry","category-art","category-gay","category-magazines","category-painting","category-psychedelia","category-sculpture","tag-heinz-edelmann","tag-peter-max","tag-verner-panton"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-C9","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/2365","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=2365"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/2365\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=2365"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=2365"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=2365"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}