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To the left, is a new(ish) art print that will be available (along with two color variants) at an upcoming joint exhibition with Mark Brabant, Punchgut, and Crystal Benoit called Comb The Field. This print will also serve as the artwork for the Chicago band, Save the Clocktower's upcoming album.You'll also notice my poor, dormant bicycle, which I put a good number of miles on this year. I'm very much looking forward to riding again, as soon as weather permits (ha, like it would any time soon).
I just signed my last stack of posters for 2010, a poster for the Comb The Field exhibition. I've printed close to 50 different items this year between art prints, gig posters, and one run of CD jackets. I met tons of amazing, friendly, talented, and generally rad people. I also discovered curry ketchup, sweet potato and kale burritos, fostered a couple of dogs, and ground the trucks on my skateboard into the axle.
It's been a blast, and I'd say I'm looking forward to 2011. Oh, how convenient! Here it comes.
Ten years ago, when I was sixteen, my brother gave me a CD for Christmas. It was Jawbreaker's 24 Hour Revenge Therapy, a purchase inspired no doubt by my incessant (but un-acted upon) declaration that I had to get more music by the band.I first heard the opening track from Unfun--a well-known little number called "Want"--in '97 or '98 in a skate video we had. I didn't know anything about this band, much less that they had broken up at least a year before I'd ever hear them. But I specifically remember thinking something along the lines of, "I didn't know songs could be this good!"I spent the next couple years getting more deeply acquainted with the world of punk rock, and while I would regularly watch that skate video (sometimes just to show that song to people or to hear it again myself), I wasn't able to find a copy of Unfun.Anyway, in 2000, my brother surprised me with a copy of this album for Christmas, and I listened to it almost right away. Chris Bauermeister's thick, percussive bass playing in "The Boat Dreams From the Hill" had me hooked instantly. Blake Schwarzenbach's lyrics are punctuated by an honest introspection that lacked the crassness of those of some of the other bands I was listening to at the time. The music was punk rock (although Jawbreaker was never afraid to play slow), but the words were legitimate poetry. And I was just old enough to kind of understand it.I enjoyed the critical perspectives taken in the songs, "Boxcar" and "Indictment." I could relate--especially as an adolescent who dealt with anxiety and mild depression--to some of the sentiments of despondence that adorn various parts of the record. I marveled at the provocative mood (not to mention the stunning instrumental conclusion) of "Condition Oakland." But at sixteen years old, I could never truly grasp the song's expression of distance and frustration.When we were kids (even kids who were about five years late to the party), Jawbreaker just rocked, and they were different. That's why I liked them. I've held 24 Hour Revenge Therapy in my top five favorite albums of all time for the past decade, but as I've gotten older, I find myself appreciating the record for entirely new reasons.I'm now the age that the guys in Jawbreaker were when they wrote many of the songs on this album. I was discussing this with a few friends recently. We all could say we loved this album since high school, but it wasn't until I got into my mid/late twenties that I really get an idea what a lot of these songs are saying.
On top of that, I've come to really appreciate the production quality of this album. The roughness is an important part of its honesty. It's an actual sonic documentation of moments in time, rather than a bunch of disingenuous studio magic like autotune, sample-replaced drums, and other shameful practices of total poseurs.
There remains a whole mess of excellent music out there, by both active and defunct bands. I continue to discover music that excites and interests me. While I have a growing list of bands to investigate further, I look forward to another ten years with 24 Hour Revenge Therapy.
Thank you again, Garret, for my favorite album and one of the best gifts I've ever received.
I'm sitting at the kitchen table, hanging out with my roommate's dogs while I make this post. Sorry for the sporadic updates here. I've been really busy getting a bunch of illustrations finished (including the one to the left, which will be one of two pieces from me for Save The Clocktower's upcoming album), as well as trying to get my new site finally up and running.
Speaking of the new website, it is now up (same URL and everything) as of this morning. It looks pretty much just like the old site, but some adjustments have been made, which should make the whole thing easier to navigate. And what's this? Why, it's a brand new webstore! Check out the new site: www.justinsantora.com
Lastly, there are still a small number of spots in the 2011 subscription, but it's filling up. Get in touch with me if you're interested in reserving a spot. Maybe you are interested but would like to know more about it. If only there was some sort of web-based conglomerate of text and images that neatly outline just what the 2011 print subscription would entail (along with slick navigation and a brand new webstore) that you could visit. Oh, wait. There is! Right here.
Lately, I've done a few art prints that have a much more "panoramic landscape" sort of composition. They can be quite fun. A portion of a relatively new print is depicted to the right. The original art for the two houses in this print were actually shrunk on a photocopier (rather than enlarged). A friend told me that this can make detailed drawing look tighter, and I was happy to try it out on this one. It's an especially nice technique to employ when drawing things like houses or other detailed structures that can be hard to render at a small scale (for me, at least).
In the wake of Art of Musical Maintenance 7, there are a few otherwise unavailable posters of mine now for sale at the Goodfoot website.
Click on an artist's name and see what's available! They've got the remaining copies of my Foals, Dinosaur Jr., Black Keys, and Flaming Tsunamis posters. And a couple of the those Appleseed Cast variants. Not bad, eh?
Also, stay tuned for a new and improved justinsantora.com! My pal Jaline is helping me out, and it should be up and running very soon. The new site will have a much more cohesive store along with some new (and old) items for sale, including prints from the recent Expeditions For Momentum show.
2011 Print Subscription
For the 2011 print subscription, subscribers will receive one of each print I produce for the entire year, which includes all art prints and gig posters. Subscribers will receive matching edition numbers, there will also be a small closed edition for subscribers only, and each subscriber will receive an original drawing and one of a kind test print.
Between art prints and gig posters, I have produced around 40 printed editions this year, with at least four new art prints on the way.
For 2011, I intend to produce a similar amount of work (an estimated 40-50 prints); and I hope to keep honing my skills, working with new bands, and constantly be dreaming up new ideas of art prints.
Pricing:
US & Canada, $450
International, $510
Please note that the difference in price is only to help cover the costs for overseas shipping. Payment can be made through Paypal or with a check/money order. Payment plans/flexibility is available, as well. Please contact me to reserve a spot or if you have any questions: justinsantora [at] gmail.com
http://www.justinsantora.com/subscription.html
To the left, is a new(ish) art print that will be available (along with two color variants) at an upcoming joint exhibition with Mark Brabant, Punchgut, and Crystal Benoit called Comb The Field. This print will also serve as the artwork for the Chicago band, Save the Clocktower's upcoming album.
