New Prints from Cinta Vidal – Now Available Online

Cinta Vidal Prints

We released two prints with Cinta Vidal, one on wood and the other a giclee print, in conjunction with her opening ‘Gravities’. For those who were unable to attend the opening night, can now purchase one of the new prints online at Thinkspace Gallery’s shop. Prints will not be shipped until at August 15th, but there is still time to see the original works in person. Make sure to stop by the gallery this week before the show closes on August 13th. Thinkspace Gallery’s hours are noon to 6pm now through Saturday.

Cinta Vidal Prints

Cinta Vidal Prints

Cinta Vidal

Brutal Architecture
Edition of 50
17×18.5 inches (43x47cm)
Giclee print on 300gsm paper
Hand-signed and numbered by the artist
$75 each plus s&h

Printed by Static Medium

Cinta Vidal Prints

Cinta Vidal

Together Alone
Fine art wood print on 1/2″ birch with bright white finish
Edition of 50
12×12 inches (30x30cm)
Hand-signed and numbered by the artist
$120 each plus s&h

Printed by Prints On Wood

Two New Hand Embellished Editions from Brian Viveros Coming This Friday

Brian Viveros Print

Thinkspace Edition’s is excited to announce two brand new limited fine art editions from Brian M. Viveros coming this week. The first will be a hand-embellished and framed edition of his iconic ‘Fearless’ painting, which was featured at our sold out show with him this past March during SCOPE New York. The other will be a larger edition of ‘Viva Vaudeville’, which is taken from his sold out solo show from last November with Thinkspace Gallery.

Both editions are scheduled to be released this Friday, July 8th at 10am PST via this purchase link:

Shown above and below are images of Viveros embellishing ‘Fearless’. This special edition is bound to become his most sought after collectable, having more work completed by the artist’s hand than any previous print edition, making each a truly unique one-of-a-kind piece. There are only 33 unique and hand-embellished prints in this edition and each also comes matted and framed to Viveros’ exact specifics and high standards.

Brian Viveros Print

Brian Viveros Print

Brian Viveros Print

Brian Viveros Print

Brian Viveros Print

Brian Viveros Print

Brian Viveros Print

– Gold leaf paint added to really make each print shine, added into specific areas to really pop things off and bring this print to life.

– Color pencil throughout to add more fine detail and outlining, creating a nice glow.

– Subtle use of airbrushing to add shading and even more richness in color & depth to the image, going over the eye area, lips & red cape specifically, making the red really rich and just bleed off the print.

– Hand cut stencils used throughout, for added texture and depth.

– Each print includes a special stenciled DirtyLand character.

– Comes custom framed / hand picked matte & molding by the artist.

Final framed image to follow this Friday.

“I’m putting a lot of focused energy and time into each one of these ‘Fearless’ prints. It means a lot to me to give my fans something really special. This is an important piece in my career, taken from my sold-out SCOPE NYC show and was one of my largest paintings to date. It screamed hand embellishing to me, so I’m excited to put everything I got into each one of these. For the ultimate Viveros collector, this is a truly a one of a kind piece to own.  Each one different from the last, but each one screaming strong and ready for their new homes. Stay Fearless My Friendzzz.” – Brian Viveros

Brian Viveros
18×24 inches (45.7×60.9cm)
Framed Dimensions of 24×30 inches (60.9×76.2cm)
Giclee print on 300gsm stock
Hand embellished by Viveros
Hand signed and numbered by Viveros
Edition of 33 framed & embellished prints
Printed by Static Medium (Los Angeles, CA.)
Framed by Sherman Gallery (Marina Del Rey, CA.)

$600 each (plus shipping)

Hand embellishing by Viveros includes:
Gold Leaf paint
Gold acrylic paint
Oil pastels
Airbrushed highlights
Custom hand-cut stencils used throughout
Color Pencils

Acrylic paints

Grab yours THIS FRIDAY, July 8 at 10AM PST here:

Brain Viveros Viva Vaudeville Print
Brian Viveros
‘Viva Vaudeville’
16×21 inches (40.6×53.3cm)
Giclee print on 300gsm stock
Hand signed and numbered by Viveros
Edition of 125
Printed by Static Medium (Los Angeles, CA.)

$200 each (plus shipping)

Grab yours THIS FRIDAY, July 8 at 10AM PST here:

Brain Viveros Viva Vaudeville Print

PLEASE NOTE: There are no pre-sales of any kind, no special requests for a certain number, no in-person sales or pickups, and no holds.

Our online shop only accepts PayPal for payment. Please be sure your PayPal address is current. We will ONLY guarantee shipping to the address associated with your PayPal account. No exceptions, so please take a moment to look at your account before next Friday and verify all is current for us. We will ship worldwide. Thank you.
Get ready Dirty Troops!  

Jeremy Fish “Los Angelurkers” Print Available Online

unnamed-10Jeremy Fish’s latest print that was released at his opening June 25th at Thinkspace Gallery is now available online. The shows body of work was inspired by all the things Fish loves about Los Angeles; drawing on concepts and characters connected to friends and personal experiences, along with 70’s and 80’s pop culture. Clearly Jeremy Fish’s new print “Los Angelurkers” is screen printed in Lakers yellow and purple with his signature bunny riding along the coast. A perfect new edition to the home of any Los Angeles native.

 You can purchase this print through

Jeremy Fish
‘Los Angelurkers’
12×12 inches (30x30cm)
Four layer screen print with metallic ink
Hand signed and numbered by Fish
Edition of 50
Printed by Bloom Press (Oakland, CA.)
$100 each

New edition from Kevin Peterson : “Coalition II”

CoalitionIINew edition from Kevin Peterson available this Friday

Coming up this Friday, June 17 at 10AM PST at

Thinkspace Editions is excited to announce a brand new limited fine art print from KevinPeterson of his popular ‘Coalition II’ painting that was featured in our ’20 Years Under The Influence of Juxtapoz’ exhibition and is now the cover art for the new album from the Red Hot Chili Peppers, The Getaway, that hit’s stores nationwide this Friday as well (cover shown below).

Kevin Peterson
‘Coaltion II’
Open Timed Edition
16×30 inches (41x76cm)
Signed and numbered by the artist
Fine art print on 300gsm paper stock
$75 each (plus s&h)

‘Coalition II’ was printed by the amazing staff at Static Medium

This will be a timed release. This special print will be available for purchase from Friday, June 17 at 10AM until Saturday, June 18 at 10PM. A 36-hour purchase window for you to pick one of these beauties up before the sale will close. We’ll then print off the edition, followed by shipping them to Peterson to be signed and numbered in the amount sold during this special timed-release. This is Peterson’s first timed release and a way for him to give back to his fans and allow them all the chance to own a copy of this iconic image.

Click HERE to read an interview with Peterson by MOCA Jacksonville regarding his art being used by RHCP for their new album cover.

Kevin Peterson Red Hot Chili Peppers

‘Coalition II’ featured as the cover art for the new Red Hot Chili Peppers album that hits stores nationwide this Friday, July 17,

There are no pre-sales of any kind, no special requests for a certain number, no in-person sales, no in-person pickups and no holds. Prints will go on sale at 10AM PST this coming Friday, June 17 via our online shop at which uses PayPal as the primary payment method.

Please be sure your PayPal address is current.
It only takes a few moments to do so. We will ONLY guarantee shipping to the address associated with your PayPal account, no exceptions. Thank you and good luck with the drop this coming Friday.

Orders will not start to ship until early July, since the prints will need to be mailed to Peterson in Houston first to be signed and numbered. Please DO NOT inquire about where your print is at anytime before the end of July. We are planning to have everyone their new prints by the end of this July. If you live in the US, you will receive tracking details from us. If not, trust your print will be with you by the end of July. Please know we will not have the time or means to get back to everyone that places an order. Thank you in advance for your support and understanding.

‘Coalition II’ will be available this Friday, June 17 starting at 10AM PST at:

Kevin Peterson

Interview with Josh Keyes

Josh Keyes Interview Banner

Thinkspace Editions is releasing a brand new limited fine art print from Josh Keyes of his iconic ‘Goliath’ painting this Friday. In anticipation for the release of the print, we interviewed Keyes to find out his thoughts on the New Contemporary Art Movement and how he’s grown as an artist.

SH: You’ve been a part of the New Contemporary Art movement for over 16 years, graduating from school into an art environment hungry for your voice – how have you grown over the years and what are your feelings on the growth of the movement?
JK: I was fortunate and am eternally grateful to Hi-Fructose, Juxtapoz, Fecal Face Dot Com, and many art blogs out there for featuring my work at a time when there were very few venues for exposure. Back then I was still sending off slides and resumes to galleries and receiving lots of rejection letters. Times have changed dramatically and in favor of any emerging passionate artist out there. I guess I sort of fell into the lowbrow pop surrealist movement by chance.

I was a few years out of grad school and questioning everything, my work, and trying to digest my experience at Yale and find a way to break free from that tradition and find my voice. I think the kinship I found among this emerging movement was the fusion of lowbrow or pop surrealist and kitsch subject matter, realist and hyper-realist techniques, combined with a sincere expression of personal mythology, political, and environmental issues. I guess I would describe it as the emergence of personal folk or folklore. Jeremy Fish is one of the prime examples of this beautiful funky fusion.

Josh Keyes II

In my own work it began as a formal stylistic dialogue with what I felt was the conceptual vibe at Yale. An emphasis on formalism, and post-minimalist approaches to painting. The diagrammatic format I used spoke to the dry cerebral conceptual method, and I began to integrate and element of absurdity. The end result was an image that looked very rational and scientific, as if taken from a science text book, but on closer inspection, it becomes very surreal and odd. Working in this way kept my imagination going for a long time. It became an efficient pictorial device, allowing me to explore many important topics both personal and world related. At some point I wanted to create a more immersive world to expand and explore these ideas. I see many artist in this movement walking a similar path.

Each has a kind of signature style but it has changed and with some all but disappeared. Transforming into something new, the vibe is still there just new instruments, and maybe the voice has a wider range, life does that to you. The new generation of artists and work is diverse, vibrant and incredible, not only the level of skill, but the ideas and concepts have an immediate emotional appeal. Its almost like this new generation of artists is sitting around a campfire and telling stories.

The artwork from my generation of the movement had an evident reactionary vibe, the new wave has less reaction to an established aesthetic, its voice is not so much a carving of the way but a growing and harvesting of story, narrative, and a dance and celebration of personal imagery and fine-tuned technical craft.  There are sort of tribes out there, artists who work with animal imagery, bones, butterflies, realism, you name it no artist should feel isolated, someone out there is doing something like you and someone out there wants to see what you are making.

These folks are also very well versed in online self-promotion and networking. With the rise of social networking, some speculated on the death of the gallery system. I think in some ways the gallery is more important. These tribes of like-minded artist need a village where people can come and celebrate the unique voice and vision of that tribe and way of seeing the world. But, this is also the perfect time for the lone wolf artist, you have the power to self-promote and connect directly with your collectors. Both models are alive and valid. Something to be said for a wild party.

Josh Keyes

SH: What is your creative process? Has it changed now you are a father and a husband?
JK: Time is the main factor in deciding what gets done and how many paintings I can paint this year. Example, my daughter had a bad fever tonight, and I had planned on finishing this interview earlier and to work on a new painting. You never know what’s coming or when, never a dull moment. I suppose my work has become more introspective, almost meditative. I used to be consumed with the dark end of the environmental crisis, now there is a glimmer of hope and nostalgia, still no people around so I suppose it’s gloomy from a certain point of view. If you spend time with a baby you begin to see the world through their eyes, everything brand new, it’s a tremendous feeling and is kind of a reset button on all those things you thought you knew. It opens your senses and sharpens your perception of the world. It’s the closest thing to the source of the universe and magic. Definitely affecting the work I’m making.

SH: What does a day in the studio look like?
JK: The day in the studio does not start until 11pm and stretches till 6am. My wife and I both work from home so most of the day is spent with our toddler. It has been a challenge keeping up with deadlines and emails.

Josh Keyes Burning Car

SH: How do you deal with self-doubt or creative blocks?
JK: I don’t know about creative block, often I have too many ideas and often for very different work. In another life I was a performance artist, I do all kind of things, for me painting stuck. Self-doubt, that’s a constant for many creative types. I began questioning my approach to my work and style about six years ago. I felt I had explored a way of seeing from many different angles, I was itching to try something else, and actually, I think my work was restless and wanted to be free of the white space and cubic confinement. I think having a successful thread of work and shows was also weighing on my decision. I could continue making work that folks seemed to like and sold well, but was no longer resonating with the direction of my ideas. Or I could take a risk on my career, everything and try something new. It was difficult at first, and I got loads of criticism from tons of people, even very hateful emails. But you know, art is like life it’s got to have a chance to change and grow, otherwise, it gets stagnate, and both you and it loses its soul. So little word of advice to emerging artists, you will have one or a number of one hit wonders and as tempting it is to repeat them, go with your gut and stay true to your vision, you may be alone for a while but you will find others who share your voice and vision. Don’t ever be afraid to allow change and evolution into your work and style.

SH: You’ve compared the different phases of your work to that of exhibits in a dystopian museum, the specimens, and the diorama. In your earlier work with the white backgrounds and a dissected scene, it shows a lot of restraint as an artist, how did you come to develop that style and trust yourself to let it exist in its detailed minimalism?
JK: The diagrammatic format was a symptom of Yale. It was the last skin to shed. I really love minimalist art, and music, and was fortunate to have studied under Mel Bochner, he is considered to be the father of conceptual art in the US. He was also one of the most biting and severe critics at Yale. He thought most narrative painting should be in children’s books and that a painting without ideas is dead. It was rumored that during a final critique he told a student who was in tears, “I’d be crying too if this was my painting”. It was a tough program, and everyone there was broken down in some way, most emerged from the ashes a little scared but with incredible work. For me storytelling, narrative, mythological themes, these were and still are my primary interest. I think the conceptual atmosphere quarantined my personal expression into a Hirstien model of clinical surrealist anxiety. I think the style has been so much fun to explore and glad so many other artists have expanded on the style.

Josh Keyes

SH: Some artists develop deep emotional connections to each piece while others create a work and let it go; what is your emotional state from creating to showing?
JK: It may sound corny but I kind of go into a trance when I begin thinking work for a show. I have a set playlist and immerse myself in imagery, photos, novels that relate to the general theme. It kind of a personal walkabout but in your imagination. I close my eyes and see where my imagination takes me. Sometimes familiar themes or animals pop up and mini-narratives or epic situations emerge. I jot these down in a sketchbook as they come to me. Often a place will stimulate an idea, the warm light at dusk illuminating a car or tree, a stop sign with an odd graffiti tag. I’m always a little sad to see painting go, happy they do and know they are going to someone who the image resonates with. Sometimes it’s good to live with your work for a while, you have a chance to critique it or change it if need be. I suppose in the end making is cathartic, and I want to make more so though it is hard to see them too, I know they have many more siblings and offspring waiting to hatch on the easel.

SH: What inspires you and excites your creativity?
JK: My daughter and the world she shares with me is where it’s at. I think on the level of my personal mythology and imagery, I am interested in spaces that are overgrown, traces of a system or way of being that is no longer sustainable or healthy. The animals in my work speak more strongly to an emotional state or presence. In earlier work there was a lot of subtext, this means this and that means that. Nothing wrong with that way of working but it does limit the poetic vitality and reach of the imagery. I was creating work fueled with literary and satirical punchlines. I suppose I’m trying my best to paint some poetry, sometimes they end up looking like post-apocalyptic Kinkade.

Josh Keyes

SH: You received your masters from Yale and BFA from the Art Institute of Chicago, and like global warming the college system looks like a bleak landscape for those leaving high school and searching for higher education. As a highly educated artist, what would you say to artists considering your path? Can you break it down into a pros and cons list?
JK: Well I had my best years of education at SAIC, the teachers and students blew my mind. At Yale I learned how to cry in pillow at night. Thanks to the internet, you can learn just about any skill, technique, you name it. Artists can also build and manage their own art business. If you have a unique product that people want and you can get to them, you can achieve good deal of success. Art school can help you to find your voice, and perfect your skill, and also help you network with students and faculty that have relationships to galleries and museums. In other words, school will help to give you a sophisticated edge if you are climbing up a certain career ladder. You also learn about yourself, and where your vision and voice stands in relation to art history. Art school is expensive. I spent years paying off $30,000 in student loans. There is also no guarantee you will become an art star when you graduate.

After I graduated from Yale, I looked around for teaching jobs and found nothing. I ended up working at Utrecht and Dick Blick art supplies for seven years after graduation. That was actually an amazing way to learn about what it’s like to be an artist. I met many famous artists and also you learn a ton about art materials. I made work all that time even though I was not showing at a gallery, I treated my work like a second job, and painted nearly every day. I got lucky when someone posted my work to an art blog back in 2001, and opportunities and interest took off from there. You don’t need to go to art school, but if you want to teach art, most schools and universities require at least a BFA. Also, if you get stuck, you have been working on a style or theme and just don’t know how to improve the technique or would like more depth of content and subject matter, a class at a community college, workshop or full-time art school can help to inspire you. I think there is an invisible “thou shalt” or “thou must” in a lot of life, just taking a moment to do an internal inventory and see what is right for you, not what anyone else tells you, go with that, your gut is always right.

Josh Keyes Rino

SH: If your personality was depicted in pizza toppings, what would that pizza be made of?
JK: Ah pizza, thanks now I want some, what’s open at 3am. I’m not sure, my pizza is upside down, its challenging to balance it.

SH: If your art was an ice cream flavor, what would it be made of?
JK: It used to be a sorbet with maybe something salty at the center, polite but snarky. My recent work feels like a Ben and Jerry’s everything and then rolled through some moss.

SH: What is your favorite time of day?
JK: When the sun is going down and everything is illuminated with that warm orange light. I call it the Edward Hopper hour. If you know his paintings you know what I mean. It’s that incredible glow that feels like it came from a Mark Twain novel, if I’m driving somewhere, I have to pull over and just be with it.

Born Free Josh Keyes

A portion of the proceeds of the print will be going to Born Free USA a non-profit to help save the world’s animal population.

About Born Free USA:
Born Free USA is a national animal advocacy nonprofit 501(c)(3) organization, contributions to which are tax-deductible. Our mission is to end the suffering of wild animals in captivity, rescue individual animals in need, protect wildlife — including highly endangered species — in their natural habitats, and encourage compassionate conservation globally.

Every year, millions of animals suffer in fur farms and circus cages. In our campaigns against such cruelties, we use powerful tools including legislation, public education, litigation, and grassroots networking. We also work actively with media to spread the word about challenges facing animals.

Our primary campaign areas currently include animals used in entertainment, captive exotic animals, trapping & fur, and the international wildlife trade.

Josh Keyes Bear and Buck