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Losing Virgil Abloh last year was a genuine tragedy, but the Brooklyn Museum is ensuring the late visionary’s legacy lives on through a new survey exhibition this summer.

Running from July 2022 to January 2023, the show is based on the first Abloh retrospective that was held at the Museum of Contemporary Art Chicago in 2019. Again titled “Virgil Abloh: Figures of Speech,” it will be devoted to the work of the genre-bending artist and designer, who died last November from a rare and aggressive form of cancer known as cardiac angiosarcoma.

Curated by Michael Darling and Antwaun Sargent, the exhibition will showcase a mix of fashion, large-scale sculpture, immersive spaces, videos and sketches spanning nearly two decades of Abloh’s career. The variety of different mediums is itself a testament to Abloh’s versatility: He started out as the artistic director of Kanye West’s creative agency Donda in 2010 and ascended to the position of artistic director of Menswear at Louis Vuitton, achieving an extraordinary amount in between.

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As the Brooklyn Museum said in the announcement of the 2022 exhibition schedule last week, his prolific work helped “reshape notions of contemporary fashion, art, commerce, design and youth culture.” Not to mention, Abloh was an advocate for diversity and inclusion and helped pave the way for emerging creatives. For instance, 200 pairs of Louis Vuitton Nikes that he designed were recently auctioned to raise funds for the “Post-Modern” Scholarship Fund that he launched.

As you may expect, this is not the only Abloh tribute of late. Last November, Louis Vuitton’s “Virgil Was Here” spring 2022 menswear show in Miami was dedicated to the life and legacy of the designer. And, just last month, the French fashion house showcased the his final collection at a poignant runway presentation at Paris Fashion Week. The label has even released a new bag collection to commemorate the seventh season of Abloh’s collection at Louis Vuitton.

Straight out of what feels and looks like the late 19th century comes artist Gregory Allen Page with a new take on the Impressionism art movement. Despite the fact that it was initially met with disdain and disapproval, Impressionism broke barriers in the history of art. And just like the period that he enlists to create his art, Page forges ahead adding new technique to enhance the now well-revered idea of Impressionist art. With inklings of the renowned Impressionists Renoir, Manet and Monet, the essence of Page’s art takes on an Impressionist tone with an essence of spirited modernity.

While many of the late Impressionists often painted landscapes and static scenes, in Page’s work, he utilizes the technique and style of the historic art period and furthermore amplifies it by capturing exuberant scenes of life, charging each one with vigor and dynamism. But it isn’t in his subjects alone that he infuses a sense of movement realism. In his rich and tangible brushwork, Page generates raw energy, in the movement he creates on a canvas.

After constructing a vast collection of paintings, Page has even merited a review that regarded him as “Van Goh-esque with a pulse.” In his painting titled “Cilia Flowers” this is more than evident. Page brings the scene of a landscape to life with vibrant colors and movement realism. Between his use of opulent hues of green and blue, Page animates the painting, capturing what feels like the languor of an evening sky and the breeze that blows below. The artist credits his creative freedom for his ability to condense real movement into a painting.

“The soul of the painter is in the freedom of his hand and the brush,” he says.

For more information on Gregory Allen Page and his modern take on the era of Impressionist art, visit artshopltd.com

“The soul of the painter is in the freedom of his hand and the brush.” – Gregory affirms.

As a passionate student of the human condition who draws inspiration from the world around him, much like the late impressionist masters of the nineteenth century did, Gregory Allen Page has established himself as a critically acclaimed artist who challenges the current status quo of contemporary art.

With every stroke of his brush, the timeless thread that unites masterful creative minds of all periods is expressed onto the canvas, liberating Gregory and allowing him to manifest his own vision of each subject he chooses to paint, granting a poetic sense of permanence to moments that would´ve otherwise been washed off the annals of history.

The desire to connect with art aficionados around the globe prompted Gregory to launch his own digital gallery and online art marketplace, which enables the acquisition of original works by connoisseurs in different corners of the earth.

While many of the late Impressionists often painted landscapes and static scenes, in Page’s work, he utilizes the technique and style of the historic art period and furthermore amplifies it by capturing exuberant scenes of life, charging each one with vigor and dynamism. But it isn’t in his subjects alone that he infuses a sense of movement realism. In his rich and tangible brushwork, Page generates raw energy, in the movement he creates on a canvas.

Through each individual body of work, Gregory Allen Page compels the viewer to imagine an alternative reality, getting lost inside a palette that makes one reminisce of a simpler, more authentic time.

The bold, the daring and the non-conformist have always felt a magnetic attraction towards those brands that allow them to fully express themselves, without restrictions – Factory Error has emerged as a full scale disruptor within the hyper-competitive streetwear industry.

However, the unapologetic design styles and superior quality fabrics have helped this irreverent imprint become a part of today´s pop culture firmament, challenging any pre-conceived notions the public might have had about what it truly means to be a renegade.

Texas natives and founders of Factory Error, Ashton Smith and Brayden Russell have spent hours in photoshop to create unique graphic designs for this demand in the marketplace.

Factory Error would not exist if Smith and Russell did not recognize each other’s custom pieces at the local skatepark. The two have similar tastes and backgrounds, including family members who played in heavy metal bands like Pantera and Pearl Jam. This, in part, was inspiration for their pieces which consists of distinctive grungy designs, each with their own message.


A new collection named “Culture Shock” will be available in the near future, allowing the cult-like following this brand has developed in an unprecedented amount of time to acquire new gear and continue using Factory Error as a source of personal identity and pride of ownership.

Despite being a new company, the brand continues to sell out within a week of each release. Factory Error’s customers may be a niche group, but it’s a group that will carry influence on social media. In a world of fakes, the authentic ones tend to stick out.

Our suggestion is simple: don´t sleep on this brand, because sooner rather than later you might see more and more people discovering and following the new trend that Factory Error has inadvertenly created.

While France’s late 19th century artists Monet, Manet and Renoir remain highly revered in museums across the world, artist Gregory Allen Page redefines what it means to create art in the Impressionism fashion. Starting with the Impressionist technique and value of realism, Page’s collection of work is an interpretation of varied scenes and moments of life, both human and natural. Yet where Page differs from most Impressionists is in achieving movement realism in his paintings.

With his bold, bright colors and rich brushwork, he manages to find the romanticism of a scene or subject and marry it with authentic profundity of life. In turn, Page’s objective it not to capture what looks like a photograph, but instead, a real-life depiction that possesses the actual energy of the subject, through painting. As a modern impressionist, he achieves continuity between art and nature, with injections of movement realism. In doing this, Page’s art has merited reviews ripe with praise.

“The rich brushwork and color found in his paintings meld well with his subject matter, focusing on spirituality, love and beautiful life experiences.”

Thanks to an extensive scientific understanding of light and color, Page’s process while painting is not just attributed to following feeling and energy. Instead, he is able to use this knowledge to create an enhanced sense of authenticity and energy in his subjects by focusing on the movement in life. This practice is evident in all of his collection. Despite a great number of paintings in his collection, there is no reduction in quality.

In his painting titled “Arches,” Page captures the perspective of one standing under a grandiose ceiling with towering pillars and arches reaching up into the distance of what could perhaps be a European cathedral or royal estate. Through a subject that in real life is otherwise static, Page paints with the Impressionist technique, but with his added flare for true reality. Through “Arches,” one feels an overwhelming sense of wonder as if they were actually standing below, admiring the grand architecture of a Roman cathedral. In succeeding to replicate a sense of Impressionism with an enhancement for life and energy, Page continues to break barriers in the art world, transcending labels and genres, forging his own path of art.

For more information on Gregory Allen Page, please visit artshopltd.com.

Throughout the ages, art has served as mankind´s primary way of individual and collective expression. To tell the stories of our world, artists have found inspiration in nearly everything around them.

With the rise of digital and social media, not surprisingly today’s art forms have been increasingly shaped around the rise of “Instagrammable” culture.

This over-simplified and hyper-connected lens through which we have come to perceive the world around us has threatened the contemporary art world in more ways than one.

Seeing the void of sophistication and continuity with the past that this has created, the visionary and academically grounded contemporary artist Louis Carreon has set out to inject the profundity of the historic into today’s iconoclastic pop art.

Carreon’s body of work carries religious iconography and salient historical vignettes into modern designs that dovetail with today’s more gritty and rebellious art movement.

For instance, his new sculpture, the Rise of David inspired by Bernini, takes a classic foundation of the original religious sculpture and overlays it with modernist motifs of materialism and street style.

In this manner, Carreon is able to restore the potency of religious iconography in current culture, and also show a rare glimpse of how the two modalities would intersect and intertwine if they appeared contemporaneously.

For more information on Louis Carreon and the Rise of David, visit his Instagram page.br/>

Fairytales come in different forms. In the hands of Mexican artist Manuel Flores (Mafloku) they are expressed through painting.

And just as fairytales from the land of Grimm gave us the purest and simplest expression of our unconscious, so do Mafloku’s paintings offer us clues into our collective psyche.

Painted in watercolor, at first his scenes appear light and airy. A closer look reveals there’s more there than what meets the eye.

An example of their mystery can be seen in no veinticuatro, in which a masked girl holds the detonator for sticks of dynamite:


Mafloku’s Images resonate like scenes out of a distant childhood. They ignite long forgotten and primal memories.

How is it possible for such simple and clean images to accomplish so much?

According to Mafloku, ”The only thing I do is let the ghosts we all have inside speak in color.”

Indeed, his images are both innocent and vaguely malevolent.

When we asked Mafloku how he would describe the intent behind his paintings, he said, “I´m asked about this often. In the most general sense, people want to know what they mean, what they say, and why. But the most valuable thing, much more than my intention, which is irrelevant, is when the beholder explains them to me.”

In fact, there’s much to puzzle over, as with no diecisiete, in which a corpse in a top hat sits at a cash register as money flies out of the drawers.


The surprising thing about Mafloku’s trajectory is that he only began painting recently, and had no formal training. Yet the images and his composition are extremely sophisticated. He explains that in his multifaceted career – working in finance, both for the Mexican government and the private sector— he was very successful. He felt, however, that something was missing.

In just two short years Mafloku’s paintings have caught fire. Mafloku says, “I’ve been very positively surprised by how my audience connects and interprets my work and how particular pieces make people feel. What makes me the happiest of all is that it detonates something in the viewers and owners of the pieces. This is what it is aimed to say and represent, those things you may feel either consciously or subconsciously but can’t quite put a finger on it, and unknowingly you might even share with those around you.”

Indeed, Mafloku’s work offers us entrance into a mysterious world. Apparently a community of people have been responding in the same way. For more of his work, visit his collection on his website at www.mafloku.com.

Join us on Saturday, November 30th for our annual art exhibition, “Shifting Perspectives on Trauma”! This event promotes awareness and healing through expressive artistic interpretation. Presented by The Perception Project, a 501(C)(3) non-profit organization that pairs volunteer artists with survivors of trauma (muses) to promote healing through expressive outlets. The muse provides the personal story, and the artist creates a masterpiece showcasing the muse’s strength, inner beauty, dreams, and ambitions. These works are featured through art exhibitions designed to promote awareness, then gifted to the muses as a symbol of their resilience.

Also join us on December 1, 2019 for a creative afternoon of art therapy workshops hosted by Lasting Impressions. Explore the expressive benefits of art, drama, and music therapy. Learn about the inspiration behind the exhibition’s artwork directly from the artists during our Artist Panel! Meet the team in an intimate private gallery environment.

About The Perception Project

The Perception Project is a 501 (C)(3) Non-profit organization which pairs volunteer artists with survivors of trauma (muses) to promote healing through expressive outlets. The muse provides the personal story, and the artist creates a masterpiece showcasing the muse’s strength, resilience, inner beauty, dreams, and ambitions. These works are featured through art exhibitions designed to promote awareness, then gifted to the muses as a symbol of their resilience.

Featuring artworks by Carolyn Schlam, Travis Flack, Christiana Lewis, Erin Schalk, YoonAh Jung, Gregg Chadwick, Kathleen Rogers, and Jose Hernandez.

The Perception Project’s community partners include Larry Levi, M.A., MFT, Anna Selena Cho, M.A., PsyD, LMFT, ATR, and Strength United; a CSUN community agency.

Free admission is available at www.ThePerceptionProject.Eventbrite.com
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In just two years, New York City based artist, Jarren Frame has built a foundation unlike anything we’ve seen before.

Frame was born in 1990 in Johannesburg, South Africa. He later moved to the United States where he studied at George Washington University, majoring in finance in 2009, as well as New York University, earning his masters in finance in 2014. After working in various capacities at the likes of The Carlyle Group, Burch Creative Capital, Scout Ventures, and Nedbank, Frame held his first exhibition at The Sixty SoHo Hotel on the second level space, now known as the Butterfly Bar and filled with works by Damien Hirst.

Already on display at world-renowned hotels and restaurants, and sought after by blue chip collectors and notable art patrons alike, we sat down with Jarren Frame himself to uncover the story.

Can you tell us how you made the jump from finance to art?

I learnt to paint and draw as a child, part of the curriculum at school where we were taught the basics of painting and drawing. I don’t think there’s much more technical knowledge one needs beyond that.

The idea of earning a living through art always lingered at the back of my head, but I knew that to conquer these awful failure rates of becoming a successful artist, I needed to be able to make art independent of the art market so I worked in venture capital for a while to build up a war chest to finance my production, sort of like Koons.

I think to “make it” as an artist today, one must have a keen sense of the business behind it. I think that’s why a lot of collectors have paid attention to me.

In October 2017, you displayed a series of James Bond inspired works at your first solo exhibition at the SIXTY SoHo Hotel. What was the process leading up to this?

So, I had this idea lingering at the back of my head right, but I didn’t know exactly when or if I would even execute on it. It happened in a sort of whirl-wind, that started with an Instagram post in August or September of 2017 of a painting I made of James Bond in Gstaad on vintage Playboy collage. The feedback I got from everyone was phenomenal so I decided I’m going to make 5 or 6 more, of ones just like it and do a presentation - and I did.

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Una publicación compartida por Jarren Frame - Archive (@jarrenframe.archive) el 19 de Sep de 2019 a las 11:19 PDT

Why James Bond?

Alright, within my ‘Bond, James Bond ‘series, the one’s on Playboy collage are a subseries I refer to as ‘The Playboy Paintings.’ I just started painting James Bond because I love the movie franchise and he’s awesome. I didn’t have a methodical plan for my first series, I posted it to Instagram and the people demanded more. The imagery speaks to me in a lot of different ways. There’s this great article called “Forget Girls and Guns, We Love James Bond Because He Always Triumphs Over Machines.”

How do you connect the dots from ‘Bond, James Bond’ to your most recent body of work, ‘The Color Paintings’ that were shown at Socialista and Surf Lodge in July 2019?

The styles and concepts are very different. As I mentioned, I didn’t have much option to lay out a methodical plan, the people wanted James Bond and I gave it to them. I kept producing a rotating selection of new works within that series from October of 2017 to about February of 2019. Stylistically, I think those works are very illustrative and I now refer to everything I produced in that period as my ‘Early Works.’

The Color Paintings I started producing in Feburary of 2019 signaled a shift in my development as an artist where I think the work became a little more elevated (but also dumb) - artwork can be sophisticated and “dumb” at the same time believe it or not.

I went to Janovic in Soho and picked 50 different colors at random and then poured each quart of color onto a different canvas so we landed up with these 6 feet tall monochrome color paintings, with no type of expression and not arranged in any kind of spectrum like Ellsworth Kelly. It’s a lot like what Olivier Mosset does, but I decided to give them names instead.

I love the reactions I’ve received from them. One person may resonate with a red painting, for example, that I’ve titled, ‘Red Flags Can Feel So Green,’ while another person comments on the same painting, “Oh come on, this is over the barrier… how can we even call this a painting?”

It seems you’ve stopped producing in this series and began something different. Are you moving into sculpture?

So, The Color Paintings are meant to be a never-ending series, perhaps we’ll do something more with them at another time, but yes, I love the idea of making art with materials not from the art store and not on canvas.

All the James Bond paintings were made with a brand called Golden Acrylics and ready-made canvases from Blick. I then completely stopped purchasing supplies from the art store and made The Color Paintings with house hold gloss from a paint store. I’m now designing sculptures on the computer and fabricating in materials like stainless steel.

What is Invisible Particles?

Invisible Particles is my new work where I’m playing with this idea of exposing something immaterial, so the sculptures I’m making have their wireframe exposed.

What notable collectors have acquired your work? Where can we see it on display?

You can check out the archives section on my website for a comprehensive list of collections at jarrenframe.com/about

How does it feel to be a young artist on the rise?

Human, just like everyone else.

What would you say is the overall message of your artwork?

I don’t have an overarching message, you know, I just try put work out there that provokes some type of feeling, thought or question. Sometimes it’s just visually appealing, sometimes it’s all the above.

What’s next?

Ultimately, anything I can see and feel, will be my canvas.

Created in south Florida circa 2016, ACHILL3 Apparel has quickly become a major player in the exclusive street wear arena.

Thanks to founder and creative mastermind Rendy Achille´s unparalleled obsession with quality threads and marketable trends the young and edgy brand has seen a rise to prominence unlike anything the urban apparel market has seen in over a decade.

Fueled by athletes and entertainers who picked up on the new trend quickly and decided to begin wearing ACHILL3 Apparel products long before they were available at a massive scale to the public, the now iconic brand known for its “Savage” hats and “Zero Friends” tees has upped the stakes creating a selection of daring designs that speak directly to a new generation of fashion conscious urban consumers.

Household names across a multitude of pop culture stages such as NFL legend Odell Beckham Jr. and Quavo of hip hop trio Migos fame have added fuel to the fire started by Rendy´s grassroots marketing campaigns dating back to the beginning of his brand in south Florida.


As the brand keeps gaining momentum, its customer base expands further, yet the look and feel of ACHILL3 Apparel products remains exclusive and created for those who aren´t afraid to make a bold and lasting statement.

Ever evolving information technologies have disrupted major industries and continue to reshape the landscape of our society, with the art world certainly being no stranger to this phenomenon a handful of visionary artists and leading connoisseurs have expanded their reach and grown their footprint exponentially.

Social networks have generated a significant area of opportunity, with global buyers making more informed decisions and creators being able to leverage the vast power of these platforms to bridge gaps between themselves and their audiences.

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Picasso’s blue period, a somber time of reflection and mourning for the young artist, which served as the precedent to the latter more joyful rose or harlequin period #Picasso @fondationbeyeler

Una publicación compartida por Jeremy Larner (@larnerandco) el 18 de Jun de 2019 a las 7:01 PDT

While maintaining an active and relevant presence on platforms like Instagram does require a considerable amount of work, it provides increased opportunities for the art world savants to interact amongst themselves, expanding purchase and promotional opportunities for artists around the globe and ushering in an exciting new era.

Jeremy Larner, a private art dealer and president of New York based JKL Worldwide, has made it a point to be where his clients are. “I really think Instagram is the way of the future. Having the ability to market works through such a visually stimulating and engaged platform is a major asset for someone in the art world. I’m constantly checking Instagram to scan for new artists and see what other people are talking about and paying attention to,” Larner said.