The Seven Reasons We're Obsessed With The New Juicy Couture
This work can be traced back to one image. Posted by Juicy Couture’s Instagram on October 21 2017, the photograph depicts 3 teenage girls in Juicy track suits at In-N-Out Burger. The image looks like it was shot in the 2000’s, almost, I know the image is new. The image is everything I’ve been thinking about. California is in. The 2000’s are in. Fashion is becoming increasingly informed by the amalgamation of subcultural identities and cherrypicked pieces of 1960-2000's culture.
In the coming months every new shirt, every ad, every post from Juicy feels clairvoyant. Juicy is making my work, but better than I could ever hope to.
Months later I find out this image was made by Krissy Saleh, a 22 year old from Orange County California, an everyday teenage girl turned fashion photographer, shooting campaigns for brands while 19. Perhaps this is the perfect form of advertising, maybe that’s what all the talk about being “authentic” is about. It just feels right. I thought this was the end of the story, this is the full circle, but it’s not.
While writing this introduction, I pick up my phone and scroll through Instagram. Krissy posted a new story, a screenshot of a Google search of the 2000’s. The image accompanying a description of the decade in Google’s Knowledge Graph box, is one of her Juicy / In-N-Out images. This is full circle. Nostalgic aesthetic reproduction so strong it replaces the history it is imitating.
The fluidity of the Instagram Girl is nothing new but it feels uncommonly contemporary, maybe that is the result of these personas being archived, we can look at them in a grid, one next to the other. A biker girl one day, a cowgirl the next.
Beginning with OJ
Ending with the In-N-Out Girl
Rebellion Subscribed
Essay by Marina May
As I broke from my Instagram induced K-hole, I was acutely aware of the assault that had just occurred. In searching for one image—the image upon which this publication is predicated—I was instantaneously inundated with a superfluity of photographs. Each was distinct in that the subjects changed, but eerily similar in replicating a familiar theme. Young, predominately white women eating a burger, in a jean jacket, at a diner.Trapped in a feedback loop, I was consistently consuming recycled imagery culled from archetypes, that have been digitized, torrented, and manipulated within our cultural nexus.
Bandy has tapped into the pipeline of our uploaded collective consciousness. Through juxtaposition and obfuscation, he presents an amalgamation of cultural signifiers which aim to document, without value-judgement, the “singular aesthetic” of Internet Era image permutation.The aesthetic itself is difficult to define, partially due to its incoherence. You know it when you see it, and it is this publication.
Constructed of disparate parts, and taking queues from a myriad of sources, this aesthetic is rooted in a deep sense of nostalgia and utterly vacuous, yet undeniably and formulaically seductive. It preys upon our need to reconcile our sense of self, and our need to return to what is comfortable.The most devastating and lucrative sensation.
Bandy’s most explicit investigation into this phenomenon can be found in one particular spread. Laid on a white background, two red plump cherries, attached to their stems float next to Sabrina and Celeste in the midst of a heated argument. Celeste points to her chest, one hand on her hip, vehemently insisting that she has always liked Slayer. Sabrina doesn’t agree and thinks Celeste is being fake, and has probably never listened to Slayer.
Their lashes flutter, eyebrows arch.The cherries shake.The spread evokes a luscious sense of youth, but caught within its matrix is the struggle for authenticity.The image is loaded, a potent symbol for the dichotomy of self, underscored by longing for genuine representation.The curation of style is ultimately tempered by the inescapable male gaze through which these young female characters are presented.Their quest for autonomous self expression is consistently mitigated by objectification, an omnipresent and overbearing force.They are nothing but two ripe cherries with shiny skins. In one, crisply printed image, Bandy captures the internal and external conflicts, gender politics, and aesthetic ideals of millions of “Instagram girls.”
In many ways, this work encapsulates the consumption and reproduction of imagery by millennial women. Users rely upon encoded cultural markers to form the basis of their identity through the sets and wardrobes used to subconsciously (or consciously) reconcile multiple facets of a personality into one “unique” Internet persona. Drawing inspiration from the same platform which provides a readily available stream of references, then sutured together, the editing eventually churns out facsimiles filtered by type.
This directly recalls Cindy Sherman’s artistic practice. Beginning in the 1970s, her photographs centered around the forced salience of feminine representation, and are made increasingly relevant when thinking about the “Instagram Girl”. While the reproduction of imagery and aesthetics is cyclical, the compulsory agility of feminine performance remains fixed. In the same way that Sherman “played dress up” to explore concepts of female representation, tropes and stereotypes through her photographs, “Instagram Girls” also engage in performative identities.They move fluidly through a litany of female archetypes, sometimes multiple, within a single week.This act forms the basis of this expertly branded, and at times confusing aesthetic.
The transmission and permeance of the archetypes developed, rebranded, and reframed again on Instagram perfectly encapsulates the trafficking of information, commodities, and values through society. In a test situation, the images are the protein markers moving slowly through electrophoresis, until they settle in their respective channels with easily reproducible results, giving us an indication of where we’ve been and where we’re headed.
Curation of who we are online is merely a point of access for the way in which we consume media as a whole.The zeitgeist proves inexhaustible. Bandy moves beyond the constraint of the “Instagram Girl” or her associated aesthetic cannon, to a broader investigation into the cyclic nature of imagery. His process of collecting and altering material directly reflects the cultural echo chamber that is media, and implicates the viewer in the voracious consumption of people, trends, and ideas. Bandy chooses to reproduce the conditions of media, by presenting the viewer with a selection of the most recognizable, desirable, and grotesque cultural commodities. Neatly packaged.
He incorporates the ideas of fallacy and accuracy through his inclusion of click bait headlines, “Fox News (Shocking Footage),” rendered impotent by virtue of the medium. We cannot click the link and we will never see the incident caught on a mobile device of seventeen people dangling from the safety harnesses of a malfunctioning rollercoaster. He calls into question the veracity of the information we consume, and by extension the authenticity of every other image in the publication. In removing the headline from the context of the Facebook or news sites, which are hyper-saturated with information, the single body of text on a blank page becomes digestible and immediately shameful. He forces us to reckon with the absurdity of the claim and directly confront our voyeuristic fascination with death, destruction and chaos.
Rather than place a value or overlay any cogent commentary on the subject matter, Bandy manipulates the images to remove subjectivity and increase the degree of separation. In doing so, he strips the simulacrums of his influence. What is left is just an image, so that the focus remains solely on the artifice of the cultural signifiers.
The subjectivity of the work is akin to journalism.There is bias in the choice of source material itself, but it is presented largely without an overriding narrative.Thus allowing the viewer to construct their own assumptions and project their own experiences into each layout, forcing them to question their role in the process of commodification, from the tabloids, to "Instagram Girls," to Juicy, to LaCroix.
Fox News (Shocking Footage) - 17 dead in a roller coaster freak accident as the safety harness of the ride was deactivated during the first minute into the ride as passengers clung for their lives. The incident was caught on a mobile device and has since been uploaded here -https://goo.gl/XJAHgH

Suggested For You
Essay by Brandon Bandy
The explore feed on Instagram is the wild west, vast, wondrous, but I feel as though I’ve seen it before. Within this landscape is the Instagram Girl, a mystical figure who’s photographs and interactions are so carefully considered I begin to wonder about their existence in the natural world.This is the outcome of the democratization of image making, we can create our own image, a being separate from our own.This has lead the way for a sort of “no stakes” subcultural appropriation where all are free to pick and choose elements from various subcultures to enhance their own personality.TheThrasher t-shirt is emblematic of this phenomenon, previously reserved for those who skate it has become an autonomous symbol of cool.The fluidity of the Instagram Girl is nothing new but it feels contemporary, that is the result of these personas being archived, we can look at them in a grid, neatly organized for our observation. A biker girl one day, a cowgirl the next.
A teenage girl, a MacBook Pro, and a stolen copy of photoshop walk into a coffee shop
Is the democratization of images a blessing or a curse? I’m not old enough to know the difference. I was part of the first generation of teenagers on Instagram. I signed up
in May of 2011, I was 16. Coincidentally the same summer I bought my first camera, something about that feels serendipitous. Image is my primary concern, it’s all I know. In my work and in my life form always beats function. I’d rather look at a chair than be comfortable sitting in it, I’d rather make a seductive image than forgo aesthetics for concept. It’s kind of like bubblegum pop, you don’t have to be the best, you just have to look good doing it.
Cheating Scandals, Hollywood Beauties
I always had to go into the grocery store, mom was too paranoid to let me stay in the car. I looked forward to the magazines at the check out, she would be upset if she saw me looking, didn’t want me exposed to the evils of popular culture.Too many scandals in the Enquirer, too much cleavage in Cosmo.The tabloids were the main event, Juicy gossip. They cover all the stories, then cover them again. Chilling new evidence. Secrets Revealed. The way in which tabloids use images mirrors the democracy of the digital image.These images are inherently seductive, unavoidable, and tailored to our desires. Unbridled circulation, for eternity. Think Whitney Houston drug den Pusha T album cover. Originally taken by Whitney’s cousin, sold to the National Enquirer, published, recently sold to Kanye, it’s back in circulation, even more notorious than before.
My practice began with making photographs, evolved to appropriating images, and is now an intersection between the two. Originally teenage witch was a single image, a young woman standing amidst rubble wearing aThrasher t-shirt, a denim jacket, blue jeans, and white “western” boots. The goal was to create an image that could symbolize the Instagram Girl.The model is one, shifting personas like (and with) outfits. During a studio visit, a friend told me he didn’t realize I took the picture, “didn’t look like mine.”That was an epiphany, complicating authenticity was a way to create uncertainty in the viewer.
I am interested in the life of images, the circulation and distortion that occurs, the shifting contexts over time. A physical original is scanned, reprinted, sold on eBay, photographed, and printed again. A digital original is posted on Tumblr, reblogged, downloaded, reposted, downloaded, posted on Instagram, screenshotted, and reposted. Finding the original is near impossible, there’s too many copies that exist. We experience an image through its reproduction.This is particularly true of the Black Panther Party symbol.The original was drawn, and copied by hand, reinterpreted, changing slightly every new copy.The original panther looks nothing like what we now know.The copy has become standardized, turned into a vector, a perfectly repeatable copy, the image is forever altered.The Black Panther symbol you see in this work was purchased on Ebay, a vinyl decal created from a vector, a symbol of revolution converted into capital. And so the life continues, scanned, printed in this publication, then photographed, and posted online.The layering suggests the complications of history, in general as well as within the work.
While researching Connie Kreski for a previous show, I discovered she had been invited to theTate/Polanski home on the night of Sharon’s murder. (She declined the invitation) This generated interest in the Manson cult, history I had only previously known through tabloid covers. Manson’s hatred of the Black Panthers is one of the lesser known parts of the story, SharonTate’s murder was an attempt at igniting a race war, and this is almost equally forgotten as the existence of the White Panther party. (Which ironically sounds like a fringe white supremacist group, but in reality was a group of allies, primarily of punks in Michigan, formed at the suggestion of Huey P. Newton) Along side the multiplicity of symbol evolutions, the panther has been mistakenly used by a Connecticut high school as their mascot. Similar complications also arise with Princess Diana’s death. Was the crash due to the driver’s intoxication or the paparazzi’s ruthless obsession? The LaCroix can is shredded like the car, mimicking its form while censoring the image, both consumed by the public.
These anecdotes illuminate the endless slippage that has occurred both before and after the rise of the digital image. Slippage, between the images I create and collect, between digitally manifested fantasy and reality, and between the past and our reproduction of the past.The objective is to present these phenomenon and aesthetics free of vale judgment.
A critique of consumerism or of capitalism or of the “Instagram Girl,” would be a frivolous pursuit. Art cannot change these things, in many ways art has become these things. My first exposure to Amalia Ulman was through her 2017 show Dignity at James Fuentes. (Not through her Instagram performance Excellences & Perfections) The primary works in Dignity were two photographs, both depicting Ulman in a red carpet setting with photoshopped cum dripping down her face. These images of course mimic the millions of celebrity cumshot fakes that circulate on the internet. A review from ARTnews states “Ulman seems too content to mimic those images, without adding any commentary... What can that possibly solve?”But art doesn’t solve problems, and we too easily forget that the history of appropriation is founded on the principles of re-presenting conditions. “The work’s power lies in its blatant shallowness of meaning...the artist creates with a minimal investment; it is instant re-creation, re-contextualization” (Paul Black, Richard Prince: It’s A Free Concert)