The 76th Volume of Hi-Fructose is here.
The New
Contemporary
Art Magazine
Hi-Fructose is a quarterly print art magazine founded by artists Attaboy and Annie Owens in 2005. Hi-Fructose focuses squarely on the art which transcends genre and trend, assuring readers thorough coverage and content that is informative and original. Hi-Fructose showcases an amalgamation of new contemporary, emerging as well distinguished artists, with a spotlight on awe inspiring spectacles from round the world.
It’s that time of year where we take an official week off from Hi-Fructose so that we can spend uninterrupted time with our family, art projects, and furry monsters. Thanks to everyone for your support of our independent artist run publication. It’s because of you, our readers, subscribers,, the artists, writers collaborators and the advertisers that we’ve been able to do this thing our way for twenty years. We don’t take you for granted. We will see you 1/2/26. Until then, we’ve filled out site with long form articles from some of the best New Contemporary Artists from around the world for you to check out. Happy new year!
-annie and atta
Co-founders
Hi-Fructose
Art by the always inventive Bordalo II
@b0rdalo_ii
It’s that time of year where we take an official week off from Hi-Fructose so that we can spend uninterrupted time with our family, art projects, and furry monsters. Thanks to everyone for your support of our independent artist run publication. It’s because of you, our readers, subscribers,, the artists, writers collaborators and the advertisers that we’ve been able to do this thing our way for twenty years. We don’t take you for granted. We will see you 1/2/26. Until then, we’ve filled out site with long form articles from some of the best New Contemporary Artists from around the world for you to check out. Happy new year!
-annie and atta
Co-founders
Hi-Fructose
Art by the always inventive Bordalo II
@b0rdalo_ii ...
“I would love to see people of color in art normalized—not that we aren’t weird and unique, as individuals,” says Shyama Golden, “but it should be normal to see us in Western portraiture.”
Instead, it is political. Especially now.
“I don’t aim for my art to be political, but because I have my own perspective and worldview, that inevitably comes through in the art,” says Golden, adding: “I don’t really know how you can not be political during a time when people are so polarized and misinformation is everywhere.”
Read the full article on @shyamagolden from the HF archives now on Hi-Fructose.
“I would love to see people of color in art normalized—not that we aren’t weird and unique, as individuals,” says Shyama Golden, “but it should be normal to see us in Western portraiture.”
Instead, it is political. Especially now.
“I don’t aim for my art to be political, but because I have my own perspective and worldview, that inevitably comes through in the art,” says Golden, adding: “I don’t really know how you can not be political during a time when people are so polarized and misinformation is everywhere.”
Read the full article on @shyamagolden from the HF archives now on Hi-Fructose. ...
NYC’s Josh Green recently posted a video about outsider artist Martin Ramirez, whose story is both fascinating and truly heartbreaking. Check out Josh’s thoughtful and introspective videos about art, process and appreciating your existence here @josh_green_artist and thanks for letting us know of this overlooked artist.
Josh also says:
Look up Martín Ramírez. The most accurate biography is Martín Ramírez: Framing His Life and Work by Espinoza.
#martinramirez
NYC’s Josh Green recently posted a video about outsider artist Martin Ramirez, whose story is both fascinating and truly heartbreaking. Check out Josh’s thoughtful and introspective videos about art, process and appreciating your existence here @josh_green_artist and thanks for letting us know of this overlooked artist.
Josh also says:
Look up Martín Ramírez. The most accurate biography is Martín Ramírez: Framing His Life and Work by Espinoza.
#martinramirez ...
Max Seckel’s paintings are all about the details. His landscapes come alive with the messy signs of humanity: a traffic cone standing in a puddle surrounded by a weedy yard; a utility pole teetering behind a dumpster; streams of yellow tape banding around trees. His interiors lend a peek into the artist’s mind with an assortment of odds and ends strewn across tables and paintings-inside-paintings that offer layers of stories ready to tell themselves. They are, primarily, imagined environments, but ones that often reflect his own.
Read Liz Ohanesian’s full article on @maxseckel now on Hi-Fructose
Max Seckel’s paintings are all about the details. His landscapes come alive with the messy signs of humanity: a traffic cone standing in a puddle surrounded by a weedy yard; a utility pole teetering behind a dumpster; streams of yellow tape banding around trees. His interiors lend a peek into the artist’s mind with an assortment of odds and ends strewn across tables and paintings-inside-paintings that offer layers of stories ready to tell themselves. They are, primarily, imagined environments, but ones that often reflect his own.
Read Liz Ohanesian’s full article on @maxseckel now on Hi-Fructose ...
Sean Norvet’s newest brood of paintings mark a bold path forward for his art practice. The painter has long been described as a Renaissance-inspired satirist, a mish-masher of photorealism and cartoons into goofy–gruesome critiques of consumer culture or social media habits or other twenty-first-century concerns.
The profundity that viewers tend to find in Norvet’s paintings is a testament to the intricate detailing and technical prowess that he brings to each idea. The point, however, is so much simpler than his acid-trip ruminations tend to suggest. For Norvet, painting is about taking elements that shouldn’t belong together and yet presenting them harmoniously. This materializes in ways as fundamental as the merger of background content with the figure, as inscrutable as the juxtaposition of Saturday morning cartoon characters from the 1980s with classically styled memento mori objects, and basically everything between.
Read the full interview from the HF archives with @seannorvet now on Hi-Fructose.
Sean Norvet’s newest brood of paintings mark a bold path forward for his art practice. The painter has long been described as a Renaissance-inspired satirist, a mish-masher of photorealism and cartoons into goofy–gruesome critiques of consumer culture or social media habits or other twenty-first-century concerns.
The profundity that viewers tend to find in Norvet’s paintings is a testament to the intricate detailing and technical prowess that he brings to each idea. The point, however, is so much simpler than his acid-trip ruminations tend to suggest. For Norvet, painting is about taking elements that shouldn’t belong together and yet presenting them harmoniously. This materializes in ways as fundamental as the merger of background content with the figure, as inscrutable as the juxtaposition of Saturday morning cartoon characters from the 1980s with classically styled memento mori objects, and basically everything between.
Read the full interview from the HF archives with @seannorvet now on Hi-Fructose. ...
Why does this feel like the perfect Xmas cake tattoo?
From @youngchickentattoo
Why does this feel like the perfect Xmas cake tattoo?
From @youngchickentattoo ...
Good night everyone.
Here’s a red room with opposing snail shell sculptures now at @arkenmuseum by
Monira Al Qadiri, Gastromancer, 2023
@moniraism
Good night everyone.
Here’s a red room with opposing snail shell sculptures now at @arkenmuseum by
Monira Al Qadiri, Gastromancer, 2023
@moniraism ...
You’ve got to find that holiday spirit where you.can or make it yourself like Enrique Stazzio.
@enriquestazzio
You’ve got to find that holiday spirit where you.can or make it yourself like Enrique Stazzio.
@enriquestazzio ...





















