Anna Kustera

Nobody Sees the Wizard. Not Nobody. Not Nohow.

2010-01-15T21:40:27Z

Charles Atlas Institute for Turbulence Research (V2), 2010 3-channel video installation, video mirror unit, transparent screen 6-minute loop

Sean Mellyn Judas, 2007 Oil on canvas 30 1/4 x 23 1/8 inches

Stuart Semple Ding Dong (Maggie's Dead), 2009 MDF, plastic, gloss paint, leather and electronics on aluminum 65 x 83 x 47 inches (overall dimensions)

Kathe Burkhart Leopard Skin Dildo Garden, 2005 Digital print on stretcher 40 x 60 inches

Susanne M. Winterling Untitled (Goldwyn Again Customized), 2007 Black and white photograph, edition of 3 8.5 x 11 inches, print size 9 3/8 x 13 3/8 inches framed

Daphne Fitzpatrick what did the bra say to the top hat? you go on ahead, i'm gonna give these two a lift, 2010 Beaver felt hat, sterling silver wire

Caroline Polachek Gateway, 2010 Phosphorescent paint on velvet, black lights 26 x 18 1/2 inches (overall)

Deborah Kass Forget Your Troubles, 2010 Gouache and acrylic on paper 9 x 7 inches, paper size 11 1/2 x 9 1/2 inches framed

John Brattin Technicolor Forest: Elements from the film, Funeral, 2007 Black + White Diasec film still 14 5/8 x 20 inches Lollipop sculptures, 1995 Wonder bread, paint, wood, nails Dimensions variable

Nayland Blake The Chipmunks Genuflect, 2010 Rope, fabric, artificial hair Approximately 18 feet long Dimensions variable

Dan Miller Untitled, 2006 Ink on paper 10 x 12 3/4 inches, paper size 15 x 18 inches, framed

Scott Ewalt Blue-Mystery, Green-Anticipation, Red-Suspense, 2010 Archival print, edition of 5 28 x 22 inches each, print size 30 3/4 x 24 3/4 inches each, framed

Robert Gober Untitled, 1990 Red casting wax Edition of 35 3 x 2 5/8 x 7 1/2 inches

Stuart Semple Ruby Slippers, 2010 Acrylic on 160 grs rouleau papier noir Hand finished with glitter, paint marker, acrylic and household gloss Published by K2 Screen Edition of 5 48 x 60 inches

Nobody Sees the Wizard. Not Nobody. Not Nohow.

2010-01-08T19:06:13Z

© Scott Ewalt 2010 "Nobody Gets to See the Wizard. Not Nobody. Not Nohow." Curated by Doug McClemont January 21 - March 6, 2010 Opening Reception: Thursday, January 21st, 6-9pm Special Guest Performance @ 8pm Artists include Charles Atlas, Nayland Blake, John Brattin, Kathe Burkhart, Scott Ewalt, Daphne Fitzpatrick, Robert Gober, Deborah Kass, Sean Mellyn, Dan Miller, Caroline Polachek, Stuart Semple, Susanne M. Winterling View Images OZ: THE STUDIO 54 OF CHILDHOOD or MGM’s Veneficus Interruptus Dorothy Gale, small and meek, knows something about disappointment. The classical sepia-toned young heroine resides in that drab metaphor where existence holds excitement only during natural disasters. She is granted her most fervent wish—to be transported to a more colorful place—simply to have her expectations thwarted from the instant she arrives. Her new shoes are sparkly and unique, but they are coveted contraband--and she can’t take them off. We witness Ms. Gale being drugged, threatened and kidnapped in between musical numbers. The Wizard is not who he says he is or was. Then, to top it all off, she misses the only balloon ride home. On the upside, as an unexpected newcomer with a vehicular manslaughter under her belt, Dorothy is an instantaneous celebrity in OZ. MGM’s film version of The Wizard of Oz is an emotionally bumpy ride that reveals the ups as well as the downs of fame as viewers follow the young Everygirl’s flight from a spiteful green stalker and swarms of paparazzi-like monkeys with wings. Admittedly, OZ is intoxicating and wonderful, but for a kid it can be devastating. The land is colorful and also cruel, and the grown-ups she meets are sincere but fatally flawed. As Salman Rushdie points out in his 1997 essay, The Wizard of Oz: An Appreciation, the film’s “driving force is the inadequacy of adults, even of good adults…” For the tweenage Midwesterner (as portrayed by a medicated and strapped down 16- year-old tragedy-to-be Judy Garland) this realization proves to be too much. Dorothy Gale wants nothing more than return to the arms of her cold fish Auntie Em and the homely but familiar womb of Kansas. Whether or not she regrets the decision to give up her V.I.P. status return to the dusty status quo, and we never get to see. For many viewers, children and urbane adults in the 21st Century alike, the film’s allure lies in its promise of a place where the challenges are almost insurmountable, but the rewards just as outsize: camaraderie, promise, renown. If one is destined to find the lounge behind the velvet rope is filled with phonies, well, no one ever said that traveling alone via tornado to new worlds would be easy. Unlike Dorothy, most of the 13 artists brought together for the “Nobody Gets to See the Wizard. Not Nobody. Not Nohow.” have chosen OZ over their own distant Kansases. The works here each recall some personal version of the epic fantasy. For Scott Ewalt, OZ is New York’s Time’s Square circa 1980, where overstimulation was commonplace. He romanticizes a bygone neon era free of puritanical politicians who erase strip clubs and put corporate gift shops in their places. The Emerald City glows the color of money, envy, voyeurism, cool. Within Ewalt’s 2010 triptych another debunked-but-intriguing myth is depicted, that rumor that one of the (ostensibly drunk) Midget actors committed suicide by hanging himself on the forest set. The event, as the legend goes, was overlooked by MGM editors and a blurry form can be seen swinging in the final version of the film. Perhaps Munchkin depression came about because word got out that Terry, (the Cairn terrier cast as Toto) was making more salary than eight or ten munchkin players combined. Hidden meanings, real or imaged, have become a part of the film’s charm: Caroline Polachek’s black light painting Gateway (2010) would look at home any hip student’s dorm room. It takes on the persistent urban legend that goes: If someone syncs Pink Floyd’s Dark Side of the Moon with the WoZ that person will witness an uncanny Jungian synchronicity and receive several amazing messages in the process. Like so many experiences, this one is heightened by getting stoned. Kathe Burkhart’s Leopard Skin Dildo Garden (2005), taken through an Amsterdam sex shop window in the De Wallen red light district, embraces a frank, female, Cougar-like sexual place. A world where women buy their own pleasuring devices and the men may bring the batteries, thank you very much. The artist’s digital photograph on canvas features high-end dildos and vibrators spread out in the Emerald green grass. Like that pre-sexual kid from Kansas and the Cowardly Lion in the poppy field, Burkhart’s toys are at rest, temporarily. The Untitled (1990) red shoe sculpture by Robert Gober can’t help but evoke the iconic footwear from the film. Made entirely of a red wax that suggests candy and blood in equal measure, the creation honors the fragility of girlhood. Gober’s shoe is a faintly melancholy artifact from a special occasion when you were the center of attention. Institute for Turbulence Research, (V2) (2010), the video installation by Charles Atlas, recollects the terror and excitement of seeking the safety of his childhood basement in St. Louis during the frequent tornado warnings. The chaotic environment created by his spinning objects, radio waves and mirrored projections is as disorienting as it is memorable. John Brattin cleverly conflates the Munchkin gift of a lollipop (which a preoccupied Ms. Gale quickly discards) with the cranky animated trees who nonetheless bear perfect apples in Technicolor Forest, (elements from the film, Funeral). Brattin, an artist who first experienced WoZ in black and white, creates his own source material for his homemade narrative films. In this case, the artist’s modeling clay, Wonder Bread® and wood suckers reverse the course of the MGM protagonist, begin life multi-colored and become shadowy and colorless. The obsessive texts of Dan Miller are created based on the flotsam and jetsam of the artist’s daily mental challenges. He meticulously documents auditory input in graphic, poignant ways. His Untitled (2006) “Academy Award” drawing depicts an overheard moment of glory from the lives of other people. Daphne Fitzpatrick’s sculptural work frequently references her signature urban dandy, or flâneur character. For “Nobody Gets to See the Wizard,” the artist has created what did the bra say to the top hat? you go on ahead, i'm gonna give these two a lift . (2010) a magical nod to a dead vaudeville era. The work suggests the film’s melted witch in gender-bent fashion, Ray Bolger’s light-loafered Scarecrow, and of course Judy G. as the Swell Hobo in later films. On the subject of Miss Garland, artist Deborah Kass, a lifelong Friend of Dorothy, contributes Forget Your Troubles, (2009), from her “Feel Good Paintings for Feel Bad Times” series. The colorful imperative snippet invokes Dead Judy at her most effervescent. And of course, implicit in the command “Forget Your Troubles” is the acknowledgement that Troubles are a part of the journey. Here, the Kassian appropriation is a Munchkin motto for oppressed little citizens. Sean Mellyn contributes Judas (2007), an oil-on-canvas of a circumspect young man witnessing a shadowy figure in mid-flight. His 70s mirrored sunglasses reflect the nostalgic, if ominous, skywriting event. Stuart Semple takes a literal approach to the film, albeit with a British twist. For Ding Dong, Maggie’s Dead (2009) his heavy house has landed on the conservative enemy-of-the-arts, former Prime Minister Margaret Thatcher. As black as a lump of coal, the piece can be seen as miner’s revenge, just one unionized group that would celebrate Thatcher’s demise. The Chipmunks Genuflect, (2010), by Nayland Blake is a plush tribute to lions and tigers and bears everywhere. Actor Bert Lahr (a Leo himself) went on from his star turn as The King of the Forest to originate the role of Gogo on Broadway in Samuel Beckett’s masterpiece Waiting for Godot. In the film version of WoZ, as most will recall, the Lion’s tail at certain moments threatens to upstage even the great comedian himself. Susanne M. Winterling’s MGM logo displays the “Ars Gratia Artis” banner but is missing its roar. The central void in the image can be seen as the lion’s unwillingness to appear, whether through cowardice or snobbery. The Wizard, if there ever was a wizard, doesn’t want to be seen. And OZ, even with all its chromatic adventures, hasn’t quite lived up to the “rainbows and bluebirds” promise. But artists can think magically. Making art is like making OZ, and holding to the belief that something worthwhile is behind the curtain. Because everybody wishes to be Somebody. Not Nobody.

LOREN HOLLAND Images

2009-10-22T16:44:57Z

The Unseen Presence, 2008 Oil on paper 70 x 44 inches
Unreal City, 2008 Oil on paper 64 x 44 inches

Opprobrium Series, 2009

No. 1: Ignorance No. 2: Public Inebriation No. 3: Wardrobe Malfunction No. 4: Insubordination Ink and gouache on paper 22 x 15 inches

Backstabbers, 2009 Found chair, barbed wire, nails 42 x 30 x 30 inches

Death by Water, 2008 Oil on paper 64 x 44 inches

From Ritual To Romance, 2008 Oil on paper 64 x 44 inches

Formal Garden Follies, 2009 Oil on paper (2 panels) 73.5 x 101.5 inches

Good Intentions: Exerts From the 'Proverbs of Hell', 2009 Ink on vellum, wallpaper (Group of 24) 8 x 10 inches, paper size each 9.5 x 11.5 inches framed each

Detail-Good Intentions: Exerts From the 'Proverbs of Hell'

The Girdle of Venus, 2009 Aluminum, crystals, silver chain (crystal studded chastity belt)

Installation Images

LOREN HOLLAND 'The Virtues of Vice'

2009-10-22T16:22:23Z
The Virtues of Vice Extended thru December 23
Unreal City, 2008, Oil on paper, 64 x 44 in. View Images (New York, NY) Anna Kustera is pleased to present the second solo exhibition by LA based artist Loren Holland. In these recent works, Holland uses oil paint on paper to depict highly enigmatic female figures, exploiting the media’s hyper-sexualized, self-assured images of femininity. By distorting the usual connotations of these images, her brightly colored works examine themes of depravity and excess, and how vices and hedonistic mistakes can, in fact, contribute to new knowledge and understanding. Holland’s wry, carefully coordinated conflict of incongruent emblems from modern culture, the arts and the occult mixes disparate elements including guns, baby bottles, handcuffs, discarded fried chicken and Tarot cards. The resulting scene is a bold, thought-provoking and unnerving world suffused with symbolism and allegorical significance. The juxtaposition of these elements forces their re-contextualization, amplifying the contradictory assumptions surrounding Latino and African-American women and challenging perceptions of class, race and minority groups. The fertility and lushness of the jungle setting of ‘The Unseen Presence’ is dissonantly at odds with the debris strewn around it, yet the female protagonist remains defiant amidst the detritus. Using a fishing net, she sifts through the waste to create a better life for herself and actively amend her environment. This subversion of stereotypes is echoed in the title of Holland’s show, “The Virtues of Vice”. Though her women are frequently exhibitionistic in their power and allure, behind this facade lies a vulnerability which intimates that the vice is not of their own doing, but a wider cultural symptom beyond their control. In ‘Unreal City’ for instance, a voluptuous, peroxide-haired, mermaid-like figure postures in a skimpy white bikini. However, the woman is forced to create her own oasis of beauty amidst a sea of wreckage, undermining her aspirations for glamour and autonomy. Taking its title from T.S. Eliot’s poem ‘The Waste Land’, the backdrop of a faded city panorama compounds the figure’s obliviousness to her polluted environment. This constructs a subtle critique of excess, and equally demonstrates that the idealized, exoticized stereotypes associated with the black female body are as garbage-like as the figure’s surroundings. Loren Holland completed her MFA from Yale University in 2005 after graduating from Brown University in 2002 with a Bachelor’s Degree in Art and Neuroscience. Her work has been shown in a solo project called Black Magic Woman, her first one-person museum exhibition, at the Santa Monica Museum of Art (2007), and most recently in LA Paint at the Oakland Museum of California (2008). Holland lives and works in Los Angeles, CA.

Ben-Shitrit / Duravcevic / Kaludjerovic Images

2009-09-04T22:23:41Z
Aleksandar Duravcevic Mirror (I Love You), 2009 Stainless steel with sanded text Edition 2 of 3 72 x 48 inches
Text: I LOVE YOU I LOVE YOU I LOVE YOU DO I LOVE YOU I LOVE YOU I LOVE YOU IT'S TRUE I LOVE YOU I LOVE YOU IT IS YOU I ADORE AND EVERY NEW DAY I LOVE YOU SOME MORE

Dejan Kaludjerovic Stripe Boy (from the series Can I Change My Career for a Little Fun?), 2009 Acrylic on canvas 51 x 62 inches

Orit Ben-Shitrit mother's eye, future and past grief, repeat, 2009 Photograph (archival pigment print on Luster paper) Edition of 5 24 x 40 inches, print size 31 1/8 x 47 inches, framed

Aleksandar Duravcevic Moon, 2009 Graphite on paper 70 x 60 inches

Dejan Kaludjerovic Miss60-50 (from the series Can I Change My Career for a Little Fun?), 2007 Acrylic and marker on canvas 19 3/4 x 19 3/4 inches

Dejan Kaludjerovic Are You Ready for a Ride? (from the series Can I Change My Career for a Little Fun?), 2006 Video, duration 1 min. 10 sec.

Orit Ben-Shitrit plunging fingers in the film of night, 2009 Photograph (archival pigment print on Luster paper) Edition of 5 27 x 40 inches, paper size 34 1/2 x 47 inches, framed

Orit Ben-Shitrit boomerang codex, 2009 Photograph (archival pigment print on Luster paper) Edition of 5 25 x 30 inches, paper size 32 1/8 x 37 1/8 inches, framed

Orit Ben-Shitrit intoxicating sovereignty (Jerusalem Fall Afternoon), 2008 Photograph (archival pigment print on Luster paper) Edition of 5 40 x 60 inches, paper size 42 3/8 x 62 3/8 inches, framed

Orit Ben-Shitrit Untitled (Don't Doubt the Doubt), 2008 Photograph (archival pigment print on Luster paper) Edition of 5 27 x 40 inches, paper size 34 1/8 x 47 inches, framed

Aleksandar Duravcevic Owl, 2008 Graphite on paper (triptych) 28 x 40 inches each

Orit Ben-Shitrit the absurd force of no movement is absurd, 2009 Photograph (archival pigment print on Luster paper) Edition of 5 24 x 16 inches, paper size 31 1/4 x 23 1/8 inches, framed

Dejan Kaludjerovic Dior Bomb Girl (from the series Can I Change My Career for a Little Fun?), 2007 Acrylic and marker on canvas 19 3/4 x 19 3/4 inches

Dejan Kaludjerovic 20Boy (from the series Can I Change My Career for a Little Fun?), 2007 Acrylic and marker on canvas 19 3/4 x 19 3/4 inches

Installation Images

Ben-Shitrit / Duravcevic / Kaludjerovic

2009-09-04T22:11:55Z

Orit Ben-Shitrit Aleksandar Duravcevic Dejan Kaludjerovic September 10 - October 17, 2009 Opening Reception: Thursday, September 10, 6-8pm View Images
]]> Anna Kustera is pleased to present an exhibition of three artists, Orit Ben-Shitrit, Aleksandar Duravcevic, and Dejan Kaludjerovic. “Paradoxically, even the decision to reject ideologies is an ideology in itself. Faced with these choices, how can one believe in anything?” (Orit Ben-Shitrit) Orit Ben-Shitrit’s use of staging and mirrors in her photographs explores the idea of the photograph as a mirror in itself: each photograph reflects and distills a moment that inevitably becomes part of the past after it is taken. Although it is through these reflections of the past that we attempt to understand our present, the photograph ultimately becomes a belief system in itself. However, her use of digital manipulations destabilizes these beliefs, and we are openly invited to not “doubt the doubt.” Recurrent motifs of Jerusalem and the Janus face extend this exploration of the duplicitous. According to Roman mythology, Janus was the God of beginnings and endings, a protector able to see both past and future. He represents everything and its antithesis, and is therefore a paradox in and of himself. The artist uses a model of Jerusalem reflecting the time of the Second Temple, before the Romans destroyed it in 66 AD. As in the implied transience of the photograph itself, here, the notion of paradox is inherent: the destruction and rebuilding of the city creates a circuitous loop whereby each iteration represents both what is there and what has been lost. Orit Ben-Shitrit was born in Jerusalem, Israel, and lives in New York City. She is currently part of the MFA program at Hunter College, New York. The subtle subject matter and images of Aleksandar Duravcevic’s works are rooted in his personal experiences of living through the changing political landscape of his native Montenegro. The work in itself reflects the artist’s own search for identity; growing up with a lineage of conflicting cultures and religions in what was then Yugoslavia, and having to experience war and emigration to America later on. By working with graphite on black paper, or by using mirrored surfaces and glass, a ghostly quality is achieved, making the viewer have to look twice or pay closer attention. This duality is in the very heart of Duravcevic´s work; he draws objects of luxurious beauty and awe that may at first attract but later disturb as one investigates their histories, or portray something unsettling that may actually hold a fond memory. The constant tension of opposites is ever present in his work, between cultures, within history, and between life and death. Aleksandar Duravcevic was born in 1970 in Montenegro, and lives and works in Brooklyn. NY. His work has been shown internationally, most notably at the Kasteel van Gaasbeck in Belgium (2009); the Uffizi Gallery in Florence, Italy (2003) ; and was included in ‘Greater New York’ (2000) at PS1 Institute for Contemporary Art in Long Island City, New York. The paintings and video work of Dejan Kaludjerovic examine the question of growing up, and the problems concerning “coming of age”, in which hallmarks of childhood and youth confront those of the adult world. In his series ‘Can I Change My Career for a Little Fun?’, Kaludjerovic combines images taken from contemporary fashion magazines (Vogue Bambini) with images from the very violent cartoon “Happy Tree Friends”. The protagonists in his work, teenagers and adolescents, are forever torn between the step that takes them back to the protection of childhood characters, from cartoons and fairytales, and the step that takes them forward into a world of glamour in which the consumer-driven reality of everyday life and the multiplicity of choice of sexual expression define the nature of the media. Dejan Kaludjerovic was born in 1972 in Belgrade, Serbia, and lives and works in Vienna, Austria. He has had recent exhibitions in New York, Belgrade and Berlin and is currently included in the 28th Biennial of Graphic Arts in Ljubljana, Slovenia. UPCOMING EXHIBITION: LOREN HOLLAND October 22 – December 5, 2009

EVERLASTING NOTHING LESS

2009-06-26T17:16:07Z
new works by Stuart Semple previewed in London for one evening only before departing for New York Wednesday, April 29, 2009

STUART SEMPLE Images

2009-05-15T16:52:37Z
Let Forever Be, 2008-2009 Acrylic, charcoal and household gloss and electronics on canvas on aluminum 71 x 63 x 4 inches

Do you want to know... know it doesn't hurt me?, 2009 Acrylic, charcoal, chalk, spray paint and paintmarker on canvas 67 x 94.5 x 2.75 inches

Heaven Help Me for The Way I Am, 2008-2009 Crucifix - Acrylic, charcoal, household gloss and spray paint on canvas on acrylic and aluminum 59 x 39.5 x 8 inches Tondi - Acrylic on canvas 30 x 30 x 2 inches

Angelus, 2009 Acrylic, charcoal, chalk, graphite, vinyl. and paintmarker on canvas 67 x 94.5 x 2.75 inches

Everybody Sees You're Blown Apart, 2009 Acrylic, vinyl, charcoal, chalk and paintmarker on canvas 86.5 x 86.5 x 2.75 inches

Take This Weight Away, 2009 Acrylic, charcoal, vinyl and chalk on canvas 86.5 x 86.5 x 2.75 inches

Ding Dong (Maggie's Dead), 2009 Mdf, plastic, gloss paint, leather and electronics on aluminum 65 x 83 x 47 inches (overall dimensions)

Every Now And Then I Fall Apart (diptych), 2009 Acrylic, vinyl, charcoal, chalk and glitter on canvas 47.25 x 47.25 x 2.75

I Wanted To Believe In Something, 2008-2009 Acrylic, charcoal, chalk, household gloss and sanguine oil on canvas 47.25 x 47.25 x 2.75

For The Broken, 2009 Acrylic, charcoal and vinyl on canvas 47.25 x 47.25 x 2.75

Soft Bomb, 2009 Acrylic, charcoal paint marker, spray paint, anodized ink and vinyl on canvas 47.25 x 47.25 x 2.75

STUART SEMPLE

2009-05-11T21:44:47Z
Everlasting Nothing Less Extended through July 31st
Let Forever Be, 2009, Acrylic, charcoal, and household gloss and electronics on canvas on aluminum, 71x 63 x 4 in. View ImagesImages from London Preview, April 29, 2009
]]> AnnaKustera is pleased to announce the first solo exhibition in New York of bold, young British artist Stuart Semple. The artist will show a series of new, large-scale paintings and installation pieces dramatically inspired and conceptually informed by his obsession with the reproduced and constructed image. Remarkably original, Semple carries the Pop Art tradition to a new, highly relevant and provocative level. Writing in “Artforum.com,” critic Adam Ganderson described him as “The offspring of Andy Warhol and Jeff Koons, as styled for MTV.” Semple lives up to this imagined art heritage, his work dizzyingly reconceptualizing multiple fragments of cultural detritus and effortlessly synergizing the profane and the commodified to create startling new signification. Beyond the surface, beauty of the ever bright and enticing surreality of the Pop landscape is a secret dread that Semple innately understands and Semple’s compositions are infused with that dark foreboding. “They all have this idea of a failed moment or the collapse of a particular situation,” he says. “They occupy this place where the tragedy has happened, where atomization and individualism have reached a peak and the individual is literally stranded. I think the key word for everything here might be entropy.” The breadth of Semple's frame of reference is a constant adventure; the title for his new series of works ‘Everlasting Nothing Less’ derives from a lyric in UK indie rock act Manic Street Preachers’ seminal anthem ‘Motorcycle Emptiness’. In Semple’s center piece, ‘Angelus’, the motorbike in question is the black Ducati from the iconic Puff Daddy music video 'Missing You' dedicated to the memory of his dearly departed friend the Notorious B.I.G. Also in ‘Angelus’ we see the artist assume the poses from Jean-Francois Millet’s original work. To the artist, this is the ultimate reproduced mimetic image and profoundly emotionally resonant as he personally prayed most days for the first 13 years of his life in front of it. Semple explores not only the multiplicity of meaning in the popular milieu but also the rapidly changing and diverse nature of the mediums in which we consume cultural products. He has ambitiously reproduced many seemingly mechanical reproductions by hand, utilizing thousands of tiny black and white dots. The production is invariably epic; in ‘Heaven Help Me For The Way I Am’ the artist portrays in minute detail across two tondi, a 3d crucifix and reflective oil slick, an assassinated man, the DeLorean from ‘Back to the Future’ and an ominous female emerging from the shadows. Semple instinctively captures the sense of catastrophe within the manufactured image and therefore the recording of mass culture itself is highlighted across the series in his freezing of snap-shot moments, a pivotal point of crisis for the image itself, often embellished with painterly emotive stokes. This body of work is an unsettling but exquisite invitation to ask profound questions about our shared mythologies and our personal relationship with the colorful, fractured world we inhabit that is transforming with paralyzing intensity. Since studying painting and printmaking at Bretton Hall, at only 28 years of age Stuart Semple has gone on to exhibit his work in both group and solo exhibitions worldwide in London, Mexico, New York, Italy and Hong Kong. He has also participated in Biennials in Sao Paulo, Mexico and Liverpool. Semple debuted his performance ‘Happy Cloud’ from Tate Modern this past February, where he released 2000 smiley-faced helium and soap clouds into the London skyline. The artist has also collaborated with major fashion houses, presenting his ‘TOY’ project with Moncler at Art Basel in Miami. Semple has also undertaken critically acclaimed curatorial projects internationally, including his recent exhibition ‘Mash-Ups’ for the Design and Artists Copyright Society. Stuart Semple lives and works in London and Dorset.

2008

2009-04-29T16:53:45Z
KARLHEINZ WEINBERGER
AMBREEN BUTT 'Dirty Pretty'
INNOCENCE REGAINED
THE WORLD'S SMALLEST ART FAIR
Batters/Kroll/Weegee
MATTIA BIAGI 'Rose Like A Phoenix From the Ashes'
Urbanity On Paper
CUTAWAY

2007

2009-04-29T16:52:20Z
SEAN MELLYN 'Friday'
ERIC HIBIT 'Breakout'
THE BLACK MARKET
REBEL REBEL: Remembering Karlheinz Weinberger
STEPHANIE CAMPOS
CHARLES LaBELLE

2006

2009-04-29T16:50:33Z
I drank the kool-aid
LOREN HOLLAND
TACT-TRACTION
Summer Group Show
JIANG HU 34 Contemporary Chinese Artists
KERRI SCHARLIN
PATTY CHANG and DAVID KELLEY

2005

2009-04-29T16:48:53Z
ROCK, PAPER, SCISSORS
LARRY MANTELLO
Garden of Earthly Delights

Exhibitions

2009-04-29T16:43:24Z
Objects of Desire
WORKS ON PAPER
KARLHEINZ WEINBERGER
2008
2007
2006
2005

OBJECTS OF DESIRE Images

2009-04-08T21:28:19Z
LOVETT/ CODAGNONE Each Man Kills the Thing He Loves, 2005 Neon, transformer 42 x 12 inches Edition of 6

JU$T ANOTHER RICH KID, TERENCE KOH, NICE COLLECTIVE, SURFACE TO AIR, VARIOUS PROJECTS, PLAYGROUND He Loves Me. He Loves Me Not., 2009 Set of 5 custom designed coke spoons housed in a black steel box 4 1/2 x 4 1/2 x 1 1/2 inches (box size) Edition of 10

MIMI SMITH Candy Bra, 1972 Candy, elastic, thread, hooks 11 x 34 x 2 inches

KATHE BURKHART Untitled, 1997 Smith and Wesson Handcuffs with engraved text Edition of 9 1AP

KATHE BURKHART Yes is the New No, 2008/09 Dutch milk chocolate letters Dimensions variable

MIMI SMITH Jockstrap, 1972 Tootsie rolls, elastic, thread 10 x 18 x 2 inches

Sidewalk: Kathe Burkhart will be creating a new haiku in chalk outside the gallery every week. Week 1

Week 2

Week 3

Installation Images