REVOK in Hamburg - Dec 3rd opening
Billy Al Bengston w/”Real Lite & Space” and “Your New Home” and “Ed Ruscha”
1331 W. Sunset Blvd.
Los Angeles, CA 90026
11-11-11 at 11am and 7-10pm
STATEMENT BY THE ARTIST
ON JAN. 25, 2011, KATIE PROPOSED I HAVE AN EXHIBITION AT SUBLIMINAL PROJECTS. FOR A LONG TIME
I HAVE BEEN CAPTIVATED ABOUT THE DATE OF NOVEMBER THE 11TH, 2011. I LIKE ALOT OF ONES. SHE AGREED.
WE HAD MEETINGS TO ESTABLISH WHAT THE TOPIC OR THE
STYLE OF THE SHOW WOULD BE. SHE WAS ENTHUSIASTIC
ABOUT A GROUP OF PAINTINGS THAT I DID IN 2008. I THINK THEY SORTA LOOK LIKE YOUR FUTURE PAD. AND I THINK THEY’RE PRETTY. CONCURRENTLY, WE WILL SHOW MONOTYPES I MADE IN 1966.
THEY ARE VERY LIGHT AND REFLECT ALOT OF SPACE. THE RUSCHA WILL BE A SURPRISE.
UNDOUBTEDLY, I’LL DROP OTHER THINGS INTO THE MIX. PLEASE COME AND LET KATIE EXPLAIN IT TO YOU. HOPE YOU ENJOY IT. SINCERELY, BILLY AL BENGSTON
November 10 - December 22, 2011
Gallery Hours: Tuesday-Saturday, 10:00 am - 6:00 pm
Opening Reception: Thursday, November 10, 6:00 - 8:00 pm
Regen Projects is pleased to announce an exhibition of paintings, drawings, and collages by New York artist Sue Williams. This exhibition, a retrospective of Williams’ work from 1990 to the present day, will illustrate the formal and thematic courses she has historically drawn upon and subverted in her work.
Sue Williams’ early work echoed and argued with post-feminist dialogues on gender politics and the discourse of the body. Employing a cartoon-like style, her paintings employed humor and satire in their depiction of gruesome acts of sexual violence to address issues of sexual objectification, sadomasochism, feminity, violation, and abasement. This was followed by a period where sexual attributes (orifices and genitalia) were concealed amongst brushstokes of alleged abstraction. Her work then moved to total abstraction - elegant linear passages of graceful arabesques in space. The brushed and poured lines became the subject occupying an empty background. Figuration slowly returned to Williams’ compositions in fragmented abstractions of the human form. These lyrical baroques catch different anatomical details and organic forms in their fluid and elegant web.
Williams utilized the traditionally patriarchal domain of painting to simultaneously parody male dominated painterly archetypes while breaking through the medium’s formal barriers. Sue Williams’paintings merge the distinct and seemingly disparate styles of figurative representation and lyrical abstraction, combining and slipping between the two while avoiding the limitations of the genres. The line in her work is constantly in flux and is neither compelled toward depiction nor limited from it. Form, color and the resulting spaces of presence and absence prevail to create humorous, ironic, witty, and sublime explorations of the process of abstract painting.
“Like many artists of her generation, Williams is taking on important themes in her work regarding art’s further limits as an expressive medium. If she chooses to approach these themes by parodying current modes of representing the human body, this is because these discomfort zones seem to point across the expanse of human consciousness, indicating clearly enough that the best route to artistic revelation is that which crosses forbidden territory…”
(Dan Cameron. “Sue Williams” in Sue Williams: Art for the Institution and the Home, published by Secession and Ivam, 2003, p. 40)
Williams’ work has been the subject of exhibitions throughout Europe, Asia, and the United States. Solo exhibitions include the Secession, Vienna, Austria; IVAM, Valencia, Spain; the Palm Beach Institute of Contemporary Art, Palm Beach, Florida; Centre d’art Contemporain, Geneva, Switzerland; and the San Francisco Art Institute, San Francisco, California.
An opening reception for Sue Williams will take place on Thursday, November 10, from 6:00 to 8:00 pm.
Only a few more days to catch this great show at Guerrero Gallery in the Mission up in SF.
Joey Piziali. Michael Eudy. Lester Monzon
Also featured: Gustavo Ramos Rivera
Guerrero Gallery, October 15th – November 5th
Guerrero Gallery is pleased to present new works by Joey Piziali, Michael Eudy, and Lester Monson. A glimpse into the ideas and processes surrounding painting and abstraction, this exhibition provides a selection of works that encompasses a wide range of styles and celebrates the diversity of contemporary painting. Works by these artists speak to the difficulties of categorization, and ultimately highlight the expansive scope of painting today.
Although stylistically different, Piziali, Eudy and Monzon are similar in their rejection of rigid fundamentals in favor of new, looser ways of seeing and making. Inclusive in each of these artist’s approaches is a nod to imperfection and reinterpretation. Perhaps non-objective, or reflecting/remaking aspects of our world, their artistic components of visual intrigue provide us with deliberately unpredictable outcomes. In Piziali’s words, contemporary painting lends itself to a “to each his/her own” way of thinking and making.
Tuesday – Saturday 11a-7p | Sunday 12p-5p
email@example.com | 415.400.5168
Better than school
Tim Biskup has new sculptures and paintings featured in FORMER STATES, a new show opening this FRIDAY, Oct 14th at THIS IS LA in Highland Park.
THIS los angeles is proud to present: TIM BISKUP: Former State
Opening Reception: October 14th, 7-10pm
New Paintings & Sculptures.
October 14th - November 4th, 2011.
THIS los angeles is proud to present:
TIM BISKUP: Former State
Opening Reception: October 14th, 7-10pm
After party at The Little Cave - DJs and Drink Specials. DJs include: Tim Biskup, MFG, Paul Tao & ERIC WAREHEIM!
– ABOUT THE EXHIBITION–
Tim Biskup’s new collection of paintings looks strangely familiar. Maybe Pre-sale list available upon request Tim Biskup (b. Santa Monica, CA. 1967- ) was born and raised in Southern California where he lives and works to this day. From his early years going to punk rock shows and Disneyland in equal parts he was more concerned with his own aesthetic vision than with fitting in. His rejection of a traditional art education (He left Otis in 1988 after two tumultuous years) is further evidence of his commitment to his unique path. He pursued his technical training through years of work in the illustration, animation and graphic design industries. When he finally reached out into the fine art world, it was not through any gallery, but by creating his own series of live art auctions (The Burning Brush Art Auctions, 1999-2002), a novel move that launched not only his own career as a fine artist, but the careers of several other previously unknown painters. What has followed are a string of sold-out (and nearly sold-out) gallery exhibitions and inclusion in several high-profile museum shows throughout the world. Long recognized for his complex color and design theories and a decidedly populist aesthetic, Biskup has amassed a cadre of loyal fans and collectors, propelled further by his steady output of limited edition prints, vinyl figures, books, records and other objects. With recent forays into the writing of theoretical text, and performance art he seems determined to remind his audience that he has a lot on his mind. His theories and actions are at times light-hearted and even funny, but can tend toward nihilism, anarchy and revolutionary idealism, matching the visual intensity of his paintings, sculptures and prints.
it’s the unavoidable Biskup-ness of his color palate or the uncomfortable,
slightly “off” expressions of his characters. Whatever it is, it is
intentional. This exhibition was carefully planned out from the very
beginning of it’s conception. Something that skews dramatically from
Biskup’s improvisational past. It’s not like he hasn’t put a lot of thought
into his shows (His last NYC show was accompanied by a 60 page book of
text.). The difference here is the level of focus. The show is almost
entirely made up of large scale paintings in the artist’s polygonal style.
To add another layer of unity, the subjects are a series of small mask-like
heads. These are not the carefully produced characters that make up his vast
array of vinyl figures, but small, roughy hewn, crudely painted things that
the artist sculpted himself. The twist comes from the expert craft and
expansive scale of the paintings. To see those spontaneous lumps turned into
carefully composed geometric images with months of meticulous paint
application going into their creation is quite surreal. The original
sculptures will be displayed (and sold) along with the paintings. Thus the
title of the show. But the title also refers to the growth that Tim Biskup
has gone through over the last 10 years. Both in his work and in his life.
It seemed at one point that we would never see characters popping up in his
work again, but now he’s gone back to his roots to re-examine and re-invent
his past. What he’s come up with is a refined, elegant and mature version of
his former state.
A little preview of the Tim Biskup/THIS collaboration limited edition t-shirt we will have the night of the opening.
– ABOUT THIS los angeles–
This is a group of four creatives who pool their resources under one roof to provide an
outlet for themselves and other creative people. The intention of THIS is to provide a
gallery space which brings friends and family together in the Highland Park
neighborhood of Los Angeles. The space not only showcases traditional gallery shows,
but it is a venue for artists to speak about their work, to interact with their audience and
facilitate a creative atmosphere in the community.
THIS los angeles
5906 North Figueroa Street
Los Angeles, CA 90042.
Tim Biskup’s new collection of paintings looks strangely familiar. Maybe
Pre-sale list available upon request
Tim Biskup (b. Santa Monica, CA. 1967- ) was born and raised in Southern California where he lives and works to this day. From his early years going to punk rock shows and Disneyland in equal parts he was more concerned with his own aesthetic vision than with fitting in. His rejection of a traditional art education (He left Otis in 1988 after two tumultuous years) is further evidence of his commitment to his unique path. He pursued his technical training through years of work in the illustration, animation and graphic design industries. When he finally reached out into the fine art world, it was not through any gallery, but by creating his own series of live art auctions (The Burning Brush Art Auctions, 1999-2002), a novel move that launched not only his own career as a fine artist, but the careers of several other previously unknown painters. What has followed are a string of sold-out (and nearly sold-out) gallery exhibitions and inclusion in several high-profile museum shows throughout the world. Long recognized for his complex color and design theories and a decidedly populist aesthetic, Biskup has amassed a cadre of loyal fans and collectors, propelled further by his steady output of limited edition prints, vinyl figures, books, records and other objects. With recent forays into the writing of theoretical text, and performance art he seems determined to remind his audience that he has a lot on his mind. His theories and actions are at times light-hearted and even funny, but can tend toward nihilism, anarchy and revolutionary idealism, matching the visual intensity of his paintings, sculptures and prints.
THE BUTCHER KINGS ARE COMING TO HOLLYWOOD!
“When Skinner and I met in the late 90’s, the Internet hadn’t yet been integrated as a common marketing tool for artists and musicians, and the actual outlets that WERE available for us to spread our imagination and artwork out to were limited to friends, family, schools, the local comic shops and the occasional small cafe-galleries and musical acts that catered toward non-traditional artwork. The bi-product of being undeniably driven by the passion to create without having outlets for either critiques OR validations, however, was that we both created our artwork strictly for ourselves and to make US happy.
Over the course of the last decade, as the Internet has become a more common and extremely useful tool in all aspects of art appreciation, execution, networking, and entrepreneurism, Skinner and I have attempted to adapt our thinking and artistic approaches in conjunction with this accelerated technology, but on numerous occasions we have also caught ourselves falling victim to this new widespread accessibility to our artwork.
The Internet provides such a rapid firing of both criticism and praise that, over the course of the last few years, has made both Skinner and I almost TOO aware of what people will like and dislike when our work is displayed publicly, causing us to recently question just who we are now creating art for. Are our imaginations subconsciously aware more so now of what others will think about our art? Are we now being secretly driven to create something that more people can “relate” to in hopes that we will in turn get more Twitter followers and more Facebook “likes” and somehow transcribe that invisible validation to more monetary success? In short, Skinner and I both realized that, for whatever reasons, we were taking ourselves too seriously.
Well, fuck that.
We missed creating art with the sole purpose of making ourselves smile and laugh. We missed not caring if we “lose a follower” by confusing someone with a drawing of VIKKI from Small Wonder or offending someone with a drawing of a demonic dick if that dick was fun to draw. And trust us, dicks are fun to draw. And they’re hilarious.
So in an attempt to re-unite our fearlessness, and to simply have fun using our separate memories and inspirations as our tools, Skinner and I present to you, “THE BUTCHER KINGS”.
Using the existing pop culture icons that we adore, and mutually drawing inspiration from various sources including Gary Larsen’s ‘The Far Side’, Jack Kirby, Wheel of Fortune, Carrot Top, Filmation Cartoons, Robot Chicken & Aqua Teen Hunger Force, we imagined what would happen if all of a sudden the memories of every pop culture property had begun to be torn apart by an unknown force and, in order to save the memories from total eradication, had to be gathered, reassembled and possibly even pushed off of a cliff by someone who was goofy, cynical, socially inept and slightly insane. That person….is us. Enjoy.”
7020 Melrose Ave
Los Angeles, CA 90048
He has two awesome events coming up if you’re in the neighborhood….
BLACK ART PROJECTS PRESENTS
by Zero +plus publishing
Edition of 1000
Official book Launch
4 October 2011
House of Bricks
40 Budd Street
GALLERY A.S presents
ONE MOMENT PLEASE
Mark Whalen ( Kill pixie )
A new exhibition of small paintings
New print release and book launch.
Thursday 6th October 2011
6 - 8pm
Gallery A.S. at The Former Paramount Pictures Building
Cnr Commonwealth Street and Hunt Street, Surry Hills.
Geometric Constructions, 2011: Print Edition of 50 / 3 colour off-set lithograph on Fabriano paper
45 x 60 cm
Pre order here : firstname.lastname@example.org
Geometric Constructions, 2011 : 45 x 60 cm
3 Kings is Coming to Subliminal Projects Gallery in Los Angeles…
September 17th – October 8th, 2011
Opening Reception: Saturday, September 17th, 2011 / 8-11pm
FEATURING FRED BRATHWAITE AKA FAB 5 FREDDY, LEE QUINONES AND LEONARD MCGURR AKA FUTURA 2000 WITH GUEST CURATOR PATTI ASTOR
Subliminal Projects is proud to present its opening fall show 3 Kings, on view September 17 through October 8, 2011. In classic NYC Subway Graffiti lore, a “King” is one who has achieved the most recognition for not only excellence in style but for the mark they have made on the culture. For over thirty years these “3 Kings” have been at the top of the game. Their history-making rise to international prominence from the subway tunnels of New York City was recently chronicled in MOCA’s “Art In The Streets” exhibition. At Subliminal Projects they will be presenting their contemporary work created exclusively for thisexhibition along with classic pieces. Please join us at a reception for the artists on Saturday, September 17, from 8-11p.m.
Fab 5 Freddy is well known as Hip Hop’s ambassador to the world. His early work with Blondie on the hit “Rapture,” his creation of the seminal film “Wild Style” (directed by Charlie Ahearn) and his groundbreaking shows at the FUN Gallery brought graffiti art, rap music and break-dancing to the big stage. He would go on to co-produce and host “Yo, MTV Raps!”, the first show to regularly feature this culture on TV. Starting with his famous “Campbell’s Soup Can” subway car homage to Andy Warhol, Fred has been at the vanguard— and his new work is no exception.
Lee Quinones is generally recognized as the greatest graffiti artist of all time. His ten whole car train with the Fabulous Five is a feat that has never been matched. Lee was also the creator of the graffiti writers’ creed, “If art is a crime, let God forgive me.” From his first show at the FUN Gallery in 1982 “Rust-O-LEEum”, he has never looked back, expanding his painting in extremely sophisticated ways while often including a touching look at the past.
Futura 2000 had his first one man show at the FUN Gallery in 1981 and with his unique, ethereal style became one of the FUN’s most successful artists. He was instrumental in bringing graffiti art to Europe and beyond with rock group The Clash, painting back drops on tour and designing album art. Futura was also one of the first artists to work with manufacturers of transformer figures and clothing designs. His otherworldly new work is always eagerly awaited.
In 1981, Patti Astor was famous as “The Queen of The Downtown Screen”. Having worked with such directors as Amos Poe, Jim Jarmusch and Eric Mitchell, she was starring in her 12th beyond low budget “No Wave Cinema” film, UNDERGROUND USA, (the punk rock Sunset Boulevard), enjoying a six month run as the midnight movie at the St. Mark’s Cinema. Fab 5 Freddy (Fred Brathwaite) had come downtown to check it out and so the “King of Uptown” met the “Queen of Downtown”.
Unbelievably at that time no one in the downtown Mudd Club scene had ever heard of graffiti art, break-dancing or rap. However, that was soon to change. With partner Bill Stelling, Patti opened FUN Gallery, the first art gallery in NYC’s East Village. From 1981-1985 this gritty tenement storefront was the epicenter of the early 80’s cultural explosion in art, music and dance. With Fab 5 Freddy leading the way, downtown punk rock met uptown hip-hop. English rockers The Clash and the Sex Pistols partied with Futura 2000 and the Rock Steady Crew, Keith Haring and Kenny Scharf traded tags with DONDI and LEE and Jean Michel Basquiat spun platters with Afrika Bambaata, everyone rocking to the box at the FUN, while renowned collectors, art historians and museum directors joined in the party.
Though the FUN Gallery’s duration was brief, the barriers had come down and the art world would never be the same.
Join these longtime friends and veterans of the most important cultural explosion of the last thirty years at the fall exhibition 3 Kings.
1331 W. Sunset Blvd, Los Angeles, CA 90026 t.: 213.213.0078 www.subliminalprojects.com / email@example.com TUES - FRI, 11am- 6pm / SAT 12-5pm
1331 W. Sunset Blvd, Los Angeles, CA 90026
www.subliminalprojects.com / firstname.lastname@example.org
TUES - FRI, 11am- 6pm / SAT 12-5pm
Man, if I was in NYC right now…
Pretty on the Inside
Todd James, KAWS, Tony Matelli, Erik Parker, Joyce Pensato, Peter Saul, and Karl Wirsum June 23–August 19, 2011 DATES EXTENDED: September 6 – September 17, 2011
Paul Kasmin Gallery presents the exhibition Pretty on the Inside, organized by Erik Parker and KAWS. This is the first time that the two artists have collaborated to organize an exhibition. Pretty on the Inside includes works in a range of media by seven American artists: Todd James, KAWS, Tony Matelli, Erik Parker, Joyce Pensato, Peter Saul, and Karl Wirsum. At first glance, these artworks challenge the viewer through their visual intensity, but upon closer inspection, they reveal an inner beauty. Many of the artists included make ironic or subversive works, hijacking the language of cartoons and comics to both celebrate and criticize contemporary culture.
Todd James (b. 1969) makes large-scale installations, drawings, animated videos, and gouache paintings that appropriate the style of Saturday morning cartoons to make social and political commentary. KAWS (b. 1974) draws from the traditions of Pop art and Geometric Abstraction, while revitalizing the figure by altering and recombining animated forms and features to create new hybrid images.
Tony Matelli (b. 1971), known for his elaborately rendered sculptures, contributes Double Meat Head (2008)— a compelling self-caricature rendered from various cuts of meat. In its various stages of decomposition, the sculpture is a rumination on death, decay, and rebirth. Erik Parker’s (b. 1968) figurative paintings feature eye-popping colors and psychedelic designs, yet take their inspiration from Francis Bacon, Vincent Van Gogh, and Pablo Picasso. The exhibition will represent the New York premier of Parker’s new high-octane take on the still life genre. Joyce Pensato’s (b. 1941) expressionistic black and white canvases and charcoal drawings of bug-eyed iconic characters are the anti-Disney, where her sources are transformed into psychologically charged compositions through barrages of action painting.
Peter Saul (b. 1934) and Karl Wirsum (b. 1939) first rose to prominence in the 1960s. Saul’s provocative paintings mix acid color and images of exaggerated violence and sexuality to tackle taboo topics and provide sharp-witted cultural critiques. Wirsum, an original member of Chicago’s surrealist art group the Hairy Who, makes brightly hued paintings and sculptures of original characters, partially inspired by Peruvian and Mezzo-American art.
José Parlá, No Return, Here Again, 2011, Mixed media on canvas, 72 x 72 inches. Courtesy of the artist and OHWOW Gallery.
September 9 - October 22, 2011
937 N. La Cienega Blvd.
Los Angeles, CA 90069
Los Angeles, CA - OHWOW is pleased to announce a solo exhibition of new work by José Parlá, titled Character Gestures, open September 9th through October 22nd, 2011. Comprised of paintings, mono-transfers and installations, this exhibition builds on the artist’s earlier work that dealt with the concept of psychogeography and depicted distressed architectural surfaces layered with calligraphic text. While he continues to broach the idea of how we experience urban landscapes and the visual language of mark making, the shift within Character Gestures stems from a deeper engagement with process and abstraction.
The notion of “character” is as much about text, integrity, and specific traits, as it is a literal nod to Parlá’s performance, wherein he assumes the role of hypothetical pedestrians who interact with marred city walls, as he creates the work. “Gesture,” encompasses the ideas of movement, communication, and demonstration, and is mutually respectful of the artist’s accidental and calculated actions when applying medium to surface.
With Parlá’s new paintings, as seen in No Return, Here Again, 2011, marks mix with textures, bright colors, and media, yet the process is as involved and significant as the visual outcome. Additionally, a large-scale installation fills the central gallery space - the freestanding sculptural translation of classroom memories opens a conversation with the surrounding paintings. In a collection of work on paper, which Parlá refers to as “mono-transfers,” he experiments with a form of frottage, documenting his new paintings via the impressions they leave on paper.
Character Gestures exemplifies Parlá’s deftness at technical execution; the complexity of layering, combined with erasure, still manages a translucent effect. His fluency in visual communication is mindful of the fact that any emotion or memory that attempts physicality can only serve, in reality, as an abbreviation of its original essence. He mitigates this condition through his poetic and individualized form of aesthetic dialogue, while navigating the art historic doctrine of Abstraction.
José Parlá studied fine arts at the Savannah College of Art and Design in Savannah, Georgia, and The New World School of the Arts in Miami, Florida. His work has appeared in exhibitions in London, New York, Tokyo, Hong Kong, Sydney and Paris. Character Gestures is his first solo exhibition at OHWOW, and a catalogue will be published in conjunction with the show. Parlá’s monograph, Walls, Diaries, and Paintings (2011), was published by Hatje Cantz for the occasion of his solo exhibition at Bryce Wolkowitz gallery in New York. Parlá currently lives and works in Brooklyn, NY.
Los Angeles based artist Frances Stark is getting rave reviews for her work My Best Thing, her elegant prose and intimate artwork. Her multidisciplinary practice incorporates paintings, videos, drawings and poetry.
Frances Stark (°1967, Newport Beach, California) is based in Los Angeles, California. She received her MFA from Art Center College of Art and Design (Pasadena, California), and is currently an Assistant Professor at University of Southern California Roski School of Fine Arts (Los Angeles, California).
Through both writing and visual art, Frances Stark addresses the conditions of creative labor, producing candid and affecting work about the nature of artistic practice and the corresponding yet integral banality of the everyday. The artist’s body of work stands as a self-reflexive inquiry into the process of artistic production, and the often-elided demands of daily life. Picture is of artist in Bikini
COOP’S “IDLE HANDS”
Opening Reception Friday, July 15, 2011 from 7-10pm
On View July 15 - August 3, 2011
On Friday, July 15, Corey Helford Gallery will debut “Idle Hands,” the highly-anticipated solo exhibition of pop artist COOP, and his most audacious yet.
COOP’s new body of work is rendered in his signature style—self-described as “hillbilly sex crime pop art”—and features the bold colors and subject matter he is known for but with a decidedly bawdier bent. “Pulp magazines, more overt sexuality and a little more deliberate provocation are on display this time around,” COOP says of the full-fi gured muses, bodacious backsides and sexed-up superheroes featured in “Idle Hands.”
“Idle Hands” is the artist’s fi rst solo show since his highly regarded and extremely successful 2009 exhibition at Corey Helford Gallery, and features an advancement in his work. “My goal was to keep building on the previous work, and dial in all the stuff that makes it work, while tweaking the things that don’t,” COOP explains. “I’ve been working on refi ning my technique and visual vocabulary for these paintings, trying to crack the code to maximize impact, playing with different materials, including more text and texture, anything to keep the process interesting for me.”
The exhibition features more than a dozen preliminary sketches and drawings and eight large-scale paintings, including “Startling/Defending the Uncanny Valley Against the Attack of the Xenophallitesa,” a 72-by-72-inch acrylic and enamel painting of a pink chrome robot woman who is as powerful and sexy as the restored engine of a 1932 Ford Coupe. “Idle Hands” is named after a luxury COOP rarely enjoys, and is also the title of his upcoming book to be published by Baby Tattoo Press, which will showcase the works in this exhibition.
The opening reception takes place on Friday, July 15, 2011 at Corey Helford Gallery. The reception is free and open to the public, and the exhibition will be on view through August 3, 2011.
Born in Bixby, Oklahoma, Chris Cooper, AKA COOP, began his art career at the tender age of two, with crayons in hand. Shortly after the ink was dry on his high school diploma, he left his home state for Los Angeles where he landed his fi rst solo exhibition in 1993 and has been steadily taking over the art world with exhibitions
at galleries and museums worldwide. Inspired by hot rodding, car culture, B-movie monsters, sexploitation fl icks and the world of fetish, COOP parleyed his artistic talent into a merchandising empire, creating custom collections of fi ne art prints, rock and roll posters, artist-series apparel, lifestyle accessories, skateboards,
toys, and books “The Devil’s Advocate”, “The Big Fat One” and the forthcoming “Idle Hands”, which will be released this year by Baby Tattoo Press. COOP’s commissioned work is equally as spectacular. He has produced over 100 posters, including rock posters for Nirvana, Soundgarden, The Sex Pistols and album
cover art for notable bands such as Mono Men, Lords of Acid, Ramones and NOFX. COOP’s commercial talent extends to a multitude of creative projects, including a series of limited-edition gambling chips and a customized Escalade for the Hard Rock Casino in Las Vegas, as well as directing music videos and designing major ad campaigns for various clients. Numerous publications have featured COOP, including ArtWeek, Paper and Juxtapoz magazine, which notes COOP’s name is “now more recognizable to modern youth than that of Rembrandt.” For more information about the artist, please visit www.coopstuff.com
About Corey Helford Gallery
Located in the Culver City Art District, Corey Helford Gallery was established in April 2006 by Jan Corey Helford and her husband, television producer and creator, Bruce Helford (The Drew Carey Show, George Lopez, The Oblongs). Passionate art collectors, the Helfords are producers on the art documentary The Treasures of
Long Gone John and have partnered to open their fi rst gallery. Corey Helford Gallery presents a wide range of artists, from members of the new fi ne art movement, such as Ron English, Josh Agle (SHAG), Buff Monster, COOP, Natalia Fabia, Korin Faught, Sylvia Ji, Eric Joyner, Chloe Early, Ray Caesar, and award-winning photographer Chris Anthony, to early Modernist William S. Schwartz. Renowned for its notable exhibitions, the gallery has presented “Charity By Numbers”, which was co-curated by Gary Baseman and featured an unprecedented lineup of artists including Mark Ryden, Marion Peck, Shepard Fairey, Todd and Kathy Schorr, Camille Rose Garcia, and Michael Hussar, as well as “La Noche de la Fusion”, an epic Carnivalesque festival and solo exhibition for Pervasive artist Gary Baseman. In 2010, Corey Helford Gallery partnered with Bristol’s City Museum & Art Gallery for the transatlantic collaboration “Art From The New World”, a world-class United Kingdom museum exhibition showcasing work by a formidable group of 49 of the finest emerging and noted
American artists. Corey Helford Gallery presents new exhibitions approximately every four weeks. For more information and an upcoming exhibition schedule, please visit coreyhelfordgallery.com.
Corey Helford Gallery
8522 Washington Boulevard
Culver City, CA 90232
Open Tuesday - Saturday, Noon to 6:00pm