Previous Exhibitions

Aqua Art Miami 2012
(December 05 2012 - December 09 2012)

Room #106

Exhibited artists:

Dawn Black
Ben Venom
Ben Roosevelt
Andy Moon Wilson
Jill Storthz
Tommy Nease
Veronica De Jesus

Aqua12 exhibitor page>>

Tommy Nease // Phantasm
(October 20 2012 - December 01 2012)

Review on
Review by the Creative Loafing.

Get This! Gallery is pleased to present the solo exhibition, Phantasm by photographer Tommy Nease. This is the first show by the artist with GT! The gallery will be publishing a book, Phantasm in conjunction with the exhibition.

Tommy Nease is a young soul who uses his obsession with imagery to unearth deep secrets within his subconscious. Nease’s work lies in a no man’s land between the spiritual polars of light and dark, and he attempts to live his waking life with the same respect. Tommy spends his days primitively traveling the states and abroad. He constantly submerges himself in new surroundings in order to gain inspiration for his photography. Nease’s work shares aesthetic sensibilities with the likes of Man Ray, Roger Ballen and Ryan McGinley. Nease’s work had been both exhibited and published throughout the United States and Europe including collaborations with: Dazed and Confused magazine (London), Unpublished magazine (Milan), the FOAM museum (Amsterdam), RELIC (Brooklyn), N‐SPHERE (Romania), Tell Mum Everything is OK (Paris), among others.

Nease’s solo ventures include “PNEUMA” a book published by Fourteen Nineteen (London) and Other/Other (USA) with an opening release exhibition at the Happy Dog Gallery in Chicago. His first solo exhibition “EXPLOR/ATIONS” (2010) took place at the Black Sheep Gallery in Charlotte, North Carolina.

Ben Venom: I Make No Mistakes
(August 25 2012 - October 06 2012)

Get This! Gallery is pleased to present San Francisco‐based artist, Ben Venom’s exhibition, I Make No Mistakes. This was Ben Venom’s first solo exhibition with the gallery.

Ben Venom’s practice is one of extreme juxtaposition. The Atlanta native combines the unexpected tradition of handmade crafts and the historical art of quilting with a musical genre that has a rich history in its own right, Heavy Metal. He describes his work as a “collision of Iron Maiden Metal ballads with the outrageous stage antics of Ozzy Osbourne. Serious, yet attempting to take on a B movie Horror film style where even the beasts of Metal need a warm blanket to sleep with.” Alongside of the intended campiness of the imagery Venom uses, there is a nuanced attention to the history of the imagery he uses. There is a clear nod to the methods of quilting from the patterns seen in the Gee’s Bend quilts of Alabama, as well as the iconic imagery of Heavy Metal, from snake riddled skulls to a teeth‐bared wolf. Somehow this unlikely conflation of the feminine customs of craft with the hyper masculinity of Heavy Metal coalesces
into stage set worthy tapestries.

Ben Venom lives and works in San Francisco, CA. He received his an MFA from the San Francisco Art Institute and BFA from Georgia State University. His work has been featured in Guardian UK, SF Bay Guardian, and Art Practical and he was the recipient of several awards including a Vera Jernigan Green Memorial Art Award and a SF Weekly Masterminds Grant. This is his first solo exhibition at Get This! Gallery. He has had exhibitions in Atlanta, San Francisco, Los Angeles, and Charleston, among others. His most recent solo exhibition was a solo exhibition at Guerrero Gallery in San Francisco.

Summer Salon: 2012
(July 14 2012 - August 18 2012)

Group show of works on paper by six GT! roster artists.

Review of exhibition.

Featured artists:

Andy Moon Wilson
Dawn Black
Gyun Hur
Harrison Keys
Jill Storthz
Rick Froberg

Ben Roosevelt: The Blue Flame
(March 17 2012 - May 12 2012)

The Blue Flame is Ben Roosevelt’s 2nd solo show with Get This! Gallery, this time using an immersive installation to turn his practice on its head, looking at the same time in to the past and in to the future to ask where things can go from here. Connecting the radical impulse of the origins of punk music to the urges of the Romantics and the trials of Dante as he wrote his medieval epic poem The Divine Comedy, Roosevelt places us in a seedy roadside bar known as The Blue Flame. The Flame exits in myth, somewhere between the stories of legendary performances at the Rock and Roll Farm of Wayne, Michigan and Twin Peaks’ Bang Bang Bar. Using drawing and sculpture to draw us in to the world of the Flame, Roosevelt asks if this is the place youthful dreams go to die, or where new dreams are born?


For the past hour, all that’s been put on the juke is Iggy, over and over he keeps

I got nothing
I got nothing to say.

The next guy at the bar is going on about Iggy’s ‘Get a Life!’ ad campaign with the insurers Apparently a few years ago, some British paper asked him about it. “This is so embarrassing. I was afraid you’d ask me that. This is so fucking embarrassing.” That didn’t stop him signing up for another round going on all the busses in London at the moment, this time featuring him arguing with a miniature puppet version of himself.

The stage is empty, its front lined with chicken wire and bits of brown glass, but someone left the lights on, hot pink and purple. On the way to the toilets, there’s two photocopied pieces of paper taped next to each other on the wall, the edges curled and browned like a serious smoker’s moustache. One’s got ‘M. Kelly, Detournement, 1970’ scrawled across the top, one paragraph circled: “A throwback to when rock and roll was entertainment for fraternity boys, not an
instrument for social change. It was a slap in the face to the audience. But they politely suffered through it, even hoopin’ and hollerin’ a bit.” In Kelley’s version they play ‘Louie, Louie’ three times in a row, to spite the audience. Iggy “played the audience like a fish.”

The other’s marked ‘L. Bangs, Blowtorch in Bondage, 77.’ In this version of the same gig, they give in to incessant audience calls for ‘Louie, Louie,’ playing a 45 minutes rendition, and making up varying insults of the crowd as improvised lyrics.

Everyone’s heard the one about the end of the road, but where does the road begin? It’s like everyone stumbled on this cul-de-sac and just assumed it was a full stop, not a launching pad or a slingshot. I got nothing to say, but I still come here to talk. The celebration of emptiness and being bored, it’s a scene itself over sixty years old, and here we are still trying to dream up new words, new excitement over everything that pops up. The guy on the other side of the bar’s bawling, saying Kelley’s suicide was him saying, admitting that maybe the screams, howls and jagged cuts of amp feedback were hollow. We all got stuck somewhere, but that’s where you stay when things are happening. But in here, it’s like something’s always happening, even if it is the shredding of a dream. As the regulars say. You never step in the same flame twice.
-- Chris Fite-Wassilak

Heather McPherson ~ shack, shanty, flat
(January 14 2012 - February 25 2012)

Images of work from exhibition.

Reviews of exhibition:

Click here to view work from exhibition.

Get This! Gallery is pleased to present Atlanta-based artist Heather McPherson’s solo exhibition, “shack, shanty, flat”. This is the McPherson’s first solo exhibition at the gallery. The work featured in the exhibition, embodies the southern vernacular so comforting to us all, whether you’re from the South or not.

McPherson’s most recent body of work is a multidisciplinary look at houses – all hardscrabble and distinctly southern – and the possibility of learning something about their inhabitants through exterior clues. This is a continual focus in McPherson’s work. She writes of the work, “Each house has an attribute that becomes the focus and gives us clues about the houses’ inhabitants; sheets hanging on a porch, a pile of logs, a boarded up window, an old car parked in front. In these drawings, as in life, everything is not perfect. Time passes, erodes the paint on a wall, rots the wood on a porch, but there’s beauty and truth in these imperfections. These drawing are of the everyday, the beauty of the passage of time and of people living.”

McPherson lives and works in Atlanta, Georgia. She received a B.F.A. from the Cleveland Institute of Art in 2005. Her work has been featured on MTV and she was the recipient of a 2010 Art on the Beltine Grant. She has had exhibitions in Atlanta, Alabama, Spain and Canada. This is her first solo exhibition at Get This! Gallery.

SYNTHESIZ // Ben “Bean” Worley
(November 11 2011 - January 07 2012)


All events were held at Get This! Gallery during the course of the exhibition.

*Opening reception: November 11

*Performance by Old King Cole Younger (Cole from Black Lips), Thursday, November 17

*Performance by CARNIVORES, Thursday, December 8

*Artist talk: Saturday, December 17

*Closing Reception: Performance by LYONNAIS, Saturday, January 7

Slideshow from this performance courtesy the Creative Loafing.

Video montage from Lyonnais performance (below)

SYNTHESIZ, Post-Abstract Expressionism in Action, 2011, 6min 1sec (below)

SYNTHESIZ by Atlanta based artist Ben “Bean” Worley. This wass Bean’s second solo exhibition with GT! The exhibition featured new video work and prints based on stills from the featured video, SYNTHESIZ: Post-Abstract Expressionism in Action. The exhibition included a series of evening performances throughout the duration of the show. These will included music performances in which Bean contributes live video mixing and projections to accompany the invited performers.

SYNTHESIZ fuses the binary roles of his personal and professional life with the historical precedent of film and art. Worley contextualizes his formal artistic training within a pop cultural experience that combines video, music and performance, transforming the analog materials he gathers into a contemporary digital medium. The transformative elements of Worley’s videos translate into the nature of the exhibit as a whole. The gallery will continually shift between both a formal viewing space and a music and events venue with every component synthesizing to create a unified visual experience giving the participant a view into the multifaceted nature of Worley’s work and background.

Michael M. Koehler // In Between
(September 16 2011 - October 29 2011)

Review of exhibition in the Creative Loafing.
Review of exhibition on

Artist section >>

Exhibition Statement

In Between is life.  This body of work focuses on humanity and how it interacts with the ever changing now. In looking at people and places In Between exposes a deeper truth to the moment, hinting to the past and documenting the constant changing of the present. 

I photograph because I need to - it is my way of life and how I connect with and understand the world around me. When we are authentically and naturally engaged with another human, we are at our most vulnerable state and mutual trust evolves. The experience is the true gift. For this exchange to occur we both must become open, a gentle process that sometimes is questioned and denied. When the shutter snaps there is a hope created between the outside world and me -we are nothing without each other.


Michael M. Koehler was raised in Philadelphia and started photographing on the streets where he learned that making photographs was based on the relationship that he shared with his subjects. Michael’s initial experience in Philadelphia and the relationship between nature and the urban environment is an on-going influence on his work. After receiving a B.F.A from New York University Tisch School of the Arts, he worked as a professorial photographer as a staff photographer for both the Philadelphia Tribune and Philadelphia City Paper. Yet, his passion has always been black and white photography and the process of the darkroom, which Michael embraces through his numerous documentary projects. He has traveled extensively across the US, Central America and Europe making pictures and collecting stories and he has lectured about his work at New York University, International Center for Photography and University of Pennsylvania Law School. Michael’s photographs have been featured in numerous solo and group exhibitions, including the Leica Gallery in New York, the Woodmere Art Museum in Philadelphia, Subliminal Projects Gallery in Los Angeles, Sandro Chia Studio in Rome and the Ricoh Cube Gallery in Tokyo. Michael is a recipient of the Philadelphia Museum of Art Purchase Award, as part of the Perkins Center for the Arts “Photography 29” juried show and was added to the museum’s permanent collection, and the “Artist Wanted” Top 50 portfolio competition. Michael lives in Philadelphia with his wife and son.

Paper Twins: Gone With the Twins
(May 21 2011 - July 02 2011)

Review of exhibition on Burnaway
Review of exhibition on
Review of exhibition in the Creative Loafing.

Listen to Jeremy Abernathy’s interview with the Paper Twins on AM 1690.

Get This! Gallery presents the exhibition, Gone With the Twins by the Atlanta based female street art duo, Paper Twins. This was their first exhibition with Get This!

Edgar and Nica met in Atlanta when they started working in the same coffee shop.  Their friendship was sudden, influenced by their love of art and music and new things.  Having different backgrounds, they became infatuated with each other’s cultures, sharing music and films and spending long nights telling each other stories.  Little did they know that these stories were the stepping stones of a new body of work.

¡The south!
Oh man oh man; they both came from the south… Two different souths, in two different hemispheres, but so similar indeed.

They soon realized that since they had been working in anonymity, making work about their cultures could be a way to establish a more personal connection with their audience.  They began to research, digging up old photos, calling on aunts and uncles for stories, traveling to their places of origin and gathering as much information as they could. They found that although they had different stories, their stories had similar aspects, which at times wove together and created overlapping narratives.

Their processes of making were influenced by their research, challenging them to work with new materials.  Wood, sand, sound, grain, grass… They used everything they could to coax these stories and memories to come alive again. But memories will never come alive again.  Don’t be fooled; experiences and stories are distorted with time and after the years you end up telling your stories the way you want to remember them, romanticizing hardship, chuckling at deep-rooted superstitions and seeing the past through affection-tinted eyes. Everyone has stories.  Edgar and Nica hope you will come away from this night thinking about your own past and that you may for a moment be attentive to the power of memories. Tomorrow this night will be a memory to you and who knows what you will make of it

Jill Storthz: Woodcuts
(March 18 2011 - April 30 2011)

Review of exhibition in Art Papers magazine in the July/August, 2011 issue.
(link opens in new window, click on image to enlarge)

Read Felicia Feaster’s review of Woodcuts for the Creative Loafing here.

This was San Francisco based artist Jill Storthz’s third solo exhibition with Get This! The exhibit focused exclusively on Storthz’s reductive woodblock prints. They are each carved from a single block of Shina, a Japanese basswood.  The method Storthz use to create these prints is reductive, also called “suicide method” because there is only one block of wood used and no “going back” in the event that a mistake is made. These prints are often unique or run in a very small edition of two or three.  When the print is finished, Storthz is left with a hollowed out piece of wood so that the same image could never be reprinted.

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