Previous Exhibitions

Life Iconic
(January 22 2011 - March 05 2011)

Print show curated by: Jiha Moon

Review of exhibition on ArtsCriticAtl.com

Get This! Gallery is pleased to present the exhibition Life Iconic, a group print exhibition curated by Atlanta based artist Jiha Moon. Life Iconic showcases exciting emerging/mid career artists whose works engage with the idea of iconography in life. Iconography is evident in all of these artists’ work, and is drawn from subjects as varied as everyday life, nature and pattern, minimalism and abstraction throughout the exhibition. For some of the artists it appears in a bold and graphic style, for others it is as their subject or an inventive device, and for yet others it may be a subtle undercurrent.

This exhibition explores the notion of printmaking as a point of departure, and also questions the relevance of the distinction between “original” vs. “multiple” art objects. As opposed to traditional painting or sculpture, prints have long been considered affordable types of original art work- this can be quite misleading in this exhibition. For many of the works in this show break from the traditional conventions of limited-edition art prints. Several monotypes and one unlimited edition are included. Printing has become a medium that artists experiment and explore all aspects of; conceptually, technically, and formally. It is no longer simply something that is done as a means to create multiple images- although obviously that is still part of it.

This show contains works that were not only generated as hand-pulled prints, but also painstakingly drawn digital prints, found prints as sculpture, moving images made out of hundreds of etching prints, meticulously hand paper-cut linoleum prints, spontaneously approached mono-prints, maximal approached screen prints with over 40 colors, and photo process based monotypes as well.

Artists in the show:
Mattew Craven
Terri Dilling
Tim Eads
Peter Feldstein
Peregrine Honig
Kakyoung Lee
Adam Palmer
Hannah Skoonberg
Christine Tillman
Jason Urban

Emanate Car Show
(November 20 2010 - January 15 2011)

Review of exhibition on Burnaway >>

Get This! Gallery is pleased to present the solo exhibition Emanate Car Show, by Veronica De Jesus. This is Veronica’s second solo exhibition with the gallery. The exhibition will consist of all new car drawings done in Veronica’s signature style of white artist ink on paper.

Emanate Car Show: to flow out, to come out from a source.

“The catalysts for my work are always rooted in the personal; I put faith in the deep history of reasons. Cars are beautiful monsters.  They are visionary machines, emblems of mobility and luxury, progress and nostalgia.  For over a century (the Model T went into production in 1908), they have been as integral to the American dream as liberty or the pursuit of happiness.  We have built our cities to accommodate them and structured our habits to suit their requirements.  I am fascinated by how elementally they have shaped our culture, how they have become vehicles not just for our bodies but our aspirations. 

I spent much of my childhood in cars, moving from place to place.  The freedom that cars represented was very important to my family.  No matter how difficult things became, we could always escape—all we needed was a car and the open highway.

The cars that I have focused on for this show are very inspiring to me.  They are Impalas and Chevelles and Firebirds from the 50’s, 60’s and 70’s, drawn from images that I find online.  I also look at cars that have been forgotten, but for a brief period had some gust of attention surrounding them.  They are cars that personally excite my heart, so beautifully made that when I see them they immediately give my imagination permission to fantasize and to dream.  It is interesting—and appalling—to me that something so beautiful, that I love so much, can have such a disastrous impact on our world.  Our planet is beginning to share the consequences of the excess of our needs.

My white gel pen and my patterns on paper act as a portal into a space where I can spend time focused on peace.  As I draw my lines and make up my designs, I search inside myself, and examine my own spirituality.  I have always relied on the act of drawing to invent a place where my mind can rest—a place where I can search for resolutions to those things in life that don’t make much sense to me:  Why do we have so much and why we are always adding more?  What is the relationship between beauty and waste?  I struggle not to be selfish and not to be caught up in my talents and myself.  I have to keep myself in check through prayer and through my always-deepening faith in God.  These drawing are the result of my attempt to come to terms with the difficulties that this content presents to me. 

My car show focuses on the balance between earth and technology, and also on the beauty of design, the beauty in patterns, and the beauty and majesty of our imagination.  I have used these beauties to fill my spirit through drawing.”

-Veronica De Jesus

Free People of Colour (and other pictures)
(September 25 2010 - November 06 2010)

Group photography exhibition curated by Santiago Mostyn

Review of exhibition in Art Papers Magazine
Cathy Fox reviews Free People of Colour (and other pictures) for ArtsCriticAtl.com

Exhibition included works by:
Craig Mammano
Michael Koehler
Santiago Mostyn
Dinah DiNova

Exhibition was in conjunction with Atlanta Celebrates Photography

Harrison Keys: Pressure Luck
(July 24 2010 - September 04 2010)

Review of exhibition on ArtsCriticATL.com.

Sponsored by Pabst Blue Ribbon Beer

Harrison Keys’ second solo exhibition with the gallery.

Harrison Keys’ persona is imaginative, introspective, mysterious, and secretive. A deft draftsman in his own right, the drawings evoke the innocent coyness of classic children’s book illustrations. He is also a wordsmith, and the text that accompanies his drawings is injected with cryptic adult humor and wordplay. His drawings are nothing short of seductive, as the images have a pop surrealist sentiment that is largely playful, and at times cynical. 

Andy Moon Wilson: Laserwarrior
(May 14 2010 - June 26 2010)

To see larger installation shot, click here (link will open in a new window)

Review of exhibition on Artscriticatl.com

If you close your eyes and press your knuckles hard against the closed lids, you begin to see patterns. If you could record those patterns, and spray them on the wall to examine, then you might have something that looks like this show. Meticulously detailed, painstaking and obnoxious drawings collide in a sickly-sweet explosion of zeitgeist riffage, architecture and industrial design.

The 550 drawings in this show are intended to be read as a single piece, although they can also stand as discrete objects. The work is designed to provide an open-ended experience, there is no predetermined “message”. The imagery and text within the work function as “phrase triggers”- codes or icons that represent concepts. As the viewer “reads” the work, various concepts, each of which each viewer has his or her own ideas about, are triggered in random sequence, similar to hypertext linking. Philosophically, the work is heavily influenced by existential-phenomenology and post-structuralism. The goal is to stimulate an interesting thought pattern in the viewer.

Sponsored by Scion

Dawn Black: Mad Semblance
(March 19 2010 - May 01 2010)

artist’s website>>

The gallery contains a large grid of small works on paper. Each is a portrait of sorts culled from the vast information ocean we swim in daily. Sometimes masked, sometimes costumed, children, patients, and religious celebrants share the grid with fashion models, terrorists, cross-dressers, political prisoners, and people who dress up and enjoy over-sharing their private lives on social networking sites. This array of intriguing characters comprises just part of artist Dawn Black’s enormous inventory of personae.

And it is a jumping off point for the carefully considered larger works on paper that fill out the exhibition. In her quest for open-ended narrative, Black’s collage aesthetic is similar to an avant-garde film director’s montage of imagery. Given its surrealist roots, juxtaposition of unrelated imagery runs the risk of appearing hopelessly random. But Black eschews that strategy in favor of creating charged compositions that bring us on occasion to the edges of our moral comfort level.

Why is there a haute couture model wearing a Swarovski crystal skeleton outfit standing thigh-deep amidst a field of human remains in the Cambodian killing fields? Yes, the bones share the imagist relationship, but Black offers a trenchant tale on how culture easily glamorizes war and, in hindsight, how the more people exterminated, the more powerful (and historically memorable) a military campaign becomes.

Another preoccupation of Black’s is the exploitation of children by adults to advance their political agendas. The Brothers Mujahideen for the RaHoWa depicts two children, a suicide bomber and a KKK novitiate, being outfitted by anonymous adults to further their hatred-fueled goals of mass murder and racism. Maybe the small combatant squatting on a reclining red-gowned woman in the Fuseli-inspired The Nightmare has come back to exact a karmic revenge. Other works such as Prey, Justice, and The Base Lepidopterist allow the viewer to inscribe a more ambiguous narrative onto the social bodies depicted, but these, too, evoke power struggles and sinister menace. Black’s accomplished technique seduces by beauty but pulls us into the secret worlds beneath the façade, the veil, or the mask.

Andrea Pollan
Director, Curator’s Office, Washington, DC

Gyun Hur: repose
(January 23 2010 - March 06 2010)

15” x 22”, 5 color silkscreen, Limited edition print (25), available through gallery
image of print >>

detail of print >>

artist’s website >>

ArtsCriticATL review>>

As an extension of the artist’s previous show A Requiem in the Garden, exhibited at Gallery Stokes in 2009, Hur constructs a poignant, visual landscape with layers of hand-shredded silk flowers on an ambitious scale. Collected silk flowers are carefully disassembled and hand-shredded by the artist and a community of people around her. The pattern produced by this labor-intensive installation references the artist’s mother’s wedding blanket, beckoning memories of the past and inherent ephemeral comfort. The artist’s methodical destruction and reassembly of the silk flowers creates an introspective site, transforming the gallery into a place where internal memories lie in repose.

The artist examines her personal narratives of loss, memory, and place through a construction of visual and psychological space. The ritualized processes of choosing, collecting, cutting, and arranging the silk flowers become something larger, encompassing a private and emotional context. The installation process is itself a performance, which can be viewed from outside the gallery window during the week before the opening date (January 18–22). During the exhibition the installation, including the wall treatments and floor patterns will be viewable from eleven feet above the gallery floor through an observation window cut in the gallery’s wall.

Fahamu Pecou: WHIRL TRADE
(November 14 2009 - January 09 2010)

Atlanta Journal Constitution review>>
ArtsCriticAtl.com review>>

WHIRL TRADE is atlanta based artist Fahamu Pecou’s first solo exhibition with Get This! Gallery. The show focuses on a new suite of NEOPOP paintings inspired by his travels abroad and specifically in Africa. WHIRL TRADE addresses the impressions, interpretations and misconceptions of blackness that African descended communities perform for each other. Referencing the photos of West African photographer, Malick Sidibe, Fahamu has created a series of black and white images that are interpreted as faux magazine covers. WHIRL TRADE is the mash-up of black bodies influencing and being influenced by one another through popular media and entertainment.
A few words from Fahamu Pecou about WHIRL TRADE:

“Hip-hop has become the dominant contemporary American cultural export. As a US-based artist who grew up as part of the first wave of hip-hop, I often experience a degree of culture shock when I travel to cities, towns and villages around the globe and watch the context and form of my “home” culture appropriated in ways that appear misconstrued and distorted. In part, WHIRL TRADE re-presents, questions and plays with these global representations.

Likewise, African American cultural art forms, like hip-hop, have often recycled the same misinterpretations of African culture and Africanisms that US citizens are fed through media, music and entertainment. WHIRL TRADE, then, is my own dizzying struggle to discover what “blackness” we learn from each other through these cross-cultural fun house mirrors as well as some of the African roots we miss through these distortions.”

Bill Daniel: Ground Score
(September 18 2009 - October 31 2009)

(in conjunction with ACP 11 / Atlanta Celebrates Photography)

Review of exhibition in Art Lies Magazine
Review on Burnaway.org

Ground Score is Bill Daniel’s second solo exhibition at Get This! and will trace the unpredictable course of a self-taught artist who was originally turned on to the practice of documentation while participating in the skate/punk scene of Austin in the early 1980s. Included in this trip are records from a 20-year obsession with traditional rail graffiti, a bike messenger’s eye view of San Francisco’s graffiti that presaged a movement called “The Mission School”, and a range of large-format work resulting from a science and myth-based appetite for apocalyptic landscapes.

Summer 2009: Group Show
(June 19 2009 - August 01 2009)

A exhibition of selected works from a few of the gallery’s roster artists.

Andy Moon Wilson
Ben Roosevelt
Bean Worley
Harrison Keys
Jill Storthz
Nate Moore
Rick Froberg
Veronica de Jesus

Page 3 of 6 pages « First  <  1 2 3 4 5 >  Last »