3106 BELLEVUE ST (262) 441–9257 Entrance to gallery on the rear of the building
Bahamas Biennale is excited to announce Fruiting Body, a solo presentation by Brook Hsu.
One day, after I’d grown very tired of eating so many kiwis, I started to eat lots of pears. For awhile I was eating pears every day. I’d put a pear in my Baggu bag printed with bunnies holding donuts on it and walk to my studio. When it is really hot in Los Angeles, I don’t really want to eat anything except fresh fruit. Like I said… for awhile I was eating kiwis, and then I moved onto pears. I have a Bosch pear in my fruit bowl at home right now. The other night at the bar, instead of drinking (which I really wasn’t in the mood to do), I ate an extra ripe and juicy red Bartlett pear and people thought that was especially cool. This pear in particular was so ripe that it dripped all over me and the floor and caused my hands and face to be a little sticky.
I propose the question: how are pears, vomit, bunny-dogs, mushrooms, stools and fountains related?
In A Difficult Pair, Victoria Shaheen and George Vidas use materials associated with industrial and commercial applications to probe questions of identity, hierarchy, and material culture. Shaheen uses commodity culture, image saturation and the history of decorative arts and design to create contemporary environments that deconstruct hierarchies, expose absurdity in social systems, and simply make viewers laugh. Vidas also uses humor to convey witty concepts and ideas through his neon work.
Wasserman Projects is pleased to present “Color-aid” an exhibition of painting, photography, and installation that explores the language of color and its influence on our emotional and physical response to the work. Featuring Peter Zimmermann’s candy colored resin paintings, vivid vignettes surrounding Abigail Murray's ceramics, and Ken Aptekar’s compositions with bold layering of text and image.
K.OSS Contemporary Art is pleased to present Whether Ewe Like it or Not by Detroit sculptor and installation artist Sarah Wagner.
This installation is inspired by the fanciful myth that sheep grew on trees, which began in the 16th century and lingered until it was debunked in the late 19th century. The sheep trees can be viewed to represent the ways Americans create myths to explain the foundation of our country. All of our body politic is weakened by ignoring the true history of how the nation began, namely through slavery. Today, new versions of “sheep trees”—in the form of “alternative facts”—seem to exist almost everywhere in our culture.