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Last Rites 5 Year Anniversary Group Exhibit
April 13—May 18, 2013
Opening Reception: Saturday, April 13, 7pm – 12am
Last Rites Gallery is pleased to announce its 5 Year Anniversary Show that will feature over forty works of art by a selection of its acclaimed roster of artists. The 5 Year Anniversary Show celebrates the gallery’s continued mission to showcase and harbor the world of dark surrealism and honor the artists that have paid the genre homage by digging into the darkest crevices of their minds and souls. It is with the talent, courage and vision of our artists that we thrive and continue to make our mark on the art world. We exhibit these works in gratitude, introspection and camaraderie, with the aspirations to continue challenging both the individual and group to engage and reflect on the beauty within the darkness.
“As both a tattoo and fine artist who specializes in dark art, it has been a dream of mine to open a gallery that serves as both a sanctuary and mecca for the obscure and dark. I am so pleased to have exhibited so many amazing artists throughout the years and look forward to continued success in bringing the genre of dark surrealism to light.” — Paul Booth
Artists include: Stefano Alcantara, Esao Andrews, Shawn Barber, Nick Baxter, Matthew Bone, Timothy Boor, Scott G. Brooks, Patrick Byers, Santiago Caruso, David Choquette, Colin Christian, Sas Christian, Christopher Conte, Rory Coyne, Matt Dangler, Jason D’Aquino, Brian Despain, Yoko d’Holbachie, Leslie Ditto, Mark Garro, H.R. Giger, Peter Gric, Chris Haas, Fred Harper, Naoto Hattori, Michael Hussar, Charlie Immer, S Jenx, Viktor Koen, Luke Kopycinski, Ewelina Koszykowska, Craig LaRotonda, Eli Livingston, Jean Paul Mallozzi, Chris Mars, menton3, Billy Norrby, Annie Owens, Chris Peters, Anthony Pontius, Matt Rota, Jose Manuel Schmill, Beau Stanton, David Stoupakis, Jasmine Worth, Zane York, Chet Zar
Join us on Saturday, April 13th from 7pm —12am for the opening night party hosted by Mistress Juliya. Come celebrate Last Rites 5 Year Anniversary Show as we feature live entertainment throughout the night including DJ Xris SMack!, Nikki LeVillain and Tabitha Mancini.
Sponsored by Inked Magazine
ONLINE PREVIEW COMING SOON!
To be placed on the preview list, please email: firstname.lastname@example.org
Exhibit runs: January 19– February 09, 2013
Opening Reception: Saturday January 21, 2012 – 8:00 – 11:30 p.m. Copro Gallery, Santa Monica, CA
CONJOINED 3: THE FINAL CHAPTER, closes the book on the Conjoined Trilogy and for the last and final chapter Copro features some of the most outrageous and majestic work yet! Classic sculptures, Lifelike & Life sized models, Surreal assemblages, mixed media paintings, Art Toys and other conjoined work will all be featured. Curated by Chet Zar this show will include many artists of Pop-Surrealism as well as motion picture industry special effects and Toy Art. Everyone will be pulling out all the stops for THE FINAL CHAPTER so don’t miss it!
AND come along to help Chet Zar celebrate the release of his first book, Black Magick: The Art of Chet Zar. Chet will be there signing copies of his new book on opening night. So be sure to grab a copy before they all get snapped up!
Participating Artist list: Alex Grey, Akhito Ikeda, Bruce Mitchell, Bill Sturgeon, Black Mass, Brian Poor, Brian Smith, Cass Mclure, Chantal Menard, Chet Zar, Charles Krafft, Chris Haas, Colin Christian, Craig LaRotunda, Daniel Saks, Dave Grasso, Dave Pressler, David Meng, David Richardson, Doktor A, Douglas Thielscher, Eddie Sparr, Eli Livingston, Grant Fuhst, Grant Standard, Jack Howe, Jason Hite, John Cebollero, Glenn Hetrick, Matthew Levin, Jake Roanhaus, James Zar, Jared Gunther, Jaremy Aiello, Jason Hite, John Cebollero, John Haley III, Johny Chow, Jesse Gee, Jeffrey Kibbe, Kazu Tsuji, Kevin Kirkpatrick, Kevin Mack, Krys Sapp, Larkin, Laurie Hassold, Mark Setrakian, Matt Ullman, Matthew Levin, Mark Walker, Meats Meier, Meesha Goldberg, Michael McCracken, Mike Hill, Nathan Cartwright, Neil Winn, Neal Kennemore, Paul Komoda, R.H. McClurg, Richard Landon, Rick Zar, Russ Lukich, Ryan Petereson, Sarina Brewer, Scott Stoddard, Scott Ligon, Scott Radke, Simon Lee, Shifflet Bros, Thomas Harris Tracey Roberts, Travis Louie, Taslimur, Thomas Kuebler, Travis Louie, Ver Mar, Vincent VanDyke, Yvette Endrijautzki, Zoetica Ebb, Zombienose & more!
On December 7, 20012, Christopher Ulrich’s The Reckoning opened at La Luz de Jesus Gallery. This exhibition is a milestone for both the artist and the gallery. Ulrich filled both Gallery I and II with the twelve large and detailed oil-on-wood-under-resin masterworks which Ulrich worked on for two years, logging in endless sixteen plus hour a day sessions.
Christopher Ulrich’s passion for mythology, alchemy, mysticism, and all of the fantastic images that he has accumulated and filed away in cluttered corners of his mind, are evident in every painting. He dances dangerously with his estrangement from the controlling force of Catholicism, which was key to his upbringing, challenging established notions of the Christ story.
Each painting was rendered in oil paint on wood panel and then covered with resin. The high-gloss resin coating gives the work a luminous, vibrant quality as though each piece was painted on a star. Though he uses non-traditional techniques, the effects he achieves are reminiscent of the masters of the Renaissance, the Late Gothic period and the Baroque period and the icons he draws from are obviously much older.
– Dahlia Jane from her Upon a Midnight Dreary blog.
Ulrich kindly answered these questions in detail for BeinArt, via email; we hope you enjoy the insight into his process for this truly amazing show.
Did you follow a planned path f0r your Demoneater series or did your ideas change and evolve as you created each piece?
The process for me is akin to the shape of a spiral. At the outer edge is the “plan” and as I descend into the work, the process itself evolves and changes. This Plan is more of a flash of the whole body of works, which I call the series. I have a vision of myself there in the exhibition or the gallery amongst them completed. Now I do not see all the details, perhaps some strong elements will percolate through the etheric void, which my mind’s eye penetrates. Once I absorb the feeling and energy of the completed journey, an empathic future thought-feel, I am thrust back to the present state. There I wonder how am I going to manifest that which is already completed deep down inside me. The work must be both summoned forth and experienced through.
Your sketchbooks are fascinating and detailed; they are like art books in themselves. Though some of your drawings appear in the Demoneater book, would you ever consider publishing one of your sketchbooks as is from front to back? It would give art fans quite a visual journey.
I would love too. Do you know someone who would like to take that journey with me? I have many friends and colleagues who may not be able to buy the paintings but would purchase the opportunity to view the process. Like any captain sailing into the primordial waters of the subconscious I try and keep a log of my experiences. I have had to sell many of these pages just to pay my bills between series. This is a shame since the notes themselves are more valuable to me. It would be great not to have to lose the originals, but instead have a record of them in a book. I am willing to give everything just to take the next project on. This does not have to be, if more people had the opportunity to show their support for the process itself.
Are all of your pieces derived from the works and ideas in your sketchbooks?
No, the sketchbooks are not a brainstorming source unto themselves. I use them as a diary, and as a short hand record of the fury of images and codes bubbling up through the concentric circuitous walls of the descending spiraling experience; which is induced by the driving need to return to the future manifested point of completion.
At what point of the process do you apply resin (how long after you are finished laying down the oils)? Considering that resin has a toxic nature, do you work in a studio with open windows and doors? What types of precautions do you take when using the resin? Do the colors change once the resin is applied and if so do you take any special steps when painting to compensate? Does the temperature and weather effect and if it does how do you compensate?
The Resin in the last series was unknown to me until I had reached deep into the near completion of the Christ Chronocrator series. I did not know this detail beforehand. I had no idea that I would be pouring toxic hot resin over my oil paintings, nor could I have imagined taking a blowtorch to them. They say the devil is in the details and boy that is the truth. He loves to hide at the almost point where the unsuspecting traveler, or artist, who has braved the tough climb, is about to reach the zenith point of the future dream element which is forming into a reality. The furthest point between you and your goal is Almost. This is the birthplace of tragedy and the devil jumps out and bites you on the ass. I found myself at this point and was not understanding as to what was missing. The paintings were done and all I had to do was apply a traditional varnish, photograph them, and sit back till the hour of the opening. The work had something else in mind. The real question is, had I known what I do now, would I have done it. The answer is yes. Indeed the process was dangerous, daring, and painful. The alchemy of it was far more complicated than advertised, and was a whole new part of the puzzle. Like a fool I rushed in, and truly, it nearly ruined me. I thought I had destroyed the show. Forget the cost of it, and how expensive a single mistake is, or the fact that humidity, hair, a bug, or any multitude of monkey wrenches can kill the work. Imagine only the damage, which causes havoc and madness to one who is being crushed by a deadline. One must face this fear, and it is hard work to do so. The process itself if you are able to apply it with minimal mistakes does ultimately cover the hand of the artist, which was a huge sacrifice for the mirrored effect. However with these paintings the resin worked because once I “mastered” the process they resonated the energetic vibration of the completed work, which I had only envisioned as a future potential. Remember that by mastering this new technique for me I mean only that I faithfully followed what my process dictated despite the bone crushing doubt generated by the overwhelming lack of experience needed to produce a satisfactory effect. I made a mess of myself, my home, and everything else in order to achieve the singularity of the final works. At the same time I got to fall back in love with the paintings only after I had “lost” the originals to the resin finish. It then became evident why these works had called out to me to be painted on wood. For me the third and first series are connected as the head and the tail of the self-swallowing snake are. Yes I did experiment on a Demoneater painting before I applied it on the current series. I had to. Yet nothing can prepare you for the real thing until you jump in and gamble all. I started this saga by gazing into a mirror, which shattered. I ended it by creating mirrors of revelations. The worst truth I had to face was the one that my persona, or reflected portrait painted in the Last Supper was Judas. I had felt at one point that I had murdered my “children” through the resin process. Imagine that…
Thank you for saying so, but the answer is a mystery. You ask ‘what’ if not the art spirit than what other force? Could it be that we are guided by something else? As far as ‘whom’ every series calls upon different influences. In my notes I detail and document the names and works I pay homage too and whose voices I’ve heard.
Do you do any sort of meditation or ritual before you start painting? I imagine that your entire being – mental, physical and spiritual goes into each one of these pieces and wonder what you do to prepare yourself for painting each day.
No-thing can prepare you once you start, although meditation and ritual can strengthen your nerve. Of course the left hand way would be drugs, intoxicates, or other extreme methods. I feel that these distractions are a necessary part of the process but not part of the real work. I for one do not need these things as access points. I may use them as shields to temporarily stop the process. Perhaps I need to recover or I am not ready to handle a new obstacle, or remember a new truth? In the end you must realize to simply let go.
The Monday after the opening, La Luz de Jesus hosted a book signing featuring Chet Zar and KRK Ryden. Present at the signing were both Christopher Ulrich and Mark Ryden. Though both were included in the La Luz de Jesus 25 exhibition last November, this was the first time the two maestros actually met. Ryden remarked that Ulrich’s exhibition was “Incredible and Impressive,” as he admired the sixteen-feet-wide “Last Supper” painting.
Christopher Ulrich with “The Last Supper”
“Baptism” Resin on oil on wood, 37.5″ x 73.5″ in 47.5″ x 83.5″ frame (from La Luz de Jesus show preview page)
Crowd at opening reception mesmerized by “The Last Supper”
“The Last Supper” detail far right
The Christ Chronocrater Series III: The Reckoning
Remains open through December 30
La Luz de Jesus Gallery
4633 Hollywood Boulevard
Los Angeles, CA 90027
beinArt Publishing is very excited to announce the release of Chet Zar‘s long-awaited art book, “Black Magick: The Art of Chet Zar” which is now available for purchase online via our distributor, Last Gasp.
A chronicle of Chet Zar’s eclectic career. From his beginnings in the Hollywood special-effects industry to his establishment as a widely respected fine artist, Chet’s unique world of monsters has fascinated and influenced those in fields as varied as tattooing, music and art academia.
Now, through this publication, Chet gives us unprecedented access to his story. In addition to Chet’s own reminiscences, this book offers contributions from creative forces who run the retrospective gamut of Chet’s career, including:
• renowned tattooist Paul Booth
• award-winning author, filmmaker and former editor of Rue Morgue magazine Jovanka Vuckovic
• film director Guillermo del Toro
Featuring over 150 full-color images of his paintings, sculptures and sketches, plus behind-the-scenes images from his time in the special-effects industry, Black Magick: The Art of Chet Zar is a must-have for anyone who has ever been curious about monsters…or the man behind them.
Following on from “Demoneater” in 2010 and “Illuminator” in 2011, this exhibition marks the final chapter in the Christ Chronocrator Cycle.
“The Reckoning” will open December 7, 2012 8pm to 11pm at La Luz de Jesus Gallery.
Christopher Ulrich is perpetually creating a personal mythology that involves the lives of all creatures he has come into contact with. Illuminating this journey with his skill, heart and determination he strives to create honest works of depth and character.
Christopher exhibited a painting in March of 2005, (the Demoneater prototype) for the Alex Grey Chapel of Sacred Mirrors benefit at the Hollywood Athletic Club in California. Soon after this, Christopher began to work on his major Demoneater series which is the first of three. This Demoneater series has been made into a book. He completed Illuminator, which exhibited in 2011 and is preparing to exhibit the third and final installment in the Christ Chronocrator cycle in late 2012.
“The Reckoning” – La Luz de Jesus Gallery
December 7th thru December 30th, 2012
Order now from Last Gasp
Black Magick–The Art of Chet Zar presents, for the very first time, a chronicle of Chet Zar’s eclectic career. From his beginnings in the Hollywood special-effects industry to his establishment as a widely respected fine artist, Chet’s unique world of monsters has fascinated and influenced those in fields as varied as tattooing, music and art academia. Now, through this publication, Chet gives us unprecedented access to his story. In addition to Chet’s own reminiscences, this book offers contributions from creative forces who run the retrospective gamut of Chet’s career, including Paul Booth (renowned tattooist), Jovanka Vuckovic (award winning author, filmmaker and former editor of Rue Morguemagazine) and Guillermo del Toro (film director).
Featuring over 150 full-color images of his paintings, sculptures and sketches, plus behind-the-scenes images from his time in the special-effects industry, Black Magick–The Art of Chet Zar is a must-have for anyone who has ever been curious about monsters… or the man behind them.
Born on November 12th, 1967, in the harbor town of San Pedro, CA, Chet Zar’s interest in art began at an early age. His combined interest in horror films and art eventually culminated into a career as a special effects make up artist, designer and sculptor for the motion picture industry, designing and creating creatures and make up effects effects for such films as, “The Ring”, “Hellboy I & II”, “Planet of the Apes” and the critically acclaimed music videos for the art metal band Tool. Zar also embraced the digital side of special effects as well, utitlizing the computer to translate his dark vision with 3D animation for Tool’s live shows and subsequently releasing many of them on his own DVD of dark 3D animation, “Disturb the Normal”.
His artistic influences include painter James Zar (his stepfather and artistic mentor), Beksinski, H.R. Giger, Frank Frazetta, M.C. Escher, Bosch, John Singer Sargent and Norman Rockwell just to name a few.
“Chet’s art is beautiful & scary. His style has a modern twist crashing into a classical approach. I think Chet is a master painter on his way to making a great mark in our little world. Wanna do something smart with your money? Invest in a Chet Zar painting.” – Adam Jones (TOOL).
11″ x 9.3″ x .8″
Published by beinArt Publishing. Distributed by Last Gasp.
Chet Zar Book Release and Signing Party at La Luz de Jesus - Monday, December 10th, 2012.
Copro Gallery presents three exhibitions opening, Saturday, November 10 – December 1. Christian Rex van Minnen has been heralded as the modern Giuseppe Arcimboldo, making his way into the art world armed with old world execution, warm
colors of bittersweet chocolate and burgundy velvet. Composition and color serve only as thin veils which barely distract from the dripping hordes of redundant flesh and undecipherable realms of deformation. Neo-Grotesquism springs forth with a fiery vengeance, offering beautiful reconstructions of hideous fungus, tumor-like protrusions, and flora and fauna, all married into modern yet simultaneously archaic portraiture. Enter a world where ugliness and beauty merge as one, challenging the narrow definitions of both.
(credit Lana Gentry)
Adam Miller’s “Among the Ruins”
For this exhibition Adam has been on a year long painting odyssey moving into mostly larger format paintings, all inspired by the scale and narrative of Renaissance painting and the scale of New York City. Adam’s paintings explore the intersection between mythology, ecology and humanism. Visually inspired by baroque and Hellenistic narrative painting they take a polytheistic approach to contemporary folklore, questions of progress and the experience of human narrative in the face of technological change and the
struggle to find meaning in a world poised between expansion and decay.
The characters of Distant Shore find themselves in a state of transition. Longing and unspoken ambition places their core elsewhere, at odds with their familiar surroundings.
At the border of the known and the beyond, they stop and contemplate an uncertain future.
Billy Norrby is a New York based artist. After graduating from SVA, Billy Norrby’s artwork has been featured in a multitude of galleries across the states and Europe. His work has also been seen in several Illustration annuals such as Spectrum, 3×3 and at the Society of Illustrators.
Copro Gallery – Bergamot Station
2525 Michigan Ave , Unit T5, Santa Monica , CA 90404 Ph: 310/829-2156 E-Mail: CoproGallery@live.com Web-site www.CoproGallery.com
Adam Miller “Among the Ruins” web-preview
Christian Rex van Minnen “FEVER DREAM ” web-preview
Billy Norrby “Distant Shore” web-preview
“LALUZAPALOOZA” (Exhibiting March 2013)
THE JURY IS OPENED!
We’ll be accepting submissions VIA EMAIL ONLY for next year’s jury from October 1 through December 31, 2012.
All work submitted must be: less than one year old – never have prior exhibited – available for sale. Artists may submit 1-5 low resolution (72 dpi, 1000 pixels high), unzipped jpegs. File names must be saved in this format: LastName_LG_Title-of-Piece.jpg (the “LG” is a filing aid, so leave it in there!)
Indicate within the body of the email (NOT AS AN ATTACHMENT) the following for each: Your Name – “The Title” – Medium (Oil on canvas, etc) – Dimension, Width” x Height” (x Depth” – if applicable) – Framed dimension, Width” x Height” (x Depth” – if applicable) – $ Retail price.
Also include your complete contact information: Your name – Mailing address – Phone number – Email and website address.
We are not accepting submissions that would require returning artwork to an address outside the continental USA. E-mail jpegs to us at email@example.com with the subject heading “Group Show Submission”
Submissions that do not follow this format will not be reviewed. Do not submit work that is for sale elsewhere or otherwise likely to be unavailable for sale in this show. If you are accepted and any of the pieces you’ve submitted are not available, you will be disqualified. We will not put any of your work in the show, and you will not be invited back. It is not necessary to send a follow up email. If your work is accepted, we will get in touch with you by the second week of February 2012. If your work is accepted, it is expected to be display ready, meaning that paintings must be wired for hanging, and sculptures must be free-standing or pedestaled. We showcase mainly figurative, narrative paintings and unusual sculpture. Our focus is not abstract expressionism and we are not accepting photography, video or digital art, edition prints or environmental installations. Please also bear in mind that wall space is limited, so we are imposing a limit of 24″ on the largest side, and strongly encourage much smaller work.
The annual group show has gone by different names over the years: “Noncommercial Art by Commercial Artists,” “Everything But the Kitschen Sync,” and now, “Laluzapalooza.” It is a gigantic, no-theme exhibition that consistently features work from the freshest and most relevant artists working today. We invite commercial illustrators, graphic designers, tattooists, scenic painters, students, and animators to submit, and sorted through tens of thousands of submissions before finalizing the contributor list. The show is open to all artists we have previously exhibited, as well as to brand-new, undiscovered, and underground talent.
Since opening our doors in 1986, the focus has always been to grant exposure to emerging talent while continuing to showcase our established stars. This important annual exhibition is a wonderful forum for reaching our extensive list of collectors and patrons, and establishing a fan base beyond your circle of regular buyers. Previous shows have featured the biggest names in post-pop contemporary art. This show launches careers, solidifies reputations and has previewed work by artists showcased in the Whitney Biennial. We welcome you to extend this invitation to friends and colleagues. We look forward to your submissions, and wish you all the best of luck.
Matt Kennedy, Gallery Director