Killingstar, Enchantment Removal, archival pigment print, 2010.

Bliss, Dude, archival pigment print, 2010.

Killingstar, Archetype, archival pigment print, 2010.

Scott Lickstein, Top Brass, archival pigment print, 2010.

Mine! I have some more coming in before the end of 2010.

Aaron Johnson, Bad Precedent, 18-color serigraph, includes metallic and iridescent inks, signed and numbered edition of 75, 25.5 x 25.5″, 2010. Price: $150 USD + shipping.

Bad Precedent by Aaron Johnson

AVAILABLE THURSDAY, MARCH 25, 2010, BEGINNING AT 3PM EASTERN.

‘Bad Precedent’ by Aaron Johnson is a limited edition of 75 prints, signed and numbered by the artist. This silkscreen features metallic and iridescent inks with astonishing levels of detail throughout. It will be available for purchase exclusively through NOWhere Limited this coming Thursday. The price is set at $150 USD + shipping. Please note that U.S. orders over $100 ship free.

At 3PM Eastern (that’s NOON Pacific / 20:00:00 UTC) Thursday, March 25th, the link to buy with PayPal, Visa, Mastercard or Discover will appear here:

http://nowherelimited.com

In addition to the edition of 75, we will also have available a very small number of Artist Proofs. This AP version is limited to only 10 signed and numbered prints and its price is set at $400.

ABOUT THE ARTIST:

Aaron Johnson is an accomplished painter with a keen eye for experimentation. His impressive works demand attention through strong composition, an intense palette and extraordinary levels of detail. He has exhibited widely at galleries including Stux Gallery, Mogadishni, Priska C. Juschka Fine Art, Claire Oliver Gallery, Leo Koenig Projekte, New Image Art and Marlborough Chelsea among others. Be sure to check out his show “Don’t Be Scared, You’re Supposed to Be” with Barnaby Whitfield at Irvine Contemporary in Washington, DC opening May 1, 2010.

Deborah Oropallo, Randi, permanent pigment print on aluminum, 2009.

The source material for much of this content is salvaged from online sources for cowgirl costumes. These advertisements have been digitally manipulated and superimposed on familiar Old Western photographs and recent rodeo imagery. The diluted figures blend with the landscapes and take on a frenzy that incites dimensional illusion.

Deborah Oropallo, Drill Team, permanent pigment print on aluminum, 2009.

As is the case with viewing most artwork online, scale is lost on these stunning pieces. Some of the works measure nearly seven feet on their long side. At this size, the digital artifacts sear with a saturated color palette that demands attention from a substantial distance.

Deborah Oropallo, Medals, permanent pigment print on aluminum, 2009.

Deborah Oropallo
Wild Wild West Show
8 January – 6 March 2010
Scott White Contemporary Art
San Diego, CA

Mark Mothersbaugh, Drinkin’ with Cyclops, five color serigraph, 2009.

The full bleed, five color serigraph is limited to an edition of 80 signed and numbered prints. In addition to this run we will have a few of the ultra rare four color variant on silver mirror paper. Both versions feature areas of metallic and glow in the dark inks.

Mark Mothersbaugh, Drinkin’ with Cyclops signing at Mutato Muzika, Los Angeles, 2009, (photo: J. Brewton).

Mark’s recent visual artwork has been largely inspired by his 30-year habit of creating handmade postcards to send to friends from various stops on DEVO tours. This obsession has evolved into a visual diary that currently yields the artist 1-25 new images per day. These images have served as the basis for the artist’s critically acclaimed solo shows of the 80s/90s as well as for his “gallery tours” which have been occurring at art venues throughout the globe since 2003.

Mark Mothersbaugh, Drinkin’ with Cyclops, glow-in-the-dark-detail, 2009.

You can find L.I.M.O. coverage of the printing process for “Drinkin’ with Cyclops” here.

Mark Mothersbaugh
Drinkin’ with Cyclops
Release date: Tuesday, November 24, 2009
NOWhere Limited

Dan Witz, Sarah (Bloody Fingers), mixed media on digital print on plastic, 2009.

Unauthorized artwork in public places has gone through many advances over the past several decades. It used to be the goal of graffiti bombers to to go large and loud with the intent of being seen. This attitude has by no means died but a subtler, perhaps more sublime aesthetic has begun to creep in affected considerably by the work of Dan Witz. His inventive urban treasures are reward for staying alert despite the daily grind.

Dan Witz, Mean Monkey, mixed media on digital print on plastic, 2009.

In the past, Witz has voiced an apprehension about showing his work in a gallery setting. Much of the pleasure that he derives from creating art comes from street level interventions in unusual places. “Dark Doings” seeks to integrate the power of the work in its accustomed habitat with the necessities of a proper exhibition space. Many of the prints are mounted on plastic, some have been marked and otherwise disturbed. The pieces have been either framed or mounted to unhinged doors. Photographic images of the prints in situ are also on view, extending the virtual sensation of “being there.”

Dan Witz, Scott (Photo), digital print on photo paper, 2009.

Dan Witz
Dark Doings
5 November – 3 December 2009
Carmichael Gallery
West Hollywood, CA

Post Neo Explosionism, The 27 Club , NOWhere Limited Gallery Edition, serigraph, 2009.

The much anticipated release of the NOWhere Limited Gallery Edition of “The 27 Club” (above) from Post Neo Explosionism is poised to drop. This serigraph is limited to 27 prints signed by all three artists (Jermaine Rogers, Justin Hampton & EMEK). The print will be available for purchase this Thursday, October 1st at a random moment between 2 & 3pm Eastern Daylight Time at this link.

Mars-1 x Delta Inc., Special Edition Observer, vinyl, 2009.

Our buddy Mars-1 (aka Mario Martinez) has teamed up with legendary artist Delta Inc. to bring you a special edition of the now classic Observer sculpture. This piece has been limited to an edition of only 100 pieces and can be purchased here.

Jermaine Rogers, Uncle, serigraph, 2009.

The gallery has had a strong relationship with Jermaine Rogers for years now. This arrangement has enabled us to get our hands on prints that otherwise would be impossible to attain. We have added several of Jermaine’s signed and numbered masterpieces to our arsenal including “AFRO-PUNK (Will I live Tomorrow)”, “Interaction #1: Gypsy Eye”, “Little Animals Grow”, “MORRISSEY (Houston & El Paso, Texas)”, “Polluted Culture: Volume 2″, “WEEN (Stone Pony Asbury Park, NJ)” & “Uncle” (above). All can be had NOWhere.

Frank Kozik, MechaNana, bronze, 2009.

Kozik has done it again with the amazing “MechaNana Bronze.” This piece is limited to only 22 casts. When asked to describe this sculpt Kozik just shrugged and said it was a “marital aid.”

Mark Ryden., YHWH, vinyl, 2009.

Also, new to our inventory at NOWhere Limited is this great vinyl piece”YHWH” from Mark Ryden. This is his first and perhaps only of vinyl sculpture, hurry and grab one before they are gone.

Sarah Lutz, Burst, oil on canvas, 2009.

The show is comprised of artworks that highlight small details that draw together into larger forms. Works of this character tend to change dependent on the distance of the viewer from the surface. Approach an unassuming abstract shape and vanish into the microcosm.

Adam Fowler, Untitled (7 Layers), graphite on paper hand cut and layered, 2009.

The world we inhabit and the vessels that contain us exist from the same construct seen in this exhibit. On some level, this show could be considered naturalistic. Experiencing this art in person will accurately edify the senses. If possible stop in at the gallery and indulge in the particulars.

Olalekan Jeyifous, The Cyclical-Cities of Impact-Craters, digital print on watercolor paper, 2009.

Laura Battle, Josephine Durkin, Matthias Düwel, Margaret Farmer, León Ferrari, Adam Fowler, Robert Jack, Olalekan Jeyifous, Sarah Lutz, Anne Neely, Mayumi Sarai
Intricacies
23 July – 4 September 2009
Lohin Geduld Gallery
NYC

Charlie Immer, Elk Puke, oil on panel, 2009.

Ten artists were invited to show pieces in this exhibit. Although decidedly dark, the subtext of the work varied from humorous to delightfully disgusting. It is the first time that any of the artists have shown in the gallery.

Paul Gerrard, Procreators, digital print on canvas, 2009.

It was my first visit to Last Rites. For those that haven’t been there, upon entering one is greeted by a case filled with jars of strange objects labeled as various body parts. Further in there were mounds of wax dripped from candles reminiscent of a goth decorated college dorm room. Many booths were laid out with eager looking tattooists on hand ready to sink ink into flesh. The gallery itself is dimly lit, understandably playing to the established theme but perhaps not the best situation for viewing. There has been some shakeups with the management lately so it will be interesting to see how the new leadership takes hold.

David R. Choquette, Christian, oil on board, 2009.

New Breed
1 – 30 August 2009
Last Rites Gallery
NYC

Bruce Nauman, Normal Desires, lithograph, 1973.

Four types of printing techniques are on display. The lithographs and serigraphs were utilized to reproduce some of the wordplay found in Nauman’s neon work while drypoint and etching approaches were used to execute his drawings for sculpture.

Bruce Nauman, Untitled (Ring), cast iron with grit blast surface, 1986.

Two sculptures and a video are also included in “Pay Attention”. The artist has resided in New Mexico since the 1980’s, it is good to see him giving the locals a broad view of his work.

Bruce Nauman, Setting a Good Corner (Allegory & Metaphor), still from video, 1999.

Bruce Nauman
Pay Attention: Prints and Multiples 1971-2007
31 July – 12 September 2009
James Kelly Contemporary
Santa Fe, New Mexico

Shane Hope, Molecula Simianus En Balloonus Animalia Meet Nanotubular Lepidoptera, 2009.

Be certain to have a look at the bio on Hope’s website for significant understanding into his trendy 2040’s lifestyle. There you will get a jump on approaching jargon such as malfoamation, slowcators and ontogenies.

Shane Hope, “Yes, but [grey goo] will be our children.”, 2009.

The conceivable futures for humankind are limitless. Arthur C. Clarke’s third law of prediction comes to mind when viewing this work, “Any sufficiently advanced technology is indistinguishable from magic.” We may postulate, expound and compile without a solid concept of the road ahead. Shane Hope has gone forward a bit with the intention of reporting back. The work outlines the illusion of tomorrow while admonishing the present as future past.

Shane Hope, to be Imortel, 2009.

Shane Hope
Your Mom Is Open Source
26 June – 1 August 2009
Winkleman Gallery
NYC