Jim Shaw, The End is Here at New Museum, New York

Jim Shaw, Billy’s Self-portrait #1 (Famous Monsters Cover), 1986.
Gouache on board, 17 1/4 x 14 1/4 in (43.8 x 36.2 cm), framed.
Los Angeles County Museum of Art.
Partial gift of Judy and Stuart Spence and purchased with funds provided
by the Robert H. Halff Endowment and the Contemporary Art Deaccession Fund

New YorkArt & Culture

Gods and Monsters

Jim Shaw unleashes his inner freak for first major East Coast career retrospective...

BLAH

Jim Shaw, Untitled (Distorted Faces series), 1979. Graphite, airbrush, and Prismacolor on paper, 14 x 11 in (35.6 x 27.9 cm). Collection the artist

Jim Shaw is a bit of a weirdo. He knows it and he doesn’t care. In fact, the Michigan native, whose artistic practice spans painting, drawing, sculpture and music, has been letting his inner freak run riot in public throughout a three decade career on stage and on paper.

Known as a Los Angeles artist, Shaw is currently the subject of a comprehensive retrospective for the first time in New York; The End is Here at the New Museum takes axe to his oeuvre and lets the surreal, macabre goop run everywhere.

Spooky echoes from the frightening imaginary episodes of childhood resound throughout Shaw’s work, especially in projects such as the Hall of Mirrors-influenced Distorted Faces series and the covers of fictional magazine Monsters of Filmland. The exhibition features one of Shaw’s most recent and ambitious works in the theatrical shape of 2009’s immersive installation Labyrinth: I Dreamt I was Taller than Jonathan Borofsky, while at the other end of the spectrum, The Hidden World delves into Shaw’s archive of religious educational materials. The circus rolls into town on 7 October, and leaves on 10 January 2016.

@newmuseum

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Untitled (Large Face with Famous Monster Logo), 2003

Jim Shaw, Untitled (Large Face with Famous Monster Logo), 2003. Pencil on paper, 72 x 48 in (182.9 x 121.9 cm). Private Collection

World of Pain

Jim Shaw, World of Pain (Silver Version), 1991. Photostat on Mylar with cardboard back, 17 x 14 in (43.2 x 35.6 cm). Exhibition copy. Collection the artist

Anima V (Air)

Jim Shaw, Anima V (Air), 1987.
Oil on canvas, 17 x 14 in (43.2 x 35.6 cm).
Courtesy Marc Jancou Contemporary, New York & Geneva

Jim Shaw, Protest Poster

Jim Shaw, Protest Poster, 1986.
Acrylic on board, 17 1⁄4 x 14 1⁄4 in (43.2 x 35.6 cm).
Ringier Collection, Switzerland

Labyrinth: I Dreamt I was Taller than Jonathan Borofsky

Jim Shaw, Labyrinth: I Dreamt I was Taller than Jonathan Borofsky, 2009.
Installation: acrylic on muslin canvas stretched over plywood panels, dimensions variable.
Collection Eric Decelle, Brussels

Dream Drawing

Jim Shaw, Dream Drawing (“We were sharing a house with Jody Zellen…”), 1995. Pencil on paper, 12 x 9 in (30.5 x 22.9 cm). Courtesy the artist and Blum & Poe, Los Angeles

Jim Shaw, Dream Drawing

Jim Shaw, Dream Drawing (“On the TV movie bio of Frank Sinatra…”), 1996. Pencil on paper, 12 x 9 in (30.5 x 22.9 cm). Courtesy the artist and Blum & Poe, Los Angeles

The Jefferson Memorial

Jim Shaw, The Jefferson Memorial, 2013.
Acrylic on muslin, hot glue, and fishing line, 144 x 264 in (365.8 x 670.6 cm).
Courtesy Simon Lee Gallery, London

The Apple of His Eye

Jim Shaw, The Apple of His Eye, 1988.
Gouache on board, 17 x 14 in (43.2 35.6 cm).
Courtesy Marc Jancou Contemporary, New York & Geneva

Untitled (Distorted Faces series), 1985

Jim Shaw, Untitled (Distorted Faces series), 1985. Graphite, airbrush, and Prismacolor on paper, 14 x 11 in (35.6 x 27.9 cm). Collection the artist

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