22 IDOLS” Exhibition at DAIKANYAMA

A Win­ston Smith / Kosuke Kawa­mura Col­lab­o­ra­tion Exhibition

pre­sented by ERECT Lab

 

Octo­ber and Novem­ber, 2010 — ERECT Lab spon­sored two exhi­bi­tions fea­tur­ing the col­lab­o­ra­tions of Win­ston and Kosuke Kawa­mura.  The first, enti­tled “33 Idols” was exhib­ited (open­ing Hal­loween) at Superdeluxe in Tokyo.  The sec­ond, enti­tled “22 Idols” was pre­sented at Pulp in Osaka.

Jan­u­ary 21, 2012 — The  exhi­bi­tion is enjoy­ing a second-coming at Daikanyama Build­ing 2 ivy and book­stores – along­side SHOHEI “57577”.

E Lab’s pub­li­ca­tion, a 22-page hard­back will be avail­able for pur­chase, fea­tur­ing the 22 Idols exhib­ited in the show.

The gallery below is a selec­tion of Winston’s con­tri­bu­tions to the project.

 

 

Links:

 

Erect Lab

Daikanyama T-Site

SuperDeluxe

 

About Kosuke Kawamura

Born in 1979 in Hiroshima and cur­rently lives in Tokyo. Works as both Graphic Designer and Spe­cial Affect Designer. He is also a One Plus col­lage artist. Was accepted at Takashi Nemoto’s exhi­bi­tion, “Takashi Nemoto and oth­ers’ Pick! Cheer­ful Every­day”.  Now an art direc­tor for E Mag­a­zine that he has launched with INUNCHU. Col­lab­o­rated a T-shirt work with an apparel brand, “VANDALIZE” and also some graphic work for “NADA.”. Pro­duced numer­ous fly­ers for sev­eral lives and events.

Pub­lished num­bers of book designs and other mate­ri­als for design­ers such as : Takashi Nemoto, Masaya Hara, Nao­hiro Ukawa and Yuichi Jibiki. Together with Mr. Nemoto, pro­duces test-art comic, “Soleil Dis­ci­pline”. It cur­rently been pub­lished seri­ally for a quar­terly mag­a­zine TRASH-UP!  Started a live silk print in 2007. The silk screen project focuses on mon­e­tary value. Often taken on projects that deeply evolves around con­cepts. Has col­lab­o­rated with Win­ston Smith and KING JOE to par­tic­i­pate in both solo and group exhi­bi­tions in muse­ums and gal­leries. He keeps expand­ing his abil­ity as a graphic designer by tak­ing on dif­fer­ent medias of mate­ri­als: book designs, DVD/CD jacket designs, adver­tise­ment, apparel, events and others.

 

Blog: http://ameblo.jp/zaide/

 

Mid-Winter Night’s Scream

Just in time for the Holidaze.…

 

Win­ston Smith’s

Annual Stu­dio Show

ONE NIGHT ONLY! 

Fri­day, Decem­ber 9th 2011 • 7pm-11pm

 

at Grant’s Tomb Gallery

 

 

 

50-A Ban­nam Alley

(Right off Union Street at Grant
One Block East from Wash­ing­ton Square
In the heart of North Beach)
 
Look for the Red Door.

 

Give the gift that keeps on giv­ing: ART!

 

New and clas­sic orig­i­nals avail­able for your collection.

 

Wide price range to fit any budget.

 

 

All major credit cards accepted.
 
 

SEE YOU THERE!

 

 

MxMxM New Collection: 2011 Thanx — 2012 Spring

New in Munchie-land!

 

2011 Thanx - 2012 Spring Collection

 

Our friends in Tokyo, MxMxM, have released their brand-new Win­ter — Spring col­lec­tion, and among our favorites are these two items fea­tur­ing “Nuclear Scream.”

 

 

Nuclear Scream was orig­i­nally made in 1977, and was used for the back of Dead Kennedys’ “Kill the Poor” 7″ in 1980.

In 2010, Win­ston com­bined his orig­i­nal two images to reflect his life-long anti-nuke posi­tion.  Polit­i­cal Grid­lock made posters and did a street art cam­paign all over the Bay Area and LA.

Iron­i­cally, only months after this cam­paign, the Fukushima Dai­ichi Nuclear Dis­as­ter rocked Japan and the world on March 11th, 2011.

 

We are  hon­ored that MxMxM in Tokyo has selected this image to raise funds for dis­as­ter relief.  A por­tion of the pro­ceeds from this t-shirt and coach jacket will go to Japan Cher­nobyl Foun­da­tion, an orga­ni­za­tion that helps vic­tims of the earth­quake Fukushima nuclear power plant.

 

 

Check out their site now.

 

 

Born Again (Again) RE-OPENING, Tuesday, OCT. 25th 6-10pm w/ Rob Reger & Winston Smith

If you missed the open­ing party, mark your cal­en­dars for Tues­day, Octo­ber 25th (6pm). Rob Reger will be exhibit­ing some of his bril­liant col­lage works, plus some col­lab­o­ra­tions with Win­ston and Jim Dirschberger at 111 Minna.

Ear­lier this month, Rob and Win­ston locked them­selves in “Grant’s Tomb” and cre­ated sev­eral col­lab­o­ra­tive col­lages, described by Reger as “Two mad sci­en­tists exchang­ing secrets and cre­at­ing some off­spring with a true blend of their two styles.”  This is an unprece­dented event, and Win­ston will be in atten­dance and is excited to invited to join the show.

 

Print

 

ROB REGER | Born Again (Again) | Re-Opening Recep­tion: Tues­day, Octo­ber 25th | 6pm-10pm

Through Oct. 29th

Born Again (Again) is a trans­for­ma­tive and fig­u­ra­tive mixed and multi-media art exhibit fea­tur­ing the col­lage work of Rob Reger.

 

SPECIAL GUESTS:

 

Win­ston Smith

James Dirschberger

 

Rob and Winston Collaborating.

“I invited Win­ston Smith to col­lab­o­rate on a few col­lages with me. [The] col­lages he cre­ated for the Dead Kennedys shaped how I cre­ated col­lages from an early age. Over the years, Win­ston has become a good friend, and con­tin­ues to inspire me through his own work. I invited him to join with me to “play” God, and give new life to imagery we find wor­thy of the cause.”   ~ Rob Reger

 

ABOUT ROB REGER:

Biog­ra­phy

Born: Ana­heim, CA, 1969
BFA, Print­mak­ing, Uni­ver­sity of Cal­i­for­nia Santa Cruz 1993
MFA, Print­mak­ing, San Fran­cisco Art Insti­tute 1995
Pres­i­dent of Cos­mic Debris Etc., Inc.
Creator/Creative Direc­tor of Emily the Strange
Lives and works in Berke­ley, CA

 

ABOUT BORN AGAIN (AGAIN):

“Select areas of imagery are first dis­sected, then care­fully brought back to life one con­nec­tion at a time through the sur­gi­cal prac­tice known as col­lage. This life, as these franken­steined “orig­i­nals,” is sim­i­lar to child­hood– finite in time that it exists, given the nature of the mate­ri­als used. That child­like exis­tence is then cap­tured and brought into adult­hood when I cre­ate a sec­ond life as these “char­ac­ters” are re-imagined and printed and painted on wood.  Finally, if their Cre­ator is inspired enough by their pre­vi­ous exis­tences, they make it into the spirit-world through film and ani­ma­tion. It is here they are finally allowed to move and have ever­last­ing life. I am inter­ested in tak­ing these col­lages to a “larger than life” place by phys­i­cally repro­duc­ing them on a large scale, and ani­mat­ing and pro­ject­ing them. In the past, sim­i­lar col­lage works have only been shown in small frames with a mag­ni­fy­ing glass. Now the work will be acces­si­ble from any­where in the room.”
Rob Reger, artist

 

PHOTOS & A SNEAK PEEK AT THE COLLABORATIONS:

Rob and Winston Collaboration:  Currently Untitled

 

For More Info Visit 111 Minna Gallery…

Rob Reger — Born Again (Again)

Mark your cal­en­dars for Thurs­day, Octo­ber 6th. Rob Reger will be exhibit­ing some of his bril­liant col­lage works, plus some col­lab­o­ra­tions with Win­ston and oth­ers at 111 Minna.

Ear­lier this month, Rob and Win­ston locked them­selves in “Grant’s Tomb” and cre­ated sev­eral col­lab­o­ra­tive col­lages.  This is an unprece­dented event, and Win­ston is excited to invited to join the show.

Print

 

ROB REGER | Born Again (Again) | Open­ing Recep­tion: Thurs­day, Octo­ber 6 | 5pm-late

Through Oct. 29th

Born Again (Again) is a trans­for­ma­tive and fig­u­ra­tive mixed and multi-media art exhibit fea­tur­ing the col­lage work of Rob Reger.

 

SPECIAL GUESTS:

 

Win­ston Smith

James Dirschberger

 

Rob and Winston Collaborating.

“I invited Win­ston Smith to col­lab­o­rate on a few col­lages with me. [The] col­lages he cre­ated for the Dead Kennedys shaped how I cre­ated col­lages from an early age. Over the years, Win­ston has become a good friend, and con­tin­ues to inspire me through his own work. I invited him to join with me to “play” God, and give new life to imagery we find wor­thy of the cause.”   ~ Rob Reger

 

ABOUT ROB REGER:

Biog­ra­phy

Born: Ana­heim, CA, 1969
BFA, Print­mak­ing, Uni­ver­sity of Cal­i­for­nia Santa Cruz 1993
MFA, Print­mak­ing, San Fran­cisco Art Insti­tute 1995
Pres­i­dent of Cos­mic Debris Etc., Inc.
Creator/Creative Direc­tor of Emily the Strange
Lives and works in Berke­ley, CA

 

ABOUT BORN AGAIN (AGAIN):

“Select areas of imagery are first dis­sected, then care­fully brought back to life one con­nec­tion at a time through the sur­gi­cal prac­tice known as col­lage. This life, as these franken­steined “orig­i­nals,” is sim­i­lar to child­hood– finite in time that it exists, given the nature of the mate­ri­als used. That child­like exis­tence is then cap­tured and brought into adult­hood when I cre­ate a sec­ond life as these “char­ac­ters” are re-imagined and printed and painted on wood.  Finally, if their Cre­ator is inspired enough by their pre­vi­ous exis­tences, they make it into the spirit-world through film and ani­ma­tion. It is here they are finally allowed to move and have ever­last­ing life. I am inter­ested in tak­ing these col­lages to a “larger than life” place by phys­i­cally repro­duc­ing them on a large scale, and ani­mat­ing and pro­ject­ing them. In the past, sim­i­lar col­lage works have only been shown in small frames with a mag­ni­fy­ing glass. Now the work will be acces­si­ble from any­where in the room.”
Rob Reger, artist

 

PHOTOS & A SNEAK PEEK AT THE COLLABORATIONS:

Rob and Winston Collaboration:  Currently Untitled

 

For More Info Visit 111 Minna Gallery…

Classic Prints Available from WinstonSmith.com

Apocalypse Wow!  1995

Apoc­a­lypse Wow!  1995

As an arch-angel saves pin-up girl in this apoc­a­lyp­tic scene, mom and pop are tied & gagged.  Ani­mals and kids are fly­ing through the air while the world goes up in smoke.

Archival Giclée print on Som­er­set Vel­vet — Signed and Num­bered. Lim­ited Edition.

Avail­able in two sizes:


11″ x 13″ (With Bor­der Appx. 12“x18”) — Edi­tion of 100

17 1/2″  x  14 1/2″  •  350.00 — Edi­tion of 50

34 3/4″ x 29″  •  800.00 — Edi­tion of 50

NOTE:  Dimen­sions are for “live” area.  There will be an addi­tional 2″ border.


Size



Babylon Burning,  1997

Baby­lon Burn­ing,  1997

High tech­nol­ogy in flames as the elite flee the impend­ing doom.  A ver­sion of this com­po­si­tion illus­trated a Kurt Von­neget story in Play­boy Mag­a­zine, 1999.

Archival Giclée print on Som­er­set Vel­vet — Signed and Num­bered.     Edi­tion of 50.

37″ x 29″

NOTE:  Dimen­sions are for “live” area.  There will be an addi­tional 2″ border.

 

800.00

 

 

Life as We Know It (Demolition Derby),  1987

Life as We Know It (Demo­li­tion Derby),  1987

Used for the cover of Jello Biafra with D.O.A. — Last Scream of the MIss­ing Neighbors.

Archival Giclée print on Som­er­set Vel­vet — Signed and Numbered.

10″ x 13″ (With Bor­der Appx. 12“x18”) — Edi­tion of 100
38 1/4″ x 29″ — Edi­tion of 50

NOTE:  Dimen­sions are for “live” area.  There will be an addi­tional 2″ border.


Sizes




 

Dog is my Co-Pilot,  2000

Dog is my Co-Pilot,  2000

Used as the cover of Executioner’s — Hell­bound (2010).

Archival Giclée print on Som­er­set Vel­vet — Signed and Num­bered.     Edi­tion of 50.

38 3/4″ x 29″

NOTE:  Dimen­sions are for “live” area.  There will be an addi­tional 2″ border.

 

800.00

 

 

The Futility of a Well-Ordered Life,  1990

The Futil­ity of a Well-Ordered Life,  1990

Archival Giclée print on Som­er­set Vel­vet — Signed and Num­bered.     Edi­tion of 50.

33 3/4″ x 29″

NOTE:  Dimen­sions are for “live” area.  There will be an addi­tional 2″ border.

 

800.00

 

 

God Told Me to Skin You Alive,  1995

God Told Me to Skin You Alive,  1995

The col­lage on the album cover was cre­ated by Win­ston Smith and is called God Told Me to Skin You Alive, a ref­er­ence to Dead Kennedys first album, “Fresh Fruit for Rot­ting Veg­eta­bles”.  Inter­est­ingly enough, the cover art con­tains an image (the den­tist) that was orig­i­nally used in a col­lage fea­tured in the insert book­let art of Dead Kennedys’ album Plas­tic Surgery Dis­as­ters.  There are also three skulls on the entire album cover– one for each mem­ber of Green Day. One of the skulls requires you to view the piece at an angle. The hid­den skull is taken from Hans Holbein’s 1533 paint­ing The Ambassadors.

Archival Giclée print on Som­er­set Dou­ble Weight Vel­vet — Signed and Num­bered.     (See Edi­tions Below)

Avail­able in four sizes:

 

10″ x 10″ — Edi­tion of 100

18 1/2″ x 18 1/2″  -     Edi­tion of 50

24″ x 24″  -      Edi­tion of 50

29″ x 29″ —     Edi­tion of 100

 

NOTE:  Dimen­sions are for “live” area.  There will be an addi­tional 2″ border.


Size




 

Hidden Wimmin,  1988

Hid­den Wim­min,  1988

Archival Giclée print on Som­er­set Vel­vet — Signed and Num­bered.     Edi­tion of 50.

39″ x 29″

NOTE:  Dimen­sions are for “live” area.  There will be an addi­tional 2″ border.

 

800.00

 

 

How 'bout a Little Safe Sex?  1987

How ’bout a Lit­tle Safe Sex?  1987

Archival Giclée print on Som­er­set Vel­vet — Signed and Num­bered.     Edi­tion of 50.

36″ x 29″

NOTE:  Dimen­sions are for “live” area.  There will be an addi­tional 2″ border.

 

800.00

Idol,  1978

 Idol,  1978

Archival Giclée print on Som­er­set Dou­ble Weight Vel­vet — Signed and Numbered.

Avail­able in three sizes:

12″ x 18″ — Edi­tion of 100

16″ x 24″ — Edi­tion of 50

27″ x 41″   Edi­tion of 50

NOTE:  Dimen­sions are for “live” area.  There will be an addi­tional 2″ border.


Size



It's for You (Anno Domini),  1997

It’s for You (Anno Domini),  1997

Archival Giclée print on Som­er­set Dou­ble Weight Vel­vet — Signed and Num­bered.   Edi­tion of 100.

14 1/2″ x 18 1/4″

NOTE:  Dimen­sions are for “live” area.  There will be an addi­tional 2″ border.

 

325.00

 

The Money Tree,  1983

The Money Tree,  1983

A mod­i­fied ver­sion of this was used for the cover of The New Yorker (April/May 2000).

Archival Giclée print on Som­er­set Dou­ble Weight Vel­vet — Signed and Num­bered.  Edi­tion of 100.

31.7″ x 29″

NOTE:  Dimen­sions are for “live” area.  There will be an addi­tional 2″ border.

 

800.00

 

 

Right Tool for the Right Job,  1997

Right Tool for the Right Job,  1997

Archival Giclée print on Som­er­set Dou­ble Weight Vel­vet — Signed and Num­bered.     Edi­tion of 50.

36 1/4″ x 29″

NOTE:  Dimen­sions are for “live” area.  There will be an addi­tional 2″ border.

 

800.00

 

 

Santa is my Co-Pilot,  2002

Santa is my Co-Pilot,  2002

Archival Giclée print on Som­er­set Dou­ble Weight Vel­vet — Signed and Num­bered.     Edi­tion of 50.

38 3/4″ x 29″

NOTE:  Dimen­sions are for “live” area.  There will be an addi­tional 2″ border.

 

800.00

 

 

Satan is my Co-Pilot,  1998

Satan is my Co-Pilot,  1998

Used as the cover of “Art­crime,” The Mon­tage Art of Win­ston Smith Vol­ume II.

Archival Giclée print on Som­er­set Dou­ble Weight Vel­vet — Signed and Num­bered.     Edi­tion of 50.

Avail­able in two sizes:

18″ x 14 1/2″     •     325.00

36″ x 29″     •     800.00

NOTE:  Dimen­sions are for “live” area.  There will be an addi­tional 2″ border.


Size



 

On the Threshold of a Dream,  1989

On the Thresh­old of a Dream,  1989

Archival Giclée print on Som­er­set Vel­vet — Signed and Num­bered.     Edi­tion of 100.

29″ x 20″

NOTE:  Dimen­sions are for “live” area.  There will be an addi­tional 2″ border.

 

475.00

 

 

Prices do not include shipping.

Thank you! 

 

 

 

Latest Works

King Chrome” © Win­ston Smith, 2011

 

Crys­tal Ball” © Win­ston Smith, 2011

 

From a Buick Eight” © Win­ston Smith, 2011

 

The Late ’58″ © Win­ston Smith, 2011

 

Tomor­row Knight” © Win­ston Smith, 2011

 

 

Vinylmania: The Film coming soon

Vinylemania The Film

When life runs at 33 rev­o­lu­tions per minute. — Vinyl­ma­nia: The Film

A doc­u­men­tary film explo­ration into the time­less grooves of vinyle records is com­ing this Spring! Vinyl­ma­nia is a jour­ney about life through the grooves of music, an inves­ti­ga­tion of the film­maker about vinyl as a sym­bol that rep­re­sents – in the past, the present and the future – a pas­sion shared by dif­fer­ent gen­er­a­tions in the age of the inter­net. The film is a 75 minute doc­u­men­tary about the search for an iden­tity, one cry against the “fast-food” music. Walk­ing down the stair­case into the dingi­est, dusti­est and most hidden-away record shops, we travel through the fas­ci­na­tion of the qual­i­ties that make vinyl a leg­endary object. Danc­ing in the clubs where the groove of vinyl beats out its rhythm with djs, we dis­cover con­tem­po­rary artists that make music with vinyl or still release their music on it, and inter­act with peo­ple via a ded­i­cated blog and social net­works. Explor­ing the five senses of vinyl, the movie approaches with an iron­i­cal and anthro­po­log­i­cal eye one of the most amaz­ing col­lec­tive researches, together with archive film footage that looks at vinyl as a cul­tural phe­nom­e­non. With a cho­rus of musi­cians, artists, djs, col­lec­tors, experts and sim­ple music lovers and teenagers, we dis­cover an object that today rep­re­sents a huge part of human her­itage. Fea­tures an inter­view with Win­ston Smith