Anthony Lister

Anthony Lister

Too Heavy For Superman by Joseph Allen Shea

Anthony Lister's tireless approach to living is an unrelenting approach to art. What is evident in his work is the inability to remove a man's life from his creations. Slouching for no borders (physical and metaphysical), as an artist he is omnipresent. Studio, gallery and museum shows aside, his name and imagery is on street corners worldwide accessing a massive audience by way of stickers, aerosol paint and all manner of markers.

His paintings, drawings, sculptures and happenings pull from his experiences as a youth in Australia and participating in the repetition as a father of two. Superheroes, skateboarding, graffiti, Australian gangster celebrities, television, jail birds, tattoos, the internet, pop and advertising resurface in his art practice.

Anthony Lister’s presentation of contemporary life shows the creases, the cracks and the putty, he doesn’t air brush over the humanity or euphemise what’s real. Recognizing the limitations of the human condition is as important as realizing ones goals. Losing is important for there lies options, the room for improvement, for sometimes ‘It’s [even] just too heavy for Superman to lift’1

With invitational residencies in London and New York, a mentorship under Max Gimblett, a CV as long as your arm (including shows at Elms Lester London, New Image Art L.A., Metro 5 Gallery Melbourne and K Gallery Italy), numerous awards and monographs, Anthony Lister’s renown among peers, curators and collectors is testament not just to his extreme productivity but the works exceptional potency.

Resourceful with materials and the ‘canvas’ at hand, Anthony Lister has been called a ‘street’ artist, but he is more as an ‘all-moment’ artist. He is incessantly creating, and when he finds himself on the street he retains this mode of expression. His monographs disclose this when he presents as many lifestyle images as artworks. Images exist on web 2.0 interfaces such as flickr, blogs and youtube of the artist painting in his studio as a party riots around him - he is participating but persistently he is making marks and executing ideas that will remain past the hangover.

Anthony Lister is living and he is translating real-life in real time. As the artist states "I am not trying to change the world... I am just reacting to a world that is trying to change me"2

1 Waiting for Superman, The Flaming Lips, 1999
2 Artist Statement 2004

Peter Gric

Peter Gric

Born 1968 in former Czechoslovakia.

I was drawing ever since I can remember. My parents were graphic designers at that time, so they could support me in my passion very well. Consequently I became quite good in drawing very early. I was never interested in everyday stuff, but rather on space ships, alien creatures, dinosaurs and sea monsters. When I was seven, my father taught me how to draw in perspective and my drawings got space and depth.

After the primary school it was obvious that I’d have to do something with drawing, so 1984 I went to a technical college for graphic-design, the only choice in Linz / Austria where I lived at that time with my parents after our emigration from Czechoslovakia. When I finished this school 1988 without learning anything useful – except getting in touch with the air-brush, I was quite sure never wanting to become a graphic designer.

I was very happy when I passed the entrance examination at the Academy of Fine Arts in Vienna where I started my study in the Master Class of Arik Brauer. From the very beginning I participated in numerous group exhibitions and sold my first paintings. After earning a Masters degree in Fine Arts in 1993, I lived and worked in Vienna as a freelance artist. In the meantime I became father of two beautiful daughters and 2009 I moved with my family to the countryside nearby the Eastern Alps in our new home and my new studio.

Winston Smith

Winston Smith

American Collage Artist. Studied art for 6 years in Florence Italy (1969 -1975). Returned to America in late 1970s to toil in the Music Industry of San Francisco, gradually entering the field of art & design just as Punk Rock reared its ugly head.

From 1977 to the present: has worked on numerous Punk record covers, posters, logos and flyers for American, British and Italian bands including Dead Kennedys, D.O.A., Green Day, Lard, and spoken word projects for Jello Biafra. Also designed album art for Ben Harper, Tijuana No, Alternative Tentacles projects, Emily the Strange, George Carlin and others.

Books include three volumes of Collage Art published by Last Gasp of San Francisco, as well as works in countless other books as covers and inside (both as illustrations and for personal interviews), including illustrations for magazines such as The New Yorker, Playboy, Spin, The Progressive, Mother Jones, Amazing Stories, etc.

Clients include Warner/Reprise, Virgin Records, Atlantic Records, BMG, Simon & Shuster, Condé Nast, Hurley, etc. Numerous solo shows in San Francisco, Los Angeles, New York City, London, Paris, Milano, Rome, etc.

Winston continues to design artwork for bands, prints, books and magazine illustration. He is currently assembling a retrospective of his work for publication.

Winston is married to the lovely and talented Chick Fontaine. They have two cats named 1288 and Eloi. Most of his artwork was produced while in a trance. His favorite bands are Crass, Benny Goodman and Gwar. Winston likes animal crackers.

Marlene Antico

Marlene Antico

For the past 40 years my involvement in the Arts in Australia have been in many and varied guises. As art student, collector, educator, gallerist, curator and founder/principle sponsor The Paddington Art Prize. I have judged art prizes and served on a number of Australian committees and art boards promoting art in Australia.

In the 1970’s I painted for seven years under the tutelage of Jim Sharp, at Willoughby Workshop in Sydney, Australia. Throughout the 1980’s I was a voluntary Guide at the Art Gallery of New South Wales; it was during this time I expanded upon my academic knowledge in the Visual Arts. During the early 1990’s, I established “Fairview Art Centre”, where I fostered the artistic expression of both children and adults. In 1995, I established ‘Marlene Antico Fine Arts’, a gallery which developed a reputation for representing and exhibiting contemporary Australian artists whose works demonstrate a variety of styles and techniques and media. Over the years, I have seen my exhibiting artists develop into practitioners of quality and stature, achieving both international and national recognition.

In 2004, I founded and continue to be principal sponsor of the ‘Paddington Art Prize’, a $20,000 National Art Prize awarded for paintings inspired by the Australian Landscape. Now in its 7th year, the ‘Paddington Art Prize’ takes its place among Australia’s most lucrative and highly coveted painting prizes. In founding the ‘Paddington Art Prize’, I have sought to underscore my commitment to supporting contemporary Australian artists; being aware as an art student, teacher and former gallery owner, of the financial concerns that impede many artists from devoting themselves entirely to their art practice. I continue to contribute to the Australian Art community as a member of the Public Art Advisory Committee, for the Woollahra, Municipal Council; as a member of the Aboriginal Benefits Foundation and as a continuing Associate Guide, for the Art Gallery of New South Wales.

JB Berkow

JB Berkow

I have been exhibiting and selling my work for more than forty years. In 1976 at age 27 I founded the most well-known cooperative gallery in the country, “Touchstone Gallery,” located in Washington, D.C.

My work is in the permanent collection of the Vatican Contemporary Art Collection…not bad for a nice Jewish girl! I had a one-person show at Boston University where a 20 foot display of my work is on permanent display. An eight foot section was stolen from the display but they loved it so much that they kept the rest hanging regardless!

It has never been enough for me to show and sell my own work, for whatever reason I have always been interested in promoting other artists’ work. That is the reason that I went on to found “Frenchman’s Art Gallery and Studios, Inc.” in 1994 and opened “RosettaStone Fine Art Gallery” and “RosettaStone Corporate Art Consulting.”

I have also written “What They Didn’t Teach You In Art School” to help artists take their career to a higher professional level. It is one of the most comprehensive books of its kind on the market. It took six years of research and a life-time of hard won lessons.

I have just established a 501-C3 called the “Living Art Foundation Fund” or L.A.F.F. for short. I am hoping to build a huge artist’s complex replete with a world-class foundry, glass-blowing and stone-carving studios, an atelier, a three-story museum, low-cost housing and a plein-air/sculpture garden… Now you’re asking, ‘what the hell is this girl smoking?’
But seriously, I believe this will be the model for future such art centers, which will be the only way to keep fine art production in this country from traveling off shore.

For those that understand, no explanation is necessary, for those that do not understand, no explanation is possible!

Ed McCormack

Ed McCormack

Ed McCormack, a former columnist and feature writer for Rolling Stone, and one of the original contributing editors of Andy Warhol’s Interview, has written extensively on art and popular culture for the Village Voice and numerous other publications. Presently, with his wife Jeannie McCormack, he co-publishes the New York art journal Gallery & Studio.

McCormack’s most pressing present project is a memoir called “Hoodlum Heart,” of which he says, “It’s all about what it was like to be the test dummy for the crash and burn generation, an epic work of shameless name-dropping and self-libel that is bound to create a scandal.”

Extract from the 'Monkdogz' interview: Ed: “ … Sure. But first, just so you'll know where I'm coming from, let me make clear that I actually started out as a painter. At the same time, I always had an interest in writing, too, and for a brief time, as a kid, fresh out of school and totally apolitical at that time, I was actually personal copy boy to William Randolph Hearst Jr., who ran his empire out of the Hearst Magazine Building on 8th Avenue and 57th Street --that picturesque pinkish castle with the spires that they're building an office tower on top of even as we speak. I was the mick Sammy Glick, always running, who snatched dispatches from the chattering teletypes and sprinted them into the beefy paws of power; the eager beaver who ran downstairs to get coffee for Zsa Zsa Gabor when she visited Hearst. "Tell dem Zsa Zsa vants it in a real cup dollink, no paper," she'd instruct in that accent of hers...But enough about that--Yes, I was a painter, but then the whole hippie thing started up in the late sixties, and I sort of got waylaid into making these weird drawings for Changes, this underground cultural journal published by Susan Graham Mingus, the wife of the jazz musician and composer Charles Mingus. I didn't actually intend to become a writer, but in the freewheeling spirit of that time I started writing things on my drawings, cryptic little commentaries and texts that eventually became more and more prominent and somehow I ended up as the managing editor of Changes. It was actually a very hip publication. Fran Lebowitz published her first pieces with us before she and I both started working for Interview and Billy Joel, of all people, wrote a regular column for us called "Diary of a Young Artist"²--all about his struggles trying to get started in the music business...

Q: What was it like working for Warhol?
Ed: Very weird and very instructive. Andy taught me more about the nature of publicity than anybody else. When I was writing for Interview he'd introduce me to people as "Ed McCormack, the famous writer," and add in that deadpan way of his, "He's faaaahhhhbulous...He's the new Tom Wolfe." Well, obviously I wasn't the least bit famous and I certainly wasn't the new Tom Wolfe-- but if Andy said it, it must be true, right? And of course that was how he kept people working for him without paying them very much. I mean, I don't know what it's like working for Interview now that it's a big corporate venture, but then it was more like a house organ to The Factory, and Andy was notoriously cheap. Yes, you can have your fifteen minutes, but don't expect a living wage! Still, it was a valuable to see how he operated, even though I have mixed feelings about him, his work, and his influence. It was a wild time, a time when it was sometimes difficult to tell the transvestites from the socialites, the debutantes from the drag queens, and I got to observe the whole Factory menagerie up close: Paul Morrissey, Gerard Malanga, Lou Reed, and all the fabulous flaming creatures like Holly Woodlawn, Jackie Curtis and Candy Darling. But that's a complex subject, more suitable for a book I may write someday than for this interview. Suffice it to say, one thing I learned from Andy was that you had to work hard if you wanted more than your fifteen minutes, and another thing was that simple notoriety could often have the same cash value as honest fame. I mean, I would sometimes write outrageous, unflattering things about him and his cohorts and he'd publish them in Interview anyway. The exception to the rule was when I wrote an article for Oui magazine that they ran with the headline "Andy Warhol, Angel of Death." It wasn't my headline, it was theirs, but needless to say, Andy was upset. But by then, I was already writing for Rolling Stone, anyway.”

Read whole interview at Gallery & Studio.

Bing Dawe

Bing Dawe

Since graduating from the University of Canterbury School of fine Arts in the mid 1970s Bing Dawe has exhibited extensively throughout New Zealand and overseas. He has held over 40 solo exhibitions including a major survey exhibition at the Robert McDougall Art Gallery in his home town of Christchurch in 1999. His work is held in most public and private collections in New Zealand. In 1999 he was the winner of a major national art award, The Visa Gold James Wallace Award.

Perhaps the most compelling aspect of Dawes particular practice is his ongoing engagement with current cultural and political issues. Whilst early sculptures considered environmental concerns and the global impact of nuclear technology, his latest cabinet works present rivers and water as a metaphor for the struggle between the perpetual cycles of nature, and the fragility and angst of the human condition. Dawe looks on with concern at the distancing of the urban dweller with the knowledge and pulse of the natural world.

‘ Art for me is a process of enquiry. It is a balance of the informed with the enthusiasm and naivety of youth. A sculpture begins with the passion and conviction of a cause but one cannot fully understand a work until one stops with it, and even then it may only be a pointer to the next. And so I go on and try to keep the flag flying.: