Paintings of modern mythologies good versus evil in the age of diseased and decrepit capital.
Events:
Jan. 18 - 7pm
Narrator by Crichton Atkinson (film and performance piece)
Highlighting phenomenological reasoning through the story of a young woman crawling out of her mother's shadow of her mother. Slowly she ages and realizes her wisdom lives and parishes with her body. She can't step away from her perspective nor be subsumed into any one else and is therefore eternally alone.
Jan. 21 - 8pm
Jazz Improvisations (percussions and keyboard) with Chris Tunkel and Curt Sydnor
Bio:
Jeramy Turner was born in New York City in 1950 into a family with little financial resources. Having a propensity for drawing, his mother, also an artist, gave him lessons in drawing and clay and wax sculpting. Due to the repressive atmosphere of 1950s America and insistence on patriotic machismo conservatism, he retreated into a secret world of drawing, focusing on female vampires.
At 17, like many youth of his generation, Jeramy ran away from home and wandered from city to city, ending up in the United Kingdom. In London he met an artist friend who radicalized his consciousness in culture and politics. Ho Chi Minh, Che Guevara, Godard, Sun Ra and John Cage are considered his late 1960s heroes. At that time, he had no interest in paintings and felt art had to be explosively experimental and new in every possible way. He wanted everything traditional to be questioned, re-examined, and countered. He survived through a combination jobs ranging as a dishwasher and housekeeper. His brother in Chicago offered hospitality when he returned to America.
Sceptical and angry towards everything American-related, Jeramy nonetheless accepted the offer as temporary shelter and remained in Chicago for many years. After much hunger and homelessness, he worked in Film, filming and editing cheap documentaries of wealthy weddings for $35 per week. Such work was followed by years of film exhibitions and managing and directing alternative cinemas. His personal radical politics gradually re-emerged. However, the film industry would not allow his biases even though he was designated to publicize opposition to Israeli imports after the Sabra Shatila Massacre and Iranian revolutionary films.
In 1986 Jeramy taught himself painting as a way to create films “one frame at a time.” His paintings were of political diatribes against American imperialism and the stereotypical icon of the bourgeoisie. Fat, hairless, bald white men appeared constantly in his paintings as symbols of the ruling class, often psychologically misrepresented as a father figure.
Otto Dix, A. Paul Weber, and John Heartfield were his mentors. He also took inspiration from the films of Fassbinder for his use of colour, Lindsay Anderson’s “If…” and “Oh Lucky Man!” for their depictions of rebellion, and Stanley Kubrick for his audacity.
Jeramy has exhibited at the Woodlands Gallery in London in 1993 where he met Nicholas Treadwell, an art dealer and gallerist who has been his representative ever since. He has also been represented in New York by the Limner Gallery, where he has held solo exhibitions. His work has also been shown in Chicago, Norway, Stockholm, Austria, Basel, and Hamburg. In addition, he has given lectures about political and feminist art.
Jeramy currently lives and works in New York City and spends some of his time in Austria.