Since the early 1980’s Peter Gallo has been assembling an archive; an “image repertoire” of materials torn from magazines, found photographs, drawings, texts, newspaper clippings, images from art journals, buttons, pages from books, passages which he has jotted down from philosophical or poetic texts, printed advertisements, exhibition announcements, hand written lists, workplace memos, images of birds and flowers from natural history books, public notices, press photos, medical diagrams, photocopies, vintage porno, postcards, sales flyers, album covers, pharmaceutical promotionals, letters from his late mother, political buttons, even the remains of a meal (Gallo seems to have an affinity for chicken bones). The materials serve as sources for his paintings, as surfaces on which to draw, paint, or write, or as facture for his collages and assemblages.
Time for Motherfuckers features a series of posters for an exhibition of the same title derived from cell phone images the artist made from this reservoir of stuff – an exhibition of advertisements for the exhibition. The images for these posters were produced just a few days before the opening and sent as cell phone messages to his dealer who dispatched them with typographic instructions to the printer. The title is derived from something the artist jotted across an advertisement for an expensive watch (images of timepieces are evenly distributed throughout Gallo’s holdings). The cell phone treatment of these items and the grainy traces of data decay bestow a visual effect that is both painterly and mechanical, particularly in those images in which the items have been closely cropped.
Peter Gallo lives and works in Hyde Park, Vermont. He has had solo shows at Sunday L.E.S. / Horton Gallery, New York, White Columns (White Room), New York, Freight + Volume, New York, and the Wendy Cooper Gallery, Chicago. Gallo is a doctoral candidate in art history at Concordia University in Montreal, where he is authoring, “Medicalisation and its Discontents: The Artist as Case History.” He also works as a psychiatric social worker in a rural health care agency in Northern Vermont, and has been active in the Grass Roots Art and Community Efforts (GRACE) in Hardwick, Vermont. In addition, he has organized numerous exhibitions and has contributed criticism to Art in America and Art New England, among others. His work has recently been discussed in The New York Times, Artforum, Frieze, and Art in America