Fuckkk KKKapitalism

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Untitled, 2008 Mixed Media On Cardboard 14" X 11" © Circlegal
Dirty London, 2008 Watercolor, Ink, And Mixed Media On Paper 8.5" X 11" © Rafal Karcz
A Coldwel Banker, 2009 © Donald Fodness
Vintage Stamp, 2007 Mixed Media On Canvas 10" X 8" © Jamison Sarteschi
velvet polyester, 2008 Chromogenic Print 14" X 11" © David B. Smith
do you like feet, peeps? caption and inspiration for this show. © courtesy of shadna sieger.
Fuckkk KKKapitalism
Curated by: Shadna Sieger

275 South 200 West
Salt Lake City, UT 84101
September 1st, 2009 - September 30th, 2009
Opening: September 1st, 2009 6:00 PM - 8:00 PM

United States
(801) 755-4659
Monday-Thursday: 11 am-10:30 pm; Friday-Saturday: 11 am-midnight or so; Sunday: 11am-9pm
mixed-media, digital, graffiti/street-art, conceptual, pop, surrealism, figurative, modern, traditional


August 21, 2009

Iao: Acme Burger Company Gallery
275 SOUTH 200 WEST
T. 801.879.1971

Mindy Kober, Jamison Sarteschi, Circlegal, Rafal Karcz, Donald
Fodness, David B. Smith
September 1, 2009 – September 30, 2009

Iao: Acme Burger Company Gallery is kicking off its fall lineup with a
summer show which is designed to counteract the commercialism of
summer shows which a typical gallery would pursue. Inspired by Naomi
Klein's brilliant "Shock Doctrine" and the silliness of placholders
placed by health insurance companies within town hall meetings, the
Iao: ABC Gallery is ready to drop some major science by exhibiting a
group of Iao PROJECTS and guest artists with artworks which are
deliberately anti-commercialism with objects that are not designed for
museums or collectors but as works which are crudely made or
subversive of the evils of capitalism.

Apparently artists, either they are right-wing or left-wing, don't
like capitalism interfering with their studio practice, according to a
select group of artists chosen by Iao PROJECTS for this hard-hitting
commentary of the state of capitalism as America's official state

With the full force of his left-wing tendencies, gallery director and
curator Shadna Sieger selects provocative works that manifest strong
socialist overtones which use painting, graphic design, and sculpture
to tell the CEO's to f-off. With a particular uniqueness, each artist
of the group show presents work that can be read with hip Marxist
overtones that express why battling capitalism is such a cool and
intellectual thing to do, particularly as Sean Hannity dreams of
himself as the future president of America.

To kick off this controversial show, Mindy Kober, an emerging artist
straight out of Houston, Texas, presents a series of gouaches that
suggestively celebrates the art of weed smoking and blunts mashed up
with fun-loving texts executes in gold leaf and Renaissance
calligraphy. Like a smoking gun, Kober frames each well-formed
marijuana plant frond in certain line and a thick hue of ecological
green with brilliant draftsmanship and her playful take-off from
textbook diagrams with proper caption summing up the joys of a good
blunt hit, in particular hip-hop style.

Neo-expressionist graffiti artist Circlegal, arriving from the slums
of Salt Lake City, digs the culture of female prostitution in her
messy and freehand trademark style. With her experienced background as
a devoted Mormon mixed up with a streak of perverted eye for de Sade
and Anais Nin, Circlegal delivers a statement about the nature of sex
boots and the use of podophilia and the idea of American capitalism as
a left-wing conspiracy to control the free market through sexual
deviance. Her right-wing satire of sexual freedom makes her a rather
unusual graffiti and installation artist within the contemporary art
world and provides a counterpoint to Kober's liberal stance with a
strong and heavy-handed smashing of the fashion world through
degrading Marilyn Minter models using crude stick figures as stand-in
for rail-thin Kate Mosses off the assembly line of manufacturing model

Jamison Sarteschi, a gay New York City artist also influenced by
graffiti, demonstrates his distaste for capitalism through his
metaphors between food, particularly bananas, and male prostitution as
a form of commodification. For example, in his 2007 piece "Vintage
Stamp," the artist uses double entendres between the autobiographical
penis and the peeled-off banana as a sexual commodity that is
dehumanizing. Sex is reduced to a mere 37 cents with his overarching
hatred for the sexual act, particularly within an urban setting, as a
form of fluid exchange like Wall Street bankers caught within a huge
orgy of financial goo/cum in a deadly euphoria of national suicide.

David B. Smith, a New York conceptual artist, uses the cock banana as
a pro-Marxist weapon that fends off capitalism like a Humvee tank with
a major case of erectile dysfunction in his photograph "velvet
polyester." Appropriating the image of this yellow fruit from the
cover of Velvet Underground, Smith demonstrates how the Wall Street
culture has used penis size as a stand-in for sexual and potentially
financial capital. The collapse of the housing and stock markets is
mirrored in this failure of the businessman to maintain his sexual
prowess, thus the ultimate sexual failure of capitalism which has
designed to make the act of fucking as a comparison litmus test for
male socioeconomic status.

Polish mixed mixed artist Rafal Karcz delivers a female counterpart to
the male egotism by delivering its female equivalent in his 2008 mixed
media ink and watercolor "Dirty London" that reduces American
capitalism to a mere trope for female comparison shopping practices.
Karcz celebrates the underground by portraying the graffiti writer's
hatred for East European models who desire to emulate the Rebecca
Bloomwood characters praised in the movie "Confessions of a

Finally, Colorado artist Donald Fodness expresses his extreme distaste
for the American banking system as a perpetual fraud that attempts to
shortchange artists by their purchase of emerging art from the studios
and the selling of these works for a higher price as they rip off
these barely surviving artists who live by bread in MFA programs. His
drawing "A Coldwel Banker" suggests that all bankers are cubist by
nature since they try to hide bank transactions under deliberate
fragmentation like the trickster Picasso. Such financial wizardry,
Fodness feels, deserves a huge "what the fuck" symbol all over this
system that attempts to package artwork as part of this stock
portfolio rather than a true intellectual rapport. This witty artist
brings it to the public rough and raw.

Keeping in line with the gallery's sympathetic Marxist agenda, curator
Shadna proposes that none of the artworks are allowed to be sold
whatsoever during their display, both online and in the physical
gallery. Thus the denial of potential sales to the collectors behaves
as a middle finger to the freewheeling capitalists who have destroyed
contemporary art through its aggressive marketing practices and
attempts to foist an anti-intellectual slant like the baldness of Rush

All artists are represented from Iao PROJECTS and Iao: ABC Gallery.
They live collectively in Salt Lake City, UT; Houston, TX; Poland;
Boulder, CO; and New York City, NY. Their political orientations range
from right-wing lowbrow-ism to Communist idealization. None of them
have shown an interest in replacing a CEO someday.