Happy Flies Kissing Beautiful Face

A Group Exhibition

July 11 - September 7, 2013

David Shrigley, Untitled (look at this), 2012, acrylic on paper, 31 x 24 inches, 78 x 61 cm

David Shrigley, Untitled (likes shit), 2012, Ink on paper, 16 x 11 inches, 40 x 28 cm

David Shrigley, Untitled (nothing), 2012, Acrylic on paper, 31 x 24 inches, 78 x 61 cm

Installation view

Gia Edzgveradze, Oh Kriton..., 1999, Oil on canvas, 23 x 23 inches, 58 x 58 cm

Gia Edzgveradze, Happy Flies, 1999, Oil on canvas, 20 x 21 inches, 51 x 53 cm

Kosyo Minchev, Blown Skull White, 2004 - 2006, Painted Aquaresin Sculpture, 22 x 22 x 19 inches, 56 x 56 x 48 cm

Kosyo Minchev, Blown Skull, 2004-2006, Painted Aquaresin Sculpture, 22 x 22 x 19 inches (55.9 x 55.9 x 48.3 cm)

James Busby, Two Hundred Three, 2007, Gesso on panel, 19 x 23 inches, 48 x 57 cm

Installation view

Carl Fudge, The Black Country 11, 2011, Wood Cut, 7 x 5 inches, 18 x 12 cm

Carl Fudge, The Black Country 2, 2011, Wood Cut, 6 x 5 inches, 15 x 13 cm

Richard Humann, Cut-Up, 2011, Mixed Media, 10 x 10 x 7 inches, 25 x 25 x 18 cm

Carolee Schneemann, Portrait Partials, 1970/2007, Silver Gelatin Print, 38 x 38 inches, 97 x 97 cm

Installation view

James Busby, Expand, 2012, Gesso, graphite & oil on panel, 72 x 48 inches, 183 x 122 cm

James Busby, Side Square, 2010, Gesso, graphite and oil on panel, 15 x 12 inches, 38 x 31 cm

James Busby, Disc 1, 2011, Ink, watercolor and graphite on yupo, 11x 9 inches, 31 x 23 cm

Takesada Matsutani, Black 7-2002, 2002, Wood glue, graphite on canvas, 12 x 8 inches, 30 x 20 cm

Takesada Matsutani, Wave, 1984 - 1988, Wood glue, graphite on canvas, 75 x 45 x 2 inches, 190x 137 x 5 cm

Takesada Matsutani, Circle 10-8-7, 2010, wood glue, graphite on canvas, 74 x 67 x 2 inches, 190 x 170 x 5 cm

Installation view

Nancy Spero, Le Putain, 1963, Oil on canvas, 60 x 30 inches, 156 x 76 cm

Barbara Rosenthal, Ola Writes the Alphabet, 2006, Video installation

Aldo Tambellini, AC-6, 1989, Duco on paper, 33 x 45 inches, 84 x 114 cm

Installation view

Heide Hatry, Expectations II, 2007, Inkjet print on watercolor paper, eggs, 11 x 9 inches, 28 x 23 cm

Osmo Rauhala, Book of Life, 2004, Video installation

Stux Gallery is pleased to announce Happy Flies Kissing Beautiful Face, an exhibition of works in black and white. These new and historical objects from an eclectic group of artists form a focused discussion of the visual, physical and psychological implications of the deprivation of color, and present insights on relationships between language, perception and light.


When the luxury of color (and sometimes grey tones) is unavailable, artists are forced to accommodate the raw, schizoid juxtaposition of black and white – a simple binary relationship with light and the most dramatic contrast available to the eye. The sharp clarity marks boundaries and perceptual connotations that simplify artists’ expressive options, compelling them to - as seen in the paintings of Matsutani, Busby and Tambellini - mobilize texture, materiality, and composition to orchestrate visual impact and awaken palettes in our imagination. Minchev elucidates the gap between perception and pre-existing understanding in his black "Blown Skull", and once again in a ghastly white incarnation. The absence of tonal nuances triggers a sense of devastation and urgency that subsequently results in refined negotiations for ambiguity and narrative control. “Shades”, writes Alexander Pope, “sweetly recommend the light”, and the sunless blackness that enshrouds Nancy Spero’s black painting emanates a sparse, ardent luminosity.


Black on white is, curiously, the default color choice for written language across cultures and throughout history. Shrigley and Edzgveradze’s captioned, concise freehand drawings are playful and pensive, providing an instructed visual experience that confronts the differences between reading and seeing. Works by Osmo Rauhala, Richard Humann and Barbara Rosenthal initiate dialogues between drawing and writing, symbols and images, language and thought. The discipline and succinctness of black and white amplify the force of Schneeman and Hatry’s commentary on sexual politics, and lend a sense of energetic rawness to Carl Fudge’s woodcuts.