The End Is Near Gallery is a natural extension of a professional philosophy that holds artistic excellence and exceptional craftsmanship in high regard. The gallery showcases both emerging artists and those that have established themselves as aesthetic pioneers in their field. The art is curated with a mind to arresting or inspiring imagery and exemplary technique. We often host an opening night event to celebrate new installations of work; see below for information regarding both current and past shows.
Abandoned on the steps of a Baptist Church in Rolling Fork, Mississippi, Gin Stevens Art career was born. Gin has been influenced by the deep southern culture that had surrounded him at an early age. Upon turning seventeen he took the Greyhound north for Chicago carrying with him dreams of enrolling at The Art Institute of Chicago. Where he soon found out that school was not for him and opted for the punk rock theory of doing it yourself.
His work has echoes of certain literary and musical archetypes: the visionaries and hucksters that populate Flannery O’ Connor’s Gothic southern landscape or the fevered imaginations that drive Faulkner’s characters, along with the songs of early Delta Blues musicians such as Charley Patton or Son House. The work is done all on scratchboard a primitive style of etching. Here he captures the mood of the dark and mysterious history of the south with haunting beauty.
Gin now resides in Los Angeles where he has been creating work for private commission and exhibiting for the past several years at galleries such as the world famous La Luz De Jesus Gallery in Los Angeles, Californa.
Erin M. Riley:
In an October 27th, 2011 post on Amusing Yarns, the blogger writes about Erin’s work:
“Riley’s tapestries, in a modern-day twist of this theme, depict young women offering sexual imagery of themselves, but unlike Philomela, who sacrifices what is left of her modesty to tell the tale of her suffering with the view of getting justice, the young women in Riley’s tapestries appear to have sacrificed their modesty without any coercion and with very little care for the potential fallout. In some ways, I see Riley’s hand-woven tapestries as a proxy for these girls, giving voice to an unconscious victim. Riley weaves her sorrow, her rage, and her accusation into the work and perhaps she directs her response to both the young women who blindly participate in their own objectification and the male-centric culture which encourages them. The work is simultaneously sad and funny, protective and accusatory. In short, Riley’s tapestries reveal that uncomfortable disconnect between the feminine and female sexuality, forcing the viewer to consider the validity of such notions.”
Joseph Kurhajec is a Wisconsin-born sculptor currently living in France. Kurhajec’s international exhibitions began in the early 1960s with the Allan Stone Gallery, New York; Galleria Etrusculudens Rome, Italy; Art 6’75, Basel, Switzerland; “Ten Independents”, Guggenheim Museum; Gallery Alexander Monet, Brussels, Belgium; Galerie Caroline Corre, Paris, France; The Chech Museum of Fine Art, Czech Republic, Gallery Pelegro, New Orleans, LA; and Carrie Haddad Gallery, Hudson, NY. The Whitney Museum of American Art exhibited Kurhajec’s sculpture in the 1964 Annual Exhibition and in “Young America 1965″. *(http://rogallery.com/Kurhajec_Joseph/Kurhajec-Bio.html)
Jeff Christensen: “I’ve always wanted to be an artist even when I was a kid. I was born in Seattle, Washington and I’ve been living in Utah since I was 8 years old. As a youngster I loved coloring and drawing. When I was about 10 years old I started being inspired by Imagery from album covers, cartoons, and various artist works I admired.
When I come up with ideas I tend to let my imagination run wild. I draw whatever ideas I get sometimes 3 or 4 times until I think their good. My inspiration comes from listening to music mostly.
I have been lucky enough to show my paintings with many really great artists throughout the years and work with some outstanding galleries as well as on the internet. I hope you enjoy my work as much as I’ve enjoyed making it.”
Bryn Perrot: “My mind does not wander when I carve; I make for purpose, not from artistic representation. I have focus when I work, which is a relief from my otherwise scattered thoughts. Carving feels like real work: something is being physically accomplished. Each cut made gets me closer to the next image within the larger scene. I simply like making a good image, a strong image. I started getting tattooed seven years ago and started working in a tattoo shop fours years ago. I have since become increasingly interested in the aesthetic and history of tattoo images because of the simplicity and directness those images convey to even the briefest of glances. Which is why I reference heavily from tattoo history; I’m trying to present these images in an equally strong but new context. Essentially I want to pay homage to those references and influences, to the history of an industry built on real work. That, and to always revamp these icons without tiring them out.
Anna Sea was born in Chicago to a mid-western father of German descent and an Austrian mother, and grew up on the North-East Coast. She has lived and worked predominantly in Connecticut, Austria, Boston, and New York City, and has traveled extensively throughout Europe, Southeast Asia, and Central and South America. She presently lives with the tattooer and musician Craig Rodriguez, and their son and daughter, on an old farmstead in the Catskills, and in Brooklyn, New York. In Brooklyn, they own and operate Hand of Glory Tattoo Studio and The End Is Near (gallery, tattoo, piercing, and jewelry studio).
Anna has been drawing and painting her whole life, since an early age illustrating the layers of identity and human experience through the lens of her own life. Her art techniques include and often blend painting, stained glass, embroidery, wood work, and poetry. She co-founded three businesses, speaks German, shoots thousands of photographs and a Colt .45, chops wood like a man, is a hack cabinet maker, developed and operates a mini-hotel in Brooklyn, raises two children, has a justified obsession with food, cares for 30 or so egg-laying chickens and other animals destined to be food on the table, and administers a website called Freer Hollow Family Lab. In between and around all this, she is also an artist and painter, making astonishingly detailed and thoughtful paintings.
Joe Coleman: “Grace, delicacy, passion, and cruel self-obsession explodes and devours itself on the jewel-like surface of Anna Sea’s beautiful autobiographical songs in paint.”
Norbert Kox: “Anna Sea is one of my favorite artists. With her exquisite technique, she stands among the great masters of our time.”
Galleries / Shows
La Luz de Jesus (Los Angeles), Ann Nathan Gallery (Chicago), American Visionary Art Museum (Baltimore), Lucky 13 Saloon (New York), Art Gotham (New York), Front Room Gallery (New York), Future Prospects Art Space (Philippines), Trampoline House (New York), Fuse Gallery (New York), Williamsburg Art and Historical Center (New York), Cambridge Art Association (Cambridge, MA), Pleiades Gallery (New York), Attleboro Museum (Attleboro, MA), Limner Gallery (New York), ISB Gallery, RISD (Rhode Island), Giant Robot (New York), The End Is Near (New York), Nancy Margolis Gallery (New York). Her work has been printed in publications such as Direct Art, Juxtapoz, and Maxim.
Tony Fitzpatrick is an artist, poet, and actor whose artwork can be found in the collections of the Museum of Modern Art in New York City, the National Museum of American Art in Washington D.C., the Museum of Contemporary Art in North Miami, the Museum of Contemporary Art in Chicago and the Philadelphia Museum of Art.
His recent exhibitions include solo shows in New York City’s P.S.1 – MoMA and Pierogi Gallery in 2007 and in the Sidney Yates Gallery of the Chicago Cultural Center in 2008. In the same year his work was also shown at the First Biennial in New Orleans at Prospect One. In 2009 he has had one-person exhibitions in New York City at Dieu Donne, in New Orleans at Ammo Gallery, in Illinois at the Rockford College Museum, in Austin at Slugfest Gallery, and in Los Angeles at Billy Shire Fine Arts. In January of 2010 he will be exhibiting new work at Pierogi Gallery in New York City.
His work has also appeared on album covers including The Neville Brothers’ Yellow Moon and Steve Earle’s El Corazon and The Revolution Starts Now.
Tony has made a living as a radio personality, construction worker, and as a film, stage and television actor. He has appeared in 15 major motion pictures including The Fugitive, Married to the Mob, Mad Dog and Glory, and Philadephia. Recently he appeared in The Promotion directed by Steven Conrad. In 1991, Tony earned the Joseph Jefferson Award for Best Actor in Prop Theater’s production of Mass Murder. In the summer of 2003, Tony starred in Lookingglass Theatre’s inaugural production of Race, an adaptation of a Studs Terkel novel directed by David Schwimmer.
Tony has published seven books including three collections of art and poetry: The Hard Angels (1988), Dirty Boulevard (1998) and Bum Town (2001); a collection of etchings entitled Tony Fitzpatrick: Max and Gaby’s Alphabet (2001) and three collections of drawing-collages entitled, The Wonder: Portraits of a Remembered City, Volume 1 (2005), The Wonder: Portraits of a Remembered City, Volume 2, The Dream City (2006), and The Wonder: Portraits of a Remembered City, City of Monsters, City of Ghosts (2008).