Michael St. John

Andrea Rosen Gallery, 2014

Andrea Rosen Gallery, 2014

Guns, 2014

Law and Order (murder board), 2014

Selfie, 2014

Andrea Rosen Gallery, 2014

memento mori, 2014

Jail, 2014 & Guns, 2014

Karma, New York, 2013

Karma, New York, 2013

Karma, New York, 2013

Wall, 2012

Andrea Rosen Gallery, Gallery 2, New York, 2013

Andrea Rosen Gallery, Gallery 2, New York, 2013

Country Life, 2013

Country Life, 2013

Country Life, 2013

Country Life, 2013

Andrea Rosen Gallery, Gallery 2, 2013

Country Life, 2013

Country Life, 2013

Country Life, 2012

Borrowed Tune, 2012

Andrea Rosen Gallery, New York, 2011-12

"In the Studio Twenty Eleven", 2011

"In the Studio Twenty Eleven", 2011

"In the Studio Twenty Eleven", 2011

Andrea Rosen Gallery, New York, 2011-12

"In the Studio Twenty Eleven", 2011

"In the Studio Twenty Eleven", 2011

"In the Studio Twenty Eleven", 2011

Andrea Rosen Gallery, New York, 2011-12

"In the Studio Twenty Eleven", 2011

"In the Studio Twenty Eleven", 2011

"In the Studio Twenty Eleven", 2011

"Bathroom Wall Stall", 2011

"Revolution", 2011

"Self Portrait", 2010

"Visage", 2010

Andrea Rosen Gallery, New York, 2011

"these days", 2010

Andrea Rosen Gallery, New York, 2011

"whatever", 2010

Andrea Rosen Gallery, New York, 2010

"show us your tits", 2010

"shooter", 2010

Andrea Rosen Gallery, New York, 2010

"untitled", 2001-2010

"walt whitman (blogosphere)", 2010

"swag", 2010

Andrea Rosen Gallery, New York, 2010

"obama 08", 2010

"untitled (escort money)", 2010

Andrea Rosen Gallery, New York, 2010

"blue movie (blue paris)", 2006

"untitled", 1996-2010

"Scrapbooking", 2009

Andrea Rosen Gallery, New York, 2009

"Black Flags", 2009

"A Dark Time", 2009

Andrea Rosen Gallery, New York, 2009

"Untitled", 2008

"Wednesday July 15/2009 (Dash Snow Obituary) (#2)", 2009

"Crying", 2009

"Sexy Back", 2009

"Sexy Back", 2009

"Posting", 2009

"Raft (Kurt), 2006

"Anxious object", 2006-2007

Michael St. John’s work conveys a sustained commitment to observing and re-presenting experiences of the everyday. Gathering source materials by casting an inclusive and penetrating gaze on the world through which he moves, St. John layers newspaper clippings, found images, fragmented language and everyday objects into captivating collaged portraits of the world at present. Underlying this recalibration of the growing circuit of visual information is an insightful and rigorous formal practice informed by Rauschenberg, Warhol, Ashcan School artists, and 19th-century American trompe l’oeil painting. With a dedication to recognize and commemorate the time we live in, St. John’s work reflects on notions of violence, tragedy, narcissism, racism, and indifference, drawing stimulating connections that kindle new and compassionate perspectives on contemporary culture.


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