Shinkansen Conspiracy is the annoyingly obtuse title for the third-annual group grope of artists associated with Last Gasp Books. Like most exhibitions featuring artists brought together for no particular reason (I love Winston Smith’s and Junko Mizuno’s work, but please don’t ask me what King Chrome and Deranged 1 have in common), this show, now on view at the 111 Minna Gallery in San Francisco, does not trouble itself with curatorial purpose or cohesion, although many of the pieces have been thoughtfully presented in this bar that doubles as an art gallery. For the record, there were only a couple of images dealing with trains, the most memorable being a lovely little pen-and-ink by Hal Robins of a Shinkansen bullet train. Given the large number of paintings and graphics focused on tattoo art, the numerous depictions of zoophilia on view and the profusion of pop surrealism, this quiet, literal reference to the show’s title was no doubt an oversight.
Jennybird Alcantara, I Bleed (Making Fast Friends in Dreamland), 2011.
Typical of the exhibition’s Last Gasp ‘tude is Jennybird Alcantara’s oil-on-wood painting called I Bleed (Making Fast Friends in Dreamland), in which a pink-flesh pair of gothy female creatures (think Blythe dolls on heroin) share a skirt made from the surface of a pool of blood. In another gallery, Skinner provides the yang to Alcantara’s yin with his Wendigo Diety, Eater of Man, a muscular, comic-book-style painting of a naked two-headed humanoid monster, crouching on piles of multi-colored skulls as he feeds a struggling victim into one of his mouths with his right fist while clutching a second, bloody, would-be snack in his left.
Kevin Taylor, The Whale Construction II, 2012.
While I admired the creepy fastidiousness of Alcantara and the brutal awesomeness of Skinner, I found myself returning after repeated circuits through the galleries to the more “traditional” work in the show, such as Kevin Taylor’s masterfully weird The Whale Construction II, which depicts a sperm whale surrounded by the scaffolding one might imagine would be needed for its assembly. The detail in Taylor’s oil-on-wood painting is so seductive, I got happily lost in the way he’d filled in the whale’s body and surrounding landscape, so much so that I almost missed the rope suspended from unseen heights to support the mammal’s massive fluke. The Whale Construction II is a fantastical enough image without this small detail, but a rope dangling from nowhere makes it that much more magical.