Author Archives: Daniel

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WonderlandSF, the incredible Irene Hernandez-Feiks, joins us to curate this fantastic show of local artists.

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Renee Roley brings us their attempt to grapple with COVID-19’s impact on life as we know it.

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Through March 28th

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Texas native, Nick Flatt is known for his large-scale photorealistic portraits. Flatt typically makes work around themes of conspicuous consumption, celebrity culture, and anti-consumerism, however with this new body of work he examines the PC movement. Producing the new series at the epicenter of PC culture, San Francisco, Flatt proposes an empowering yet somewhat ominous vantage point. Will this movement that is bringing about rapid, constructive change get hi-jacked and be used as a means of rhetoric domination, or will the patriarchal means of dominance be dissolved to create a more equitable society?

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111 Minna Gallery is pleased to present the latest body of work by San Francisco artist, Leon Loucheur. For his inaugural solo exhibition with the gallery, ‘Pick Your Poison,’ Loucheur displays the full depth of his skillset in masterful fashion. When asked about his thought process behind the show, he had this to say.

“Ours is an era of unprecedented gluttony, where the abundance that meets our every need is outdone only by our mounting desires for more. This is the crux of our consumer culture, established on the fundamental notion that “enough” is never enough. Corporate overseers work tirelessly to ensure that our bottomless desires are satisfied only temporarily, and that every satisfaction is short lived, followed quickly by a stronger urge for more.  This cycle of indulgence is intentionally crafted by those who profit from it, and our resulting decisions inevitably come at the detriment of our own well-being.  Convinced our actions are our own, we are the unwitting accomplices to our own demise, indulging in gratifications that are deceiving, and often toxic.”

-Leon Loucheur

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For this exhibition, Loucheur takes a dive into this phenomenon, employing satire to address themes of consumerism, beauty, desire, and advertising. The body of work functions as a pop-tragic-comedy, juxtaposing elements of nature and beauty with the contaminants of corporate drug culture and advertising, operating on the explicit tension between the two. Corporate logos interplay with botanical designs and animals engaged in consumption to create a layered narrative that is simultaneously cheeky and dead serious. The work mirrors the phenomenon it addresses, presenting itself as desirable and alluring, and yet not hiding its devilish agenda; you know it’s bad for you, but you want it anyway.

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