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Jim Shaw

It’s After the End of the World, Don’t You Know That Yet

April 11–May 18, 2024
Davies Street, London

Installation view Artwork © Jim Shaw. Photo: Lucy Dawkins

Installation view

Artwork © Jim Shaw. Photo: Lucy Dawkins

Installation view with Jim Shaw, Donald and Melania Trump descending the escalator into the 9th circle of hell reserved for traitors frozen in a sea of ice (2020) Artwork © Jim Shaw. Photo: Lucy Dawkins

Installation view with Jim Shaw, Donald and Melania Trump descending the escalator into the 9th circle of hell reserved for traitors frozen in a sea of ice (2020)

Artwork © Jim Shaw. Photo: Lucy Dawkins

Installation view Artwork © Jim Shaw. Photo: Lucy Dawkins

Installation view

Artwork © Jim Shaw. Photo: Lucy Dawkins

Installation view Artwork © Jim Shaw. Photo: Lucy Dawkins

Installation view

Artwork © Jim Shaw. Photo: Lucy Dawkins

Installation view Artwork © Jim Shaw. Photo: Lucy Dawkins

Installation view

Artwork © Jim Shaw. Photo: Lucy Dawkins

Installation view Artwork © Jim Shaw. Photo: Lucy Dawkins

Installation view

Artwork © Jim Shaw. Photo: Lucy Dawkins

Installation view Artwork © Jim Shaw. Photo: Lucy Dawkins

Installation view

Artwork © Jim Shaw. Photo: Lucy Dawkins

Installation view Artwork © Jim Shaw. Photo: Lucy Dawkins

Installation view

Artwork © Jim Shaw. Photo: Lucy Dawkins

Installation view with Jim Shaw, God Didn’t Make the Little Green Apples (2023) Artwork © Jim Shaw. Photo: Lucy Dawkins

Installation view with Jim Shaw, God Didn’t Make the Little Green Apples (2023)

Artwork © Jim Shaw. Photo: Lucy Dawkins

Works Exhibited

Jim Shaw, Never the Twain Shall Meet, 2023 Oil and acrylic on muslin, 48 × 60 inches (121.9 × 152.4 cm)© Jim Shaw. Photo: Brica Wilcox

Jim Shaw, Never the Twain Shall Meet, 2023

Oil and acrylic on muslin, 48 × 60 inches (121.9 × 152.4 cm)
© Jim Shaw. Photo: Brica Wilcox

Jim Shaw, Arrive Without Traveling, 2023 Oil and acrylic on muslin, 48 × 59 inches (121.9 × 149.9 cm)© Jim Shaw. Photo: Matthew Kroening

Jim Shaw, Arrive Without Traveling, 2023

Oil and acrylic on muslin, 48 × 59 inches (121.9 × 149.9 cm)
© Jim Shaw. Photo: Matthew Kroening

Jim Shaw, God Didn’t Make the Little Green Apples, 2023 Oil and acrylic on muslin, 66 × 48 inches (167.6 × 121.9 cm)© Jim Shaw. Photo: Brica Wilcox

Jim Shaw, God Didn’t Make the Little Green Apples, 2023

Oil and acrylic on muslin, 66 × 48 inches (167.6 × 121.9 cm)
© Jim Shaw. Photo: Brica Wilcox

Jim Shaw, Unveiling, 2023 Oil and acrylic on muslin, 58 × 48 inches (147.3 x 121.9 cm)© Jim Shaw. Photo: Ed Mumford

Jim Shaw, Unveiling, 2023

Oil and acrylic on muslin, 58 × 48 inches (147.3 x 121.9 cm)
© Jim Shaw. Photo: Ed Mumford

Jim Shaw, Donald and Melania Trump descending the escalator into the 9th circle of hell reserved for traitors frozen in a sea of ice, 2020 Ink on paper, 29 ¾ × 75 ½ inches (75.6 × 191.8 cm)© Jim Shaw

Jim Shaw, Donald and Melania Trump descending the escalator into the 9th circle of hell reserved for traitors frozen in a sea of ice, 2020

Ink on paper, 29 ¾ × 75 ½ inches (75.6 × 191.8 cm)
© Jim Shaw

About

What is the scariest monster of all time? Us humans.
—Jim Shaw

Gagosian is pleased to announce It’s After the End of the World, Don’t You Know That Yet, Jim Shaw’s first exhibition at the gallery in London, opening at 17–19 Davies Street on April 11, 2024.

Shaw dives headlong into the maelstrom of American society in paintings, drawings, and sculptures inspired by comic books, pulp novels, album covers, and protest posters—as well as by amateur art. His works depict world events, pop-cultural phenomena, and alternative, quasi-mystical realities. Shaw has also turned to his own life—particularly his unconscious mind—as a source of surreal imagery.

In Never the Twain Shall Meet (2023), Shaw depicts a collision between, in his words, “a severely perky ad for TWA and a jingoistic editorial cartoon about how typical Americans are forced to uphold a backward world.” Unveiling (2023) derives from the artist’s interest in the aesthetics of cartoons and propaganda images from the era of his birth—a period during which print advertising exhibited a notable lack of self-awareness. Here, a Folies Bergère dancer assumes the status of earth goddess while characters by New Yorker cartoonist Richard Taylor populate the rest of the image.

Arrive Without Traveling (2023) depicts airplane passengers interrupted by a floating map of the United States emblazoned with a man’s forehead and shades. Seeming to promote some higher truth, it is actually, according to Shaw, derived from a magazine ad that illustrates a national shipping network.

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Davies Street, London

17–19 Davies Street
London W1K 3DE

+44 20 7493 3020
london@gagosian.com

Hours: Tuesday–Saturday 10–6

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