kim jones
	escape from flatland 13 february – 15 march, 2004 untitled war drawing (detail), graphite on paper, 11 x 14 inches             escape from flatland (installation view) vehicles, left to right: tricycle, rocket, sled, 1999-2004 mixed media               escape from flatland (installation view and work in progress) untitled war drawing (triptych), 1993-2004 graphite on paper 38 x 75 inches $7,000                 3 untitled books, left to right: (left) saint sebastian, 1977-88, acrylic, ink, wood cardboard, twine, tape approx. 21.5 x 14 x 16 (deep) inches $3,000 (center) performance in front of mary boone gallery, 2003, acrylic, ink, wood, cardboard, tape approx. 24 x 18.5 x 20 (deep) inches $3,500 (right) blue and red, 2003, acrylic, ink, wood, cardboard, tape approx. 13 x 15 x 19 (deep) inches $2,250             play boy calendars, 1975-2003 color photograph, acrylic, ink 16.75 x 13.75 inches $2,000 each               play boy calendar (may), 1975-2003 color photograph, acrylic, ink 16.75 x 13.75 inches $2,000   to view Kim Jones' previous exhibition at Pierogi, click here   press release Over the past thirty years Kim Jones has exhibited his work widely in the US and Europe. He is known for his visceral, sometimes controversial performances as "Mudman" which have occurred on streets, in subways, galleries, and museums, in which he transforms himself "into a sculpture that is both aggressive and adaptive." (Jones) Using locally found sticks, cord, and tape he constructs an irregular lattice which he wears, his body usually covered with mud or his own shit. Throughout this time Jones has created a breadth of two-dimensional works that range from documentation of his performances to skillful introspective drawings. Among these are his "War Drawings," a continuous series of two-dimensional games played with pencil and erasers. The drawings are most often done on paper but are sometimes worked directly on walls, occasionally through the duration of an exhibition, thus becoming another sort of performance. In the "War Drawings" I draw x's and dots, black tanks and white ones. The[y]... fight each other for domination of the maze in which they live. The 'troops' are moved–or killed–by erasing and redrawing them. The remaining ghost image becomes a history of their movements. Each side has its own city (fortress) with thick walls. Each city (fortress) usually has living quarters, places of worship, offices, factories, supplies and jails. Areas external to the cities are composed of lakes, rivers, or oceans. Individual x- or dot-men and the tanks need bridges and/or boats to cross these bodies of water. This is a two-dimensional world. The drawing can continue indefinitely. (Jones) This show will focus on one large war drawing pinned directly on the main gallery wall. Jones will then extend that work by drawing directly on and across the wall. This two-dimensional work then develops into objects, three-dimensional extensions, that race away from its epicenter onto the adjacent gallery walls in the main room. The main room will be an installation. The adjacent room will focus on a number of smaller, mixed media pieces (photo/drawings). They incorporate figures engaged in open-ended, sometimes bizarre narratives. Some also include images with references to the "Mudman." As in his "Mudman" performances, these photo/drawings are both aggressive and adaptive. The "War Drawings" have as timely a connection to our current relationship to the world as they did during the Vietnam War, a war in which Jones was one of those x- or dot-men. It profoundly affected his life. A friend and artist, Bob Smith, once quoted his father after being seriously injured fighting in World War II, Make art not war man–make art not war man–make art...draw.
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	P   I   E   R   O   G   I     2   0   0   0 177 north 9th street brooklyn, ny 11211 718.599.2144 noon to 6p friday through monday and by appointment pierogi 2000 is an innovative art gallery in williamsburg, brooklyn, new york