This painting is from Coop's solo exhibition Brand Recognition where he presents new acrylic-on-canvas paintings and ink-on-paper works. Continuing his exploration of re-appropriation, Coop expands on dissecting his own iconic imagery, popular culture, and art historical references with his new series of bold, sexy, and smart paintings.
Brand Recognition deals with the prevalence of corporate logos in contemporary society and how they have integrated seamlessly into our culture. Being both fascinated and repelled by the ubiquity of these logos, Coop addresses how they have moved passed being simple eye-catching advertisements and how they have become a part of how we self-identify in society. Combining these easily recognizable corporate images with his own popular brand, Coop touches upon the duality of himself becoming complicit in the very subject that he often finds so troubling.
Coop came out to Los Angeles from Bixby, Oklahoma in the late 1980s and quickly became regarded as one of the preeminent underground artists of his time - his iconic imagery of devil girls, smoking devil, and cars has solidified his place in pop-culture history. Exhibitions of his work have been held in galleries and museums in Los Angeles, London, New York, Chicago, and Zurich, Switzerland. His most recent solo exhibition, Parts with Appeal at sixspace in 2004, contained an ambitious continuous 78-foot multi-panel painting depicting fragmented and re-constructed images of the iconic figures he has created. Publications featuring Coop’s work have included Artweek, Juxtapoz, Paper Magazine, Playboy, The Los Angeles Alternative Press, and Rodders Journal. 2001 saw the publication of his first book - "Devil's Advocate: the Art of Coop" - and his popular sketchbook "The Big Fat One” was released in 2004.