Support Hyperallergic’s independent arts journalism.
OKLAHOMA CITY — The last time I checked in on the Womb — the art space opened by Flaming Lips frontman Wayne Coyne with collaborators Rick Sinnett and Jake Harms — they were about to reopen. The gallery had been shut down due to code violations in the aftermath of a joke Coyne made leading up to the Flaming Lips’ 2011 New Year’s Eve show about thousands of fans dropping acid with Yoko Ono in the space.
The downtown gallery reopened in August with safety upgrades in place, and has since been hosting small, vibrant contemporary art shows, including Michelle Romo of Crowded Teeth, and music performances that involve freaky art installations, like Zorch in September. Now brothers Oliver and Spencer Hibert are showing their art in Bad Trip.
I stopped by last week, thereby missing the body painting/drenching weirdness that kicked off the show, and saw the small exhibition that takes up the front space of the Womb. In another room were the remains of their opening night experience: a drippy skull mural on the wall and pools of dried paint from the body painting piece. The center of the gallery was occupied by half a massive disco ball, which I believe in a previous life was part of a giant UFO that hovered over the Flaming Lips’ stage show. Like those Flaming Lips’ performances, everything is a little DIY at the Womb — but just because you can see the duct tape on a spacey device doesn’t make it less enjoyable.
Yet the Hibert brothers’ art is anything but ramshackle, with obsessively clean lines and rich paint that one of the Womb workers told me makes each painting take days. However, while the Womb aesthetic and Hiberts’ might differ in meticulousness, they share a love of trippy imagery, including for the Womb’s eponymous anatomy, as the exhibition title might lead you to believe. Eyeballs project rainbows, space turns into a giant mouth slobbering all over the universe, there’s a lot of unsettling flesh wounds. Oliver Hibert actually did the album art for the Flaming Lips’ recent EP with Tame Impala — a painting based on one I was told he would never sell, where a woman’s body is exploded in parts, oozing black, while a mouth/moth eating an eye emerges in the middle.
Oliver Hibert and Spencer Hibert’s Bad Trip is currently on view at the Womb (25 NW 9th, Oklahoma City).
Poussin and the Dance is a valiant attempt to break into Poussin’s staunchly academic oeuvre and provide a relatable point of entry, highlighting the exciting elements of revelry and movement despite impenetrable and unemotional rendering.
Anarchist illustrator N.O. Bonzo produces decentralized media in a highly bureaucratic cultural landscape. Their illustrations, murals, and literature emerge in unexpected places, from the streets of Portland, Oregon, to the far ends of Reddit and Twitter, addressing relations of labor and identity in the workplace and on the streets. Growth and care are central themes…
This exhibition explores how images of the human body were used to provoke profound physical and emotional responses in viewers from the 15th through 18th centuries.
With scavenged materials, Amanda Maciel Antunes constructs a motherland.
Where are the directors taking the stage to acknowledge workers’ demands today?
The collaborative handmade paper- and printmaking center at the Pennsylvania Academy of the Fine Arts publishes new works by Liz Collins and Sarah McEneaney.
There is a debate whether the memory of Little Syria should be seized upon to tell truthful and positive stories about Arabs in the US, or whether any conflation between its history and contemporary politics is inappropriate.
The profile includes works by Egon Schiele, Amedeo Modigliani, Peter Paul Rubens, and a prehistoric Venus of Willendorf figurine.
These horrifying dolls definitely won’t murder you in your sleep.