Amir Zaki, The Guru, 2023, Framed archival photograph, 60.5 x 49 inches, 153.7 x 124.5 cm., Edition of 2 plus, 2AP, (Courtesy the artist and Diane Rosenstein Gallery)
Visit the HOLLYWOOD DREAM BUBBLE: Ed Ruscha’s Influence in Los Angeles and Beyond online viewing room here
The Hole is pleased to present HOLLYWOOD DREAM BUBBLE: Ed Ruscha’s Influence in Los Angeles and Beyond, a group show by guest curatorial duo Jessica Gallucci and artist Dani Tull opening Saturday, April 27th at 844 N La Brea Avenue in Los Angeles.
Ed Ruscha has occupied many roles in the broad cultural consciousness—foil to the New York-based Ab-Ex movement, a member of Ferus Gallery’s “cool school”, standard-bearer for Southern California and renderer of funny and oracular words in his Boy Scout Utility Modern font—but among artists, particularly in Los Angeles, he is known for his steadfast support of the scene. He shows up at openings: he collaborates, he collects and he donates. Hamilton Press, the Venice fine art printing company he co-founded, invites emerging artists to produce editions.
It is natural, then, that the exhibition began with a conversation we had with an LA-based artist and longtime Ruscha admirer, Ellen Jong. Jong’s wall works, which contain words formed from traditional Chinese ink congealed and sculpted into strips, were created in direct homage to the ribbon-like words in Ruscha’s gunpowder drawings. The show came together quickly and rhizomatically: a local network of Tull’s Ed-affiliated friends and collaborators opened up into a major group of people across the country who have been influenced by Ruscha.
No doubt this exhibition has a lot to say: beyond Jong’s ink assemblages (spelling PIE and SCHMEAR) a partial list of words and phrases includes MOTHER TONGUE (Mitchell Syrop), TO DISAPPEAR ENHANCES (Roni Horn), OMG and OY/YO (Deborah Kass), OPEN YOUR EYES (Sam Durant), CHRYSANTHEMUM (Ricci Albenda) or A MILLION YEARS CLEAN (Harland Miller). Kim Gordon’s contribution, one of her signature Word Paintings, is a tribute made expressly for this moment.
Other recognizable stylistic cues include the cigarette pack diagonals and supersaturation in Kristopher Raos’ Untitled (Slow Burn), which recall the dramatic use of single-point perspective and bold colors in Ruscha paintings like Standard Station, 1966 and Large Trademark with Eight Spotlights, 1962. Ruscha’s distinctly West Coast sunsets and gradients are echoed in photographs by Amir Zaki (above) and Brice Bischoff, and two photographs from Catherine Opie’s iconic Freeway Series evoke Ruscha’s serial photographic documentation of Los Angeles’s streets. Jennifer West’s film Museum on Fire (after Ed Ruscha – 35mm and super 8 film painted over and etched into with dyes and inks, permanent markers, Los Angeles tap water and some urine) at once references the painting of LACMA, Ruscha’s short films and his use of nontraditional mediums as stains.
You could scan the surfaces of works in this show looking for shades of Ruscha to find that his presence is just a proposition; the show’s titular “influence” encompasses direct quotations, tributes and choices in style and medium, as well as links that are more oblique or profound. Some works represent Ruscha’s involvement in an artistic cohort that extends from contemporaries, like Wallace Berman and Dennis Hopper; to family members, like his son Eddie Ruscha and daughter-in-law Francesca Gabbiani; to studio staff Senon Williams and Jason Mason, among others. Jeffrey Vallance asked to contribute a color drawing of Mike Kelley (1954-2012) and sent us this note: "Ed really liked Mike. Ed sponsored an exhibition of the three of us entitled "Three Headed Monster"—I did the drawing for it."
With more than seventy artists, this is not a “tightly curated” exhibition: neither could it possibly be a comprehensive one. HOLLYWOOD DREAM BUBBLE is just a piece of the discourse around the great artist’s reach and a celebration of his impact among American artists across generations. Two and a half miles away from Ruscha’s LACMA retrospective, the conversation continues.
—Jessica Gallucci and Dani Tull
Artists: Adam Stamp, Aaron Curry, Adam Rabinowitz, Alfred Steiner, Allen Ruppersberg, Amir Zaki, Analia Saban, Bart Exposito, Benjamin Weissman, Bettina Hubby, Brice Bischoff, Carly Jean Andrews, Catherine Opie, Chaz Bojorquez, Chris Johanson, Dan Attoe, Dani Tull, Daniel Hawkins, Dave Muller, Deborah Kass, Dennis Hopper, Doug Crocco, Eddie Ruscha, Ellen Jong, Eric Yahnker, Frances Stark, Francesca Gabbiani, Friedrich Kunath, Gary Simmons, Greg Colson, Hamilton Press, Harland Miller, Jaime Muñoz, Jason Mason, Jason Rhoades, Jeffrey Vallance, Jennifer West, Jeremy Shockley, Jim Shaw, Kelly Wall, Kenny Scharf, Kim Gordon, Kristopher Raos, Lari Pittman, Lisa Anne Auerbach, Mark Hagen, Matt Murphy, Michael Bevilacqua, Michael Decker, Michael Ho, Michael Lombardo, Mike Kelley, Mitchell Syrop, Mungo Thomson, Nick Taggart, Nicolas Shake, Norm Laich, Pae White, Pentti Monkkonen, Pippa Garner, Raymond Pettibon, Renée Petropoulos, Ricci Albenda, Rives Granade, Rob Pruitt, Roni Horn, Ry Rocklen, Sam Durant, Senon Williams, Wallace Berman, Wendy White and Zoe Crosher
Thank you to the galleries who made this exhibition possible: François Ghebaly, Diane Rosenstein, Altman Siegel, Charlie James Gallery, Wilding Cran, Michael Kohn Gallery, OCHI, BLUM, Karma, Andrew Kreps, Craig Krull, The Pit, Mixografia, Nazarian/Curcio, White Cube, Hamilton Press, the Mike Kelley Foundation for the Arts, Stars Gallery, Hauser & Wirth and Tanya Bonakdar. The curators would also like to extend their gratitude to every artist involved in the exhibition, and to Ed Ruscha, Ellen Jong, Mary Clare Stevens, Ed Hamilton, Ruthanna Hopper and Mary Dean for their additional support.
Jessica Gallucci is an independent exhibition organizer and art advisor who relocated to Los Angeles from New York City in 2022 to run The Hole’s Hollywood gallery. She continues her relationship with The Hole part-time as artist liaison and is a partner in the Topanga Canyon–based curatorial enterprise GALLUCCI TULL. In addition to her work in the arts, she has held editorial positions at The Economist, Intelligent Life and Vogue. She holds a master’s degree in Visual Arts Administration from New York University and a BA in English from Georgetown University.
Dani Tull is an artist based in Topanga Canyon, California. He received his MFA from Stanford University and a BFA from The San Francisco Art Institute. He has exhibited in galleries and museums internationally. Selected solo exhibitions include: The Landing, Blum and Poe, The Pit, and Diane Rosenstein (Los Angeles); Jack Hanley Gallery (San Francisco); Fredericks & Freiser, On Stellar Rays, and Jacob Lewis Gallery (New York City); Torch Gallery (Amsterdam); and Wewerka (Berlin). His work has been written about in The New York Times, Los Angeles Times, Artforum, Art in America, i-D Magazine, Art Review, Wallpaper and Frieze, among others. Permanent collections include The Metropolitan Museum of Art, Los Angeles County Museum of Art, The Getty, The Laguna Art Museum and The Peter Norton Family Collection. Since 1990, Tull has curated internationally for various galleries as well as programming his artist-run space ODD ARK LA, The Encina Artist Residency and the recently launched curatorial enterprise GALLUCCI TULL, all based in LA.
Kristopher Raos, Untitled (Slow Burn), 2024, acrylic, flashe, and gouache on canvas, 64 x 80 inches, 163 x 203 cm.
Ricci Albenda, chrysanthemum in f (#2), 2018, acrylic on paper mounted to canvas, 10 x 35 inches, 25 x 90 cm.
Mungo Thomson, Mountain (November/December), 2022, double-sided UV-cured print on samba fabric, custom LED lightbox, 62 x 96 inches, 159 x 244 cm.
© Mungo Thompson, Courtesy the Mungo Thompson and Karma
Frances Stark, Sincerely, 2023, acrylic and silkscreened enamel on gesso on panel, 62 x 78 inches, 157 x 198 cm.
Nick Taggart, Pacific Palisades, 1983, acrylic on paper mounted on board, 23 x 48 inches, 58 x 122 cm.
Matt Murphy, Wild, Wild, West., 2024, gouache on linen on birch panel, 42 x 84 inches, 107 x 213 cm.
Wendy White, Impact (Sea Foam), 2023, alkyd on vinyl, wood, 30 x 30 inches, 76 x 76 cm.
Courtesy of the artist and Nazarian / Curcio, Los Angeles
Bart Exposito, "Scribes," (Clay, Klee, Pink), 2024, acrylic on canvas, 60 x 40 inches, 152 x 102 cm.
Kim Gordon, Ed Ruscha, 2024, acrylic and medium on canvas. 36 x 48 inches, 91 x 122 cm.
Courtesy of the artist and 303 Gallery, New York.
Ellen Jong, PIE (in the sky), 2022, protein resin, lamp black, powder pigments, archival inkjet print on lycra, 37 x 51 inches, 94 x 129.5 cm. Framed: 37 x 55 inches, 94 x 140 cm.
Alfred Steiner, Jizz, watercolor on fabriano 300 lb. hot press paper, 12 x 12 inches, 31 x 31 cm, Framed: 14 3/4 x 14 3/8 inches, 37 1/2 x 36 1/2 cm.
Ellen Jong, Schmear, 2021, protein resin, lamp black, powder pigments, archival inkjet print on lycra, 37 x 51 inches, 94 x 129.5 cm, Framed: 38 x 51 inches, 96.52 x 129.54 cm.
Dave Muller, *Spectrum Number One (Stuff from Around the House), 2011, acrylic on paper, each, framed: 51 x 87 inches, 128 x 220 cm.
© Dave Muller, Courtesy of The Artist and BLUM Los Angeles, Tokyo, New York
Harland Miller, A Million Years Clean, 2022, oil on canvas, 68 x 42 inches, 173 x 107 cm, 68 x 42 x 3 inches, 174 x 108 x 7 cm.
Courtesy of the Artist and White Cube
Harland Miller, Hi, 2023, pencil and oil on graph paper, 12 x 9 inches, 30 x 23 cm, Framed: 20 x 17 x 1.5 inches, 51 x 43 x 4 cm.
Courtesy of the Artist and White Cube
Harland Miller, Cry, 2023, pencil and oil on graph paper, 12 x 9 inches, 30 x 23 cm, Framed: 20 x 17 x 1.5 inches, 51 x 43 x 4 cm
Courtesy of the Artist and White Cube
Harland Miller, On, 2023, pencil and oil on graph paper, 12 x 9 inches, 30 x 23 cm, Framed: 20 x 17 x 1.5 inches, 51 x 43 x 4 cm
Courtesy of the Artist and White Cube
Jeffrey Vallance, Preliminary Drawing/Collage for Mike Kelley, 2011, graphite and enamel on paper with decals, 16 x 20 inches, 41 x 51 cm, Framed: 18 3/4 x 22 5/8 inches, 48 x 57 cm.
Courtesy the artist and Tanya Bonakdar Gallery, New York / Los Angeles.
Kenny Scharf and Ed Ruscha, Names, 2016, lithograph, edition 30/30, 31 x 22 inches, 79 x 56 cm, Framed: 33 3/4 x 24 x 3/4 inches, 88 x 63 cm.
Kenny Scharf and Ed Ruscha, Puddle People, 2016, lithographs, edition 30/30, 22 x 31 inches, 56 x 79 cm, Framed: 22 3/4 inches, 63 x 84.5 cm.
Kelly Wall, Fall Back Plan, 2023, glass lead aluminum, steel, ceramic, 27 x 31 x 24 inches, 69 x 79 x 61 cm.
Mark Hagen, Dear Psychic Underworld... #2, 2008, oil on canvas, 60 x 48 inches, 152 x 122 cm.
Mitchell Syrop, Mother Tongue, 1988, offset litho collage on museum board, 51 x 39 inches, 130 x 99 cm, Framed: 52 x 40 inches, 132 x 102 cm.
Zoe Crosher, Prospecting Palm Fronds (Santa Clara & Electric), 2017, Unique bronze cast, 67 x 8 x 14 inches, 170 x 20.5x 36 cm
Daniel Hawkins, Embrace the Mountain, 2020, Acrylic on wood, 81 x 42 x 31 inches, 206 x 107 x 79 cm
Nicolas Shake, Royal, 2020-2022, Dye on canvas drop cloth, laundered and weathered, in artist made frame, 63 x 51 inches, 160 x 130 cm
Greg Colson, Rain Badger, 2021, Crayon, graphite, ink, and enamel on metal with metal support, 19 x 16 x 9 inches, 48 x 41 x 23 cm
Rob Pruitt, Will Return, 2017, Acrylic on Coroplast, wood, plastic fastener, 21 x 18 inches, 53 x 46 cm
Jeremy Shockley, OOPS (That Prince Song), 2024, Oil on canvas, 48 x 40 inches, 122 x 102 cm
Jason Mason, Hubris of Religion, 2022, Acrylic on canvas, 38 x 102 inches, 96.5 x 259 cm
Ry Rocklen, I Heart LA, 2019, Ceramic, mason stain, glaze decal, 17 x 12 x 1/2 inches, 30.5 x 43.2 x 1.3 cm.
Norm Laich, That Was Then, This Is Now, 2010, Enamel on wood panel, 16 x 31 inches, 41 x 79 cm
Michael Rikio Ming Hee Ho, But You’re Still Coming Into Work Right?, 2024, Acrylic, enamel, and charcoal on cotton canvas, 26 x 21 inches, 66 x 54 cm.
Deborah Kass, OMG, 2013, Oil on canvas, 71 x 67 inches, 180 x 170 cm
Amir Zaki, The Guru, 2023, Framed archival photograph, 60 x 48 inches, 152 x 122 cm, 61 x 49 inches (framed), 155 x 124 cm, Edition 1 of 2, 2AP
Courtesy the artist and Diane Rosenstein Gallery.
Michael Bevilacqua, Is Wo Od I Like, 2024, Acrylic on UV ink canvas, 56 x 37 inches, 142 x 94 cm
Lari Pittman, 21st Century Sampler with 19th Century Poetry, 2015, Cel-vinyl, spray enamel on gessoed wood panel, framed, 25 x 19 inches, 64 x 48 cm, 25 3/8 x 19 3/8 inches (framed), 64.5 x 49 cm.
Lari Pittman, 21st Century Sampler with 19th Century Poetry, 2015, Cel-vinyl, spray enamel on gessoed wood panel, framed, 25 x 19 inches, 64 x 48 cm, 25 3/8 x 19 3/8 inches (framed), 64.5 x 49 cm.
Lari Pittman, 21st Century Sampler with 19th Century Poetry, 2015, Cel-vinyl, spray enamel on gessoed wood panel, framed, 25 x 19 inches, 64 x 48 cm, 25 3/8 x 19 3/8 inches (framed), 64.5 x 49 cm.
Lari Pittman, 21st Century Sampler with 19th Century Poetry, 2015, Cel-vinyl, spray enamel on gessoed wood panel, framed, 25 x 19 inches, 64 x 48 cm, 25 3/8 x 19 3/8 inches (framed), 64.5 x 49 cm.
Deborah Kass, OY / YO, 2016, Acrylic polyurethane aluminum on stainless steel base, 37 x 73 x 19.5 inches, 94 x 185 x 50 cm, Edition 4 of 6, 2AP
Brice Bischoff, Untitled, Halo Snuffers, #6, 2017, Archival pigment print, 35 x 52 inches, 89 x 132 cm, 36 x 55 inches, 91 x 140 cm., Edition 1 of 3, 2AP
Adam Rabinowitz, Big Cloud City 3, 2024, Acrylic and dye on linen, 66 x 49 inches, 168 x 124.5 cm
Rives Granade, Untitled, 2015, Oil on canvas, 65 x 44 inches, 165 x 112 cm.
Courtesy of the artist and OCHI.
Harland Miller, A Million Years Clean, 2022, Oil on canvas, 68 x 42 inches, 173 x 107 cm, 68 x 42 x 3 inches (framed), 174 x 108 x 7 cm.
Jason Rhoades, Junk (Idol 36), 2005, Egyptian Hookah glass vase and hose, blacklight neon phrase, 120 V Transformer, GTO cable, aluminum armature wire, glass fruit, Egyptian cotton, pipe cleaner, lace ribbon, Spukaki glue, monofilament, monofilament crimps, 35 x 30 x 11 inches, 89 x 76 x 28 cm
Sam Durant, Open Your Eyes, 2017, Electric sign with vinyl text, 57 x 65 inches, 145 x 165 cm, AP1, Edition of 3, 2AP
© Sam Durant, Courtesy of The Artist and BLUM Los Angeles, Tokyo, New York
Pae White, Hustle of Joy, 2023, Dichroic coating on glazed ceramic, 65 x 82 x 4.5 inches, 165 x 208 x 11.5 cm
Jennifer West, Museum on Fire (after Ed Ruscha - 35mm and super 8 film painted over and etched into with dyes and inks, permanent markers, Los Angeles tap water and some urine), 2022, 4K video (8 minutes, 44 seconds)
Michael Lombardo, Kupra, 2024, Oil on linen with dirt, 14 x 12 inches, 36 x 31 cm
Bettina Hubby, Sponge Puddle, 2015, Bronze with patina, 2 x 15 x 8 inches, 5 x 38 x 20 cm, Edition 2 of 10
Lisa Anne Auerbach, Dreams of LA Unraveling, 2021, Wool, bamboo, viscose, 24 x 34 inches, 61 x 86.4 cm.
Images Courtesy of the artist and GAVLAK Los Angeles / Palm Beach
Dani Tull, Slicing The Aurora (From Across the Room), Flashe on linen, 66.25 x 46 inches, 168 x 117 cm
Raymond Pettibon and Ed Ruscha, Arts and Letters (State I), 2008, Lithographs, 30 x 22 inches, 76 x 56 cm, 32 1/4 x 24 7/8 inches (framed), 82 x 63 cm
Raymond Pettibon and Ed Ruscha, Arts and Letters (State II) Color Trial Proof in Purple, 2008, Lithograph, 30 x 22 inches, 76 x 56 cm, 32 1/4 x 24 7/8 inches (framed), 82 x 63 cm.
Analia Saban, GRACIAS GRACIAS GRACIAS THANK YOU THANK YOU THANK YOU Have a Nice Day Plastic Bag, 2016, Mixografia® print on handmade paper, 27.5 x 20 inches, 70 x 51 cm, 33 x 25 inches (framed), 84 x 64 cm, Edition 1 of 20
Adam Stamp, Oil Can, 2023, Colored pencil on cotton paper, museum glass in walnut frame, 44 x 14 inches, 112 x 36 cm, 44 1/2 x 14 5/8 inches (framed), 113 x 37 cm.
Eric Yahnker, Study for a Hollywood Ending, 2024, Pastel on Stonehenge, 11 x 24 inches, 28 x 61 cm, 28.5 x 14.75 inches (framed), 72.5 x 37.5 cm (framed)
Michael Decker, Ranger Station, 2023, Found cardboard, PVA, wood panel, 23 x 24 inches, 58 x 61 cm
Aaron Curry, Hello Self, 2020, Collage, 10 1/2 x 7 3/4 inches, 26.5 x 19.5 cm, 13 3/4 x 11 1/2 x 1 1/4 inches (framed), 35 x 29 x 3.2 cm
Courtesy of the artist and David Kordansky Gallery.
Doug Crocco, I Enjoyed Our Time in The Sun, 2012, Color pencil on paper, 19 x 24 inches, 48 x 61 cm, 20.5 x 25.5 inches (framed),
52 x 65 cm.
Carly Jean Andrews, Dog, 2024Photo print, pastels, colored pencil, 36 x 26 inches, 91 x 66 cm, 40 x 30 inches (framed), 102 x 76 cm.
Francesca Gabbiani, Under Surveillance, 2024, Acrylic and colored paper on paper mounted on wood panel, 16 x 20 inches, 41 x 51 cm
Jim Shaw, My Mirage Logo III, 1989, Silkscreen on paper, 17 x 14 inches, 43 x 36 cm, 17.5 x 14.25 inches (framed), 44.5 x 36.2 cm., Edition 49 of 50
Benjamin Weissman, Tangerine, 2018, Charcoal, acrylic on paper, 35 x 36 inches, 89 x 91 cm, 41.5 x 41.5 inches (framed), 105.4 x 105.4 cm.
Friedrich Kunath, We Will Meet Again And Again And Again, 2015, Acrylic, silkscreen and ink on paper, 20 x 15 inches, 51 x 38 cm, 22 x 17 1/2 x 1 1/2 inches, 56 x 44 x 4 cm, Edition 5 of 10, 3AP
Senon Williams, Me in the desert, 2023, Acrylic and graphite on paper, 9.5 x 10.5 inches, 24 x 27 cm, 14 x 14 inches (framed), 35.5 x 35.5 cm.
Senon Williams, Me thirty years from now, 2023, Acrylic and graphite on paper, 9.5 x 10.5 inches, 24 x 27 cm, 14 x 14 inches (framed), 35.5 x 35.5 cm.
Senon Williams, Me five years ago, 2023, Acrylic and graphite on paper, 9.5 x 10.5 inches, 24 x 27 cm, 14 x 14 inches (framed), 35.5 x 35.5 cm.
Senon Williams, Me in the woods, 2023, Acrylic and graphite on paper, 9.5 x 10.5 inches, 24 x 27 cm, 14 x 14 inches (framed), 35.5 x 35.5 cm.
Senon Williams, Me after, 2023, Acrylic and graphite on paper, 9.5 x 10.5 inches, 24 x 27 cm, 14 x 14 inches (framed), 35.5 x 35.5 cm.
Senon Williams, Me now, 2023, Acrylic and graphite on paper, 9.5 x 10.5 inches, 24 x 27 cm, 14 x 14 inches (framed), 35.5 x 35.5 cm.
Senon Williams, Me with you, 2023, Acrylic and graphite on paper, 9.5 x 10.5 inches, 24 x 27 cm, 14 x 14 inches (framed), 35.5 x 35.5 cm.
Senon Williams, Me in Los Angeles, 2023, Acrylic and graphite on paper, 9.5 x 10.5 inches, 24 x 27 cm, 14 x 14 inches (framed), 35.5 x 35.5 cm.
Senon Williams, Me five years from now, 2023, Acrylic and graphite on paper, 9.5 x 10.5 inches, 24 x 27 cm, 14 x 14 inches (framed), 35.5 x 35.5 cm.
Wallace Berman, Untitled #114, c. 1964-76, Single negative verifax collage, 11 3/4 x 12 3/4 inches, 29.84 x 32.38 cm, 12 7/8 x 13 3/4 inches (framed), 32.70 x 34.92 cm
Wallace Berman, Untitled (A1-Wolf), 1964-76, 4-part positive Verifax collage, 6 5/8 x 6 3/4 inches, 16.83 x 17.14 cm, 12 1/2 x 12 1/2 inches (framed), 31.75 x 31.75 cm
Dennis Hopper Lips, 1988, Silkscreen, 58 x 40 inches, 147 x 102 cm., PP1, 1PP
Allen Ruppersberg, Ed Ruscha, Scott Grieger, Raul Guerrero, Ed Hamilton, Dennis Hopper, Raymond Pettibon, Alexis Smith, and William Wegman, What is a Print?, 2000, Lithograph, 27 x 36 inches, 69 x 91 cm, 29 1/2 x 38 3/8 inches (framed), 75 x 97 cm, Edition 1 of 20
Catherine Opie, Untitled #26 from "Freeway" series, 1994, Platinum print, 2 1/4 x 6 3/4 inches, 5.7 x 17.1 cm., 8 3/4 x 14 3/8 inches (framed), 22.2 x 36.5 cm.
Catherine Opie, Untitled #36 from "Freeway" series, 1995, Platinum print, 2 1/4 x 6 3/4 inches, 5.7 x 17.1 cm., 8 3/4 x 14 3/8 inches (framed), 22.2 x 36.5 cm.
Eddie Ruscha, Joshua Tree(s) With Bee, 2024, Acrylic on canvas, 24 x 24 inches, 61 x 61 cm
Eddie Ruscha, Untitled (Surfboard 1), 2022, Acrylic on surfboard, shaped and glassed by Brothers Marshall, 100 x 24 x 2.5 inches, 254 x 61 x 6 cm
Jaime Muñoz, Miracle, 2024, Sumi ink on paper, 28 x 23 inches, 71 x 58 cm
Chris Johanson, Resonating At This Moment Is, 2020-21, Acrylic on paper, 7 x 6 inches, 18 x 15 cm, 10 x 11 inches (framed), 26 x 28 cm.
Pentti Monkkonen and Chaz Bojorquez, Now and Then, 2024, Powder coated aluminum and acrylic on canvas, 25 x 42 x 2.5 inches, 63.5 x 106.7 x 6.4 cm
Pippa Garner, Do Not Imagine Naked, n.d., Collage on t-shirt, Size Medium, 27 x 28 inches
Pippa Garner, Proud To Be An Esoteric American, 2017, Collage on t-shirt, 22 x 30 inches, 56 x 76 cm
Renée Petropoulos, Conjugation. 2015, 2015, Ink, foamcore, paper, 11 x 6 x 6 inches, 28 x 15 x 15 cm