Roy Dowell by Miles McEnery Gallery

ROY DOWELL

520 West 21st Street New York NY 10011

tel +1 212 445 0051 www.milesmcenery.com

525 West 22nd Street New York NY 10011

HERE!COMES!THE!SUN By Amy Gerstler

“This work is about awe.”— Roy Dowell Is Roy Dowell a spiritual artist? Does his work possess spiritual dimensions? If one must be an adherent of an established belief system to qualify as a spiritual artist, then no, I don’t think Dowell can be classed as one, and my guess is that he would resist being pinned down by this limited definition. If, however, our definition of a spiritual artist can include creators of work based on lively curiosity about the nature, genesis, and recombination of forms, and if our definition can then stretch to embrace creators of contemporary paintings making moves not usually associated with the twentieth-first century, like nudging us to turn inward, urging us to slow down, pushing us to forgo closure, and encouraging us to remain open-endedly contemplative, then, yes, we might apply such a label to Dowell. (It should be noted that Dowell is not comfortable with labels or titles for his own works. He finds titling his paintings too directive and seems to abhor the idea that titles might steer interpretations of his paintings.) If Dowell’s paintings bring to mind—in their scale, warmth, tone, and execution—a kind of bright humility (humility being a spiritual virtue not usually associated with the twenty-first century) and if, additionally, his work causes us (almost without being aware) to think back through our childhoods and ancestries to reconnect with archetypal responses to symbols, lines, dots, shapes, and colors, and if examining how these responses structure our views of the world is useful and/or inspiriting, then it’s possible that Dowell may be a spiritual artist a!er all. Dowell grew up in a devout Christian Scientist family. He le! the church at age 16. “But there’s a lot of stuﬀ in that religion about the metaphysical that probably

influenced me and still does,” he says. “I don’t believe in God, but I believe in the power of belief, the things that come out of someone’s belief. I am very interested in the power of belief systems, but I don’t want to make a claim for understanding.” *

Can spiritual art be playful? Funny or wi#y? This believer thinks that it can. For some of us, cartoons were one of childhood’s primal guiding cosmologies. We took them seriously and were indelibly imprinted by them. There is a purity to early cartoons, and what they stirred up in me ages ago has been reawakened by some of Dowell’s paintings. I was indoctrinated early by cartoons’ colorful forms: animated, pulsing, a bit mad, elastic, malleable, manic, shape-shi!ing. Cartoons seemed very much alive, and their strangeness and exaggeration made them all the more mesmerizing. All cartoon characters were immortal, so they seemed like a pantheon of minor gods. In a good number of Dowell’s forms and in the way they relate to each other, there is a so!ness, a roundness, a bounce—or a series of dunce-cap-like pointy triangles, or a simple graphic impetuosity—that reminds me more of the bold, zany, mutating whirl of cartoons than of hard-edged abstract expressionism. When asked if he feels that any aspects of his paintings have a relation to cartoons, Dowell thinks for a moment and then says that some of his zigzags “come out of a cartoonish idea of energy.” Fair enough. Speaking of energy, Dowell is a big fan of yellow. That makes perfect sense to me: Yellow is the hue of the sun, of halos, of glow. The color of melted bu#er, of pollen and egg yolks, of breakfast and daylight. The color of the li!ed lamp’s shine. The younger, humbler cousin of gold. And sun-like forms, circles with elements radiating or beaming out from a center hub like spokes, or forms resembling roule#e wheels or game board spinners are common in Dowell’s recent work. Carl Jung says the circle or sphere is “a symbol of the Self.” At first, I balked at applying that notion to Dowell’s work. It made intuitive sense to me, but I felt I had no basis I could articulate for imposing such a claim. Then Dowell surprised me by saying, “The paintings ultimately comprise a kind of self-portrait.”

For me, Dowell’s paintings are less a self-portrait of him as an individual than they are portraits of facets of a collective human self . . . a sort of contemplation of aspects of atman, the noun used in Hinduism to describe the spiritual life principle of the universe, especially when it is manifested in the real core self of the individual: the soul. Carl Jung goes on to observe, “Whether the symbol of the circle appears in primitive sun worship or modern religion, in myths or dreams, in the mandalas drawn by Tibetan monks, in the ground plans of cities, or in the spherical concepts of early astronomers, it always points to the single most vital aspect of life—its ultimate wholeness.” If this doesn’t sound too counterintuitive, I believe that one of the ways Dowell’s work achieves its unique brand of “ultimate wholeness” is via his collage process, through his transformative combining of disparately sourced materials to produce a seamless compositional gestalt. Everyone I’m aware of who has wri#en about Dowell’s work has mentioned its strong collage basis. “I have a collage mentality,” Dowell has been known to declare. And his sources are wildly various, drawn from across eras, cultures, and mediums. His sources are also so well-digested as to be virtually unidentifiable in the paintings themselves. Amir-Nal jar designs from vases that are six thousand years old, Mexican folk art motifs, Buddhist iconography, yantra painting, Guatemalan masks, graﬃti, textiles, bits of signage, and much more are metabolized into his work. So are influences from his own heritage. Dowell has Society Islander DNA. (The Society Islands are an archipelago located in the South Pacific Ocean, and they include Bora Bora, Mo’orea, and Tahiti.) Dowell’s ancestors were shippers and some married into island populations, so Dowell became interested in tapa cloth pa#erns from the Society Islands. He is an inveterate collector, and since his boyhood this process of gathering and recombining has been central to his work. He is a true syncretist at heart. * “My pieces don’t usually have titles, but sometimes I give them nicknames,” Dowell told me. In order to talk about a few paintings specifically, I am going to venture some nicknames here, purely of my own invention.

The piece I refer to in the privacy of my mind as Elegy for Whirligig has a diaphanous pink background with bright bleached spots and hints of yellow. A tiny pink dot pa#ern appears over the whole pink area like a blush-colored veil or scrim and takes up the majority of the canvas. (I say canvas, but Dowell has been working on a somewhat rough textured linen over panel of late.) A bold central image dominates the painting by rising up through it, a kind of lollipop tree encircled by a large, dark, leafy wreath. The piece feels both somber and celebratory.

The painting I have dubbed So Wrought is a rare Dowell work painted mostly in black and white. Itâ&#x20AC;&#x2122;s the only piece of his Iâ&#x20AC;&#x2122;ve seen that bears his signature as part of the composition. His initials appear in the upper le!-hand corner, writ large, in a script that looks as if it was forged by a blacksmith from thin strips of black metal. An arresting wheel-and-spoke pa#ern with filigree and leaf pa#erns that have the beauty of antique weather vanes is the main a#raction. A ribbon-like band of red delineates the bo#om edge of the painting, with a glowing green dot in its center. The pa#erns here are nearly hypnotic: curlicues, checkerboard squares, lines of triangles, leaves and stems. The stark use of black and white makes the piece graphically active and striking. To me, it evokes wrought iron, specifically fences and gates, and decorative motifs on old headstones. A painting I call Skein has a webby mass of black lines painted over an almost disconcerting cacophony of shards of many shades of bright orange, crisscrossed with a few stripes of cool blue and some tiny swipes of green. Black dots congregate in the lower corners, almost as though they have sunk there, and in the center a heavily black outlined white shape hovers, looking slightly like a levitating sombrero, but also like an abstracted leering face. Here Comes the Sun is my nickname for one of my favorite pieces: a gorgeous, dignified mandala-like work painted so that one of its concentric layers looks like pale stone inlay. All radiates outward from a central sun-like form. The painting evokes many associations for me: Buddhist art and practice and the design of ancient Parcheesi boards being just two.

I won’t subject you to any more of my descriptions of Dowell’s paintings. What matters most to Dowell, I think, is not what his works mean to me, but what they do to each of you, individually. As meditation aids, I believe these paintings are meant to throw us back into long-ago associations, impressions, exuberances, and depths from which we first formed our relationship with shapes, colors, thought forms, and le#er forms. While I don’t propose that, if indeed Dowell is a species of spiritual artist, there’s a particularly Western spirituality at play, I do feel that I’ve never seen a Dowell painting that wouldn’t make a magnificent stained-glass window. Think about that when you look at the images reproduced in this catalog. See if you don’t feel, a!er spending some quality time with the paintings, that, as Wassily Kandinsky put it, they are works “. . . containing the seed of infinity.” —November 11, 2019 Amy Gerstler

Amy Gerstler’s most recent book of poetry is Sca!ered at Sea (Penguin, 2015).

untitled #889, 2003 Acrylic and burlap on canvas 52 x 40 inches 132.1 x 101.6 cm

untitled #911, 2005 Acrylic on canvas 60 x 48 inches 152.4 x 121.9 cm

untitled #1069, 2015

Acrylic on linen over panel 60 x 40 inches 152.4 x 101.6 cm

untitled #1104, 2017

Acrylic on linen over panel 60 x 40 inches 152.4 x 101.6 cm

untitled #1112, 2018 Acrylic on linen 22 x 40 inches 55.9 x 101.6 cm

untitled #1117, 2018

Acrylic on linen 20 x 12 inches 50.8 x 30.5 cm

untitled #1119, 2018

Acrylic on linen 20 x 12 inches 50.8 x 30.5 cm

untitled #1120, 2019

Acrylic on linen 20 x 12 inches 50.8 x 30.5 cm

untitled #1123, 2019 Acrylic on linen over panel 48 x 36 inches 121.9 x 91.4 cm

untitled #1125, 2019 Acrylic on linen over panel 48 x 60 inches 121.9 x 152.4 cm

untitled #1126, 2019

Acrylic on linen over panel 48 x 60 inches 121.9 x 152.4 cm

untitled #1127, 2019

Acrylic on linen over panel 41 x 38 inches 104.1 x 96.5 cm

untitled #1128, 2019 Acrylic on linen over panel 41 x 38 inches 104.1 x 96.5 cm

untitled #1129, 2019

Acrylic on linen over panel 41 x 38 inches 104.1 x 96.5 cm

untitled #1130, 2019 Acrylic on linen over panel 60 x 48 inches 152.4 x 121.9 cm

untitled #1131, 2019 Acrylic on linen over panel 41 x 38 inches 104.1 x 96.5 cm

untitled #1132, 2019

Acrylic on linen over panel 41 x 38 inches 104.1 x 96.5 cm

untitled #1133, 2019

Acrylic on linen over panel 48 x 60 inches 121.9 x 152.4 cm

untitled #1134, 2019 Acrylic on linen over panel 60 x 48 inches 152.4 x 121.9 cm

untitled #1135, 2019

Acrylic on linen 20 x 12 inches 50.8 x 30.5 cm

untitled #1136, 2019

Acrylic on linen over panel 20 x 12 inches 50.8 x 30.5 cm

ROY DOWELL Born in Bronxville, NY in 1951 Lives and works in Los Angeles, CA

2012 “Roy Dowell: Speaking in Tongues,” Galería Nina Menocal, Mexico City, Mexico 2010 Lennon, Weinberg, Inc., New York, NY

EDUCATION 1975 Master of Fine Arts, California Institute of the Arts, Valencia, CA 1973 Bachelor of Fine Arts, California Institute of the Arts, Valencia, CA

2009 “Roy Dowell: New Works on Paper,” Margo Leavin Gallery, Los Angeles, CA 2006 “Roy Dowell: A Survey Exhibition 1981-2005,” Margo Leavin Gallery, Los Angeles, CA

1971 California College of Arts and Cra!s, Oakland, CA

2004 “Roy Dowell: New Works,” Margo Leavin Gallery, Los Angeles, CA

SOLO EXHIBITIONS

2001 “Roy Dowell: New Works,” Finesilver Gallery, San Antonio, TX

2020 Miles McEnery Gallery, New York, NY 2019 “Found in Translation,” Bolsky Gallery, Otis College of Art and Design, Los Angeles, CA “Some of Me and the Sum of Others,” as-is.la, Los Angeles, CA 2016 “Roy Dowell: Mosaics,” Tif Sigfrids Gallery, Los Angeles, CA “Li#le Tree,” Proxy Paris Gallery @ Galerie Ygrec, Paris, France “Roy Dowell: New Work,” James Harris Gallery, Sea#le, WA 2014 “Roy Dowell, New Work,” Lennon, Weinberg, Inc., New York, NY 2013 James Harris Gallery, Sea#le, WA Various Small Fires, Los Angeles, CA Proxy Gallery, Culver City, CA

2000 “Roy Dowell: like love, built on precedent,” Margo Leavin Gallery, Los Angeles, CA 1999 Curt Marcus Gallery, New York, NY 1997 Margo Leavin Gallery, Los Angeles, CA 1995 Margo Leavin Gallery, Los Angeles, CA Fawbush Gallery, New York, NY 1994 Rosamund Felsen Gallery, Los Angeles, CA 1993 “Roy Dowell: Collages 1991/92,” Santa Monica Museum of Art, Santa Monica, CA “Roy Dowell, with Nancy Evans,” Fawbush Gallery, New York, NY

1991 Rosamund Felsen Gallery, Los Angeles, CA 1990 “Truth or Consequences,” Rosamund Felsen Gallery, Los Angeles, CA 1989 “Roy Dowell, Selected Works 1980–1988,” Otis College of Art and Design, Los Angeles, CA 1988 “The Grand Order of Things,” Rosamund Felsen Gallery, Los Angeles 1987 Rosamund Felsen Gallery, Los Angeles, CA

GROUP EXHIBITIONS 2020 “FEEDBACK” (curated by Helen Molesworth), Jack Shainman Gallery: The School, Kinderhook, NY 2019 “Constellations,” Lennon/Weinberg Inc., New York, NY 2018 “The American Academy Invitational Exhibition of Visual Art,” American Academy of Arts and Le#ers, New York, NY “Make/Work” (curated by Jenene Nagy), Los Angeles Valley College, Van Nuys, CA “Vision Valley” (curated by Adam Miller), Brand Library & Art Center, Glendale, CA

1986 Rosamund Felsen Gallery, Los Angeles, CA

2017 “Synchronicity: a State of Painting,” Lennon/Weinberg, New York, NY

1983 “Roy Dowell, with Peter Levinson,” Roy Boyd Gallery, Los Angeles, CA

2016 Srijon Chowdhury’s Memory Theater,” Upfor Gallery, Portland, OR

1982 Institute of Contemporary Art, Los Angeles, CA

2015 “A Few Days,” Lennon, Weinberg, Inc., New York, NY “Salon du Dessin,” Lennon, Weinberg, Inc., New York, NY

1976 Comsky Gallery, Los Angeles, CA

2014 “Death Ship” (curated by Adam Miller and Devon Oder), The Pit, Glendale, CA “Floor Flowers” (curated by David Pagel), Claremont Graduate University Gallery, Claremont, CA “A Poem to a Raoul and Agnes” (curated by Sherman Sam), Ancient & Modern, London, United Kingdom “Le! Coast: Recent Acquisitions of Contemporary Art,” Santa Barbara Museum of Art, Santa Barbara, CA 2013 “California Visual Music” (curated by Marcus Herse), Guggenheim Gallery, Chapman University, Los Angeles, CA “Local Fish,” Ernie Wolﬀ Gallery, Los Angeles, CA “Roy Dowell and Alexander Kroll,” Fredric Snitzer Gallery, Miami, FL

2012 “Split Realities,” Nan Rae Gallery, Woodbury University, Los Angeles, CA “Made in LA 2012: Los Angeles Biennial,” Hammer Museum, Los Angeles, CA “Arctic Summer,” Margo Levin Gallery, Los Angeles, CA “Viva La Raspberries” (curated by Evan Holloway), Harris Lieberman Gallery, New York, NY “The Early Show,” Lennon, Weinberg, Inc., New York, NY “Vous Play,” JB Jurve, Los Angeles, CA “Drawn,” Margo Leavin Gallery, Los Angeles, CA 2011 “painting, design, speculation, generosity” (curated by Alexander Kroll), CB1 Gallery, Los Angeles, CA 2010 “The Jewel Thief,” Tang Museum, Skidmore College, Saratoga Springs, NY “New Art for a New Century: Contemporary Acquisitions, 2000–2010,” Orange County Museum of Art, Newport Beach, CA “Works in Edition,” Margo Leavin Gallery, Los Angeles, CA “Ends and Means,” Lennon, Weinberg, Inc., New York, NY 2009 “Roy Dowell” (with Lari Pi#man), Kunsthaus Santa Fé Gallery, San Miguel de Allende, Mexico “Pictures of Words” (curated by David Pagel), Galerie Schmidt Maczollek, Cologne, Germany “Reading Standing Up,” Margo Leavin Gallery, Los Angeles, CA 2008 “ARAC@AAM: Anderson Ranch at the Aspen Art Museum,” Aspen Art Museum, Aspen, CO “20 Years Ago Today: Supporting Individual Artists in L.A.,” Japanese American National Museum, Los Angeles, CA “Looky-See,” Ben Maltz Gallery, Otis College of Art and Design, Los Angeles, CA “Summer,” Margo Leavin Gallery, Los Angeles, CA “Las Vegas Collects Contemporary,” Las Vegas Art Museum, Las Vegas, NV

2007 “Paper,” Lennon, Weinberg, Inc., New York, NY 2006 “Couples Discourse,” Palmer Museum of Art, Pennsylvania State University, University Park, PA 2003 “Raid the Icebox,” Margo Leavin Gallery, Los Angeles, CA 2002 “LA Post-Cool” (curated by Michael Duncan), San Jose Museum of Art, San Jose, CA and Ben Maltz Gallery, Otis College of Art and Design, Los Angeles, CA “Roy Dowell, Daniel Mendel-Black, Alexis Smith,” Margo Leavin Gallery, Los Angeles, CA 2001 “Cal’s Art, Sampling California Painting,” University of North Texas Art Gallery, Denton, TX “Seeing or Believing,” Margo Leavin Gallery, Los Angeles, CA “The Importance of Being Earnest” (curated by Michael Duncan), Occidental College, Los Angeles, CA 2000 “Drawings 2000,” Barbara Gladstone Gallery, New York, NY “The Big G Stands for Goodness: Corita Kent’s 1960s POP” (curated by Michael Duncan), Harriet and Charles Luckman Fine Arts Gallery, California State University, Los Angeles, CA, traveled to Nora Eccles Harrison Museum of Art, Utah State University, Logan, UT; Donna Beam Fine Art Gallery, University of Nevada, Las Vegas, NV and Art Gallery, University of Texas, San Antonio, TX 1998 “90069,” Margo Leavin Gallery, Los Angeles, CA 1997 “Woven in Oaxaca: Rugs from Mexico,” A/D, New York, NY “Smoggy Abstractions,” Haggerty Museum of Art, Marque#e University, Milwaukee, WI

1995 “Pasted Paper: Collage in the 20th Century,” Louis Stern Fine Arts, Los Angeles, CA 1996 “25 Years: An Exhibition of Selected Works,” Margo Leavin Gallery, Los Angeles, CA “Between Reality and Abstraction: California Art at the End of the Century,” Art Museum of South Texas, Corpus Christi, TX

1994 “Balls,” World Cup USA 1994, Newspace, Los Angeles, CA “Twentieth–Century Drawings,” Los Angeles County Museum of Art, Los Angeles, CA “In Plain Sight: Abstract Painting in Los Angeles” (curated by Frances Colpi#), Blue Star Art Space, San Antonio, TX and University of Texas, Arlington, TX “Paintings of the 80’s,” Rosamund Felsen Gallery, Los Angeles, CA “Fractured Identity: Cut and Paste” (curated by Lindsay Walt and Tina Po#er), Julie Saul Gallery, New York, NY “pen & ink” (curated by Michael Darling), Santa Barbara Contemporary Arts Forum, Santa Barbara, CA “Very Visual Dialogue: Personal Journeys in Abstract Painting” (curated by Tom Krumpak), Rancho Santiago College Gallery, Santa Ana, CA 1993 “The Return of the Cadavre Exquis,” The Drawing Center, New York, NY, traveled to The Corcoran Gallery of Art, Washington, D.C.; Santa Monica Museum of Art, Santa Monica, CA; The Forum, St. Louis and The American Center, Paris, France “Object Bodies” (curated by Terry Myers), Emison Art Center, DePauw University, Greencastle, IN and Turman Art Gallery, Terre Haute, IN “School Days,” Jan Baum Gallery, Los Angeles, CA “Collage,” Brian Gross Fine Arts, San Francisco, CA “Aspects of Painting in Los Angeles,” College of Creative Studies, Santa Barbara, CA

1992 “LAX: The Los Angeles Exhibition 1992, Coming Unraveled” (curated by Anne Ayres), Otis College of Art and Design, Los Angeles, CA “California North and South,” Aspen Art Museum, Aspen, CO “Roy Dowell, Paul McCarthy, René Petropoulos,” Rosamund Felsen Gallery, Los Angeles, CA 1991 “Quick Coagulation Forms the August Corpse,” Rosamund Felsen Gallery, Los Angeles, CA “20th Century Collage,” Margo Leavin Gallery, Los Angeles, CA, traveled to Centro Cultural del México Contemporáneo, Mexico City and Musée d’art moderne et d’art contemporain, Nice, France 1990 “TIME: A Portfolio of Etchings,” Marc Richards Gallery, Santa Monica, CA “The Ends of Painting/The Edges of Abstraction” (curated by David Pagel), Shoshana Wayne Gallery, Santa Monica, CA “Phoenix Triennial” (curated by Bruce Kurtz), Phoenix Art Museum, Phoenix, AZ “Past & Present,” Rosamund Felsen Gallery, Los Angeles, CA “Eastern Aesthetic” (curated by Nancy Riegelman), Allport Gallery, San Francisco, CA 1989 “I to Eye,” Cirrus Gallery, Los Angeles, CA “Cultural Fetish” (curated by Lawrence Gipe), Pasadena City College Art Gallery, Pasadena, CA 1988 “New Works on Paper,” Rosamund Felsen Gallery, Los Angeles, CA 1987 “Works on Paper,” Pence Gallery, Santa Monica, CA “First LACE Annual” (curated by Ned Ri%in), Los Angeles Contemporary Exhibitions, Los Angeles, CA

1984 “Eccentric Images,” Margo Leavin Gallery, Los Angeles, CA “Roy Dowell, DeLoss McGraw, Frank Romero,” Koplin Gallery, Los Angeles, CA “The Co#on Exchange Exhibition,” Los Angeles Contemporary Exhibitions, Los Angeles, CA “Olympiad,” Koplin Gallery, Los Angeles, CA 1983 “Variations 2: 7 Los Angeles Painters” (curated by Constance Mallinson), Security Pacific Plaza Gallery, Los Angeles, CA “5 Painters,” Roy Boyd Gallery, Los Angeles, CA 1981 “Paintings: Dowell, Harwood, Mitchell, Rabbin,” Los Angeles Valley College, Van Nuys, CA

1998 “Ajax” for Windows on Wilshire, commissioned by Los Angeles County Museum of Art, Los Angeles, CA 1995 Art Ma#ers Inc. Fellowship, New York, NY 1991 Djerassi Artist Residency Fellowship, Woodside, CA 1989 “Nature Culture,” commissioned by Los Angeles Contemporary Exhibitions, Los Angeles, CA

SELECT COLLECTIONS

1980 “In a Major and a Minor Scale” (curated by Wayne Kuwada and Candice Lee), Municipal Art Gallery, Los Angeles, CA “Oriental Mystique,” California State University, Los Angeles, CA

Hammer Museum, Los Angeles, CA

1977 “100 Directions in Southern California Art,” Institute of Contemporary Art, Los Angeles, CA

Museum of Contemporary Art, Los Angeles, CA

1976 Ellie Blankfort Gallery, Los Angeles, CA “Dowell/Lumbert/Pi#man/Sherman,” Long Beach City College Gallery, Long Beach, CA

Orange County Museum of Art, Newport Beach, CA

Nora Eccles Harrison Museum, Logan, UT Los Angeles County Museum of Art, Los Angeles, CA

Museum of Contemporary Art, San Diego, CA

Phoenix Museum of Art, Phoenix, AZ San Diego Museum of Contemporary Art, San Diego, CA

GRANTS, COMMISSIONS AND FELLOWSHIPS

San Francisco Museum of Modern Art, San Francisco, CA

2012 LAX-ART Billboard Project, La Cienega Boulevard, Los Angeles, CA California Community Foundation, Artists’ Resource for Completion Grant, Los Angeles, CA

Santa Barbara Museum of Art, Santa Barbara, CA

2006 Constructed Histories, Los Angeles Metro, Orange Line, Canoga Park, CA

Weatherspoon Art Museum, Greensboro, NC

Published on the occasion of the exhibition

ROY!DOWELL 20 February – 28 March 2020 Miles McEnery Gallery 520 West 21st Street New York NY 10011 tel +1 212 445 0051 www.milesmcenery.com Publication © 2020 Miles McEnery Gallery All rights reserved Essay © 2019 Amy Gerstler Director of Publications Anastasija Jevtovic, New York, NY Photography by Christopher Burke Studio, New York, NY Color separations by Echelon, Santa Monica, CA Catalogue layout by McCall Associates, New York, NY ISBN: 978-1-949327-26-7 Cover: untitled #1130, (detail), 2019