PAREIDOLIA
MATTHEW DAY JACKSON OCT 10 - NOV 17, 2019
KEIZERSGRACHT 241
GRIMM
Matthew Day Jackson
GRIMM is proud to announce Pareidolia, a new solo exhibition by
principle, the natural world is not only proof of a divine creator, but also a
Matthew Day Jackson (1974, US) in Amsterdam.
possession divined to us to exploit. At the base, the sculpture is supported by an abstraction of Buckminster Fuller’s (1895 –1983) Dymaxion map
The core of Pareidolia - the tendency to interpret random images, or
of the world, a three-dimensional world map which can be unfolded and
patterns of light and shadow as faces - is finding a reflection of ourselves
flat - tened to two dimensions. Fuller created this map as a pedagogical
in our natural environment. For Matthew Day Jackson our relationship
tool in order to show earth’s land mass is connected and to demonstrate
to our natural surroundings is akin to the separation of conjoined twins
how energy can be distributed and shared creating what he called “four
at birth who can no longer understand each other, are incapable of
billion billionaires”. 1
communicating, or who no longer care to try. Pareidolia here refers less to a human (dis)connectedness, but rather emphasizes a misunderstanding of what is visually perceived, undermining the fact that we are part of our natural environment.
This concept of connectivity has been at the core of Jackson’s work since the beginning. Jackson’s seemingly incongruous use of forms and images is a reminder of the fact that we are all connected to each other and to our environment. The works reflect on the artist’s long standing idea that our
In this new series of mixed media paintings Jackson references Giuseppe
evolution is not only found within the slow adaptation of flesh and bone
Arcimboldo (1527-1593), the Italian master of Mannerism, best known
through time, but also in the materials we use to express our humanity over
for his imaginative heads made entirely of fruits, vegetables, flowers and
time, the evolving process of the creation of society, and the performance
other objects. To Jackson, these portraits are an exuberant expression of
of culture.
nature’s bounty and a visual manifestation of power, wealth and decay.
1 Fuller, Buckminster. Critical Path. New York, St Martins Press, 1981
Major discoveries throughout the past two centuries have been motivated by political expansion and the accumulation of scientific knowledge - in his
About the artist:
recent series of still life paintings, which are based on Dutch Golden Age
Matthew Day Jackson (born 1974, Panorama City, US) lives and
paintings by Jan Brueghel the Elder (1568-1625) and in this new series,
works in Brooklyn (US). He received his BFA at the University of
the artist reflects on how the power gained through this process has
Washington, Seattle, WA (US), and his MFA at the Mason Gross School
come at the expense of the environment. Jackson’s paintings are entirely
of the Arts, Rutgers University, New Brunswick (US) and studied at
composed of Formica, lead, plywood and epoxy. Artificial and manufactured
NHRA Supercomp Dragster License, Frank Hawleys Racing School
materials such as these, carry meaning as a meditation on the domestic
in Gainesville (US) and Skowhegan School of Painting Sculpture,
environment, aspiration, class and impermanence, in addition to having a
Skowhegan (US).His work is included in many private and public
personal resonance for Jackson; they are imbued with memories from his
collections such as the Whitney Museum for American Art, New York
past and the artist’s own ‘American experience’.
(US); Stedelijk Museum, Amsterdam (NL); Pinault Collection, Paris (FR); Museo d’Arte Moderna, Bologna (IT); Zabludowicz Collection,
A large figure made of direct cast branches, sticks and found objects is
London (UK); Gemeentemuseum Den Haag, The Hague (NL) and High
presented among the new paintings. This sculpture can be divided into
Museum of Art, Atlanta (US).
three distinct elements: the figure, the rugged surface which it traverses and the base. The figure is a palimpsest of casts of several different trees
Jackson’s recent solo exhibitions include: Maa, Gösta Serlachius
and Scottish thistle.
Museum, Mänttä, (FI), Van Gogh Inspireert Matthew Day Jackson, Van Gogh Museum, Amsterdam (NL), Matthew Day Jackson. Pathetic Fallacy
For Jackson, figuration is a meditation on the human form and a statement
at Hauser & Wirth, Somerset (UK) in 2019; New Landscape, Qiao
that our sense of humanity and the form of the body is not fixed, while the
Space, Shanghai (CN) and Still Life and the Reclining Nude, Hauser &
presentation of the figure speaks to the way we are constantly adapting
Wirth London (UK) in 2018; Gunshot Plywood Bronze Works, GRIMM
to others and the environment. The incorporation of the Scottish thistle
Amsterdam (NL) in 2017; Core and Strip GRIMM, Amsterdam (NL)
- which is considered an invasive species - folds in yet another layer of
and There Will Come Soft Rains, Savannah College of Art and Design,
meaning regarding the origin of living things, and their existence outside
Atlanta (US). Additional solo exhibitions have been held at Hauser &
of their supposed “home”, reflecting broader attitudes on race, class and
Wirth, Zurich (CH) in 2014; Hauser & Wirth, New York (US) in 2013;
gender. The sculpture is supported by a walking stick which is generally
ZKM Museum, Karlsruhe (DE) in 2013; GEM, Museum of Contemporary
considered a tool for the infirm, however his intention here is quite the
Art, The Hague (NL) in 2012; MAMbo Museo d’Arte Moderna di
opposite- instead the staff serves to highlight that this terrain is challenging
Bologna (IT) and Kunstmuseum Luzern, Lucerne (CH) both in 2011; MIT List Visual Art Center, Cambridge (US) and at the Contemporary
Supporting the figure is the irregular surface of a platform, a conglomeration
Art Museum, Houston (US) in 2009.
of relief maps of national parks in the United States. In recent years many
His work has been included in group shows at the following ven -
of these parks have come under threat of despoilment by the current administration. The desire to open these areas to private industry for ranching, drilling or mining is exemplary of the ideology of Manifest Destiny; Jackson proposes that this remains the foundation and binding narrative of the United States. The application of this ideology extends beyond the U.S. to planet earth, the moon and all spaces in between. According to this
ues: Ludwig Forum, Aachen (DE) in 2019; the Oakland Museum of Art, Oakland (US) in 2016; Hiroshima City Museum of Contemporary Art, Hiroshima (JP) and Museum Beelden aan Zee, Scheveningen (NL) in 2015; Museum für Gegenwartskunst, Siegen (DE) and GRIMM, Amsterdam (NL) in 2014; Marianne Boesky, New York (US) and Gemeentemuseum, The Hague (NL) in 2013, and many others.
3 Winter, 2019 Formica, acrylic paint on epoxy resin, fiberglass, lead on panel, stainless steel frame 63.6 x 47 cm | 25 1/8 x 18 1/2 in
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3 Spring, 2019 Formica, acrylic paint on epoxy resin, fiberglass, lead on panel, stainless steel frame 63.6 x 47 cm | 25 1/8 x 18 1/2 in
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3 Summer, 2019 Formica, acrylic paint on epoxy resin, fiberglass, lead on panel, stainless steel frame 63.6 x 47 cm | 25 1/8 x 18 1/2 in
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3 Autumn, 2019 Formica, acrylic paint on epoxy resin, fiberglass, lead on panel, stainless steel frame 63.6 x 47 cm | 25 1/8 x 18 1/2 in
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3 Dynamist, 2019 Painted bronze, steel, brass, wood, acrylic paint on epoxy, fiberglass 274.3 x 184.2 x 171.4 cm | 108 x 72 1/2 x 67 1/2 in
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5 Dynamist, 2019 | alternate views
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3 Meat, 2019 Formica, acrylic paint on epoxy resin, fiberglass, lead on panel, stainless steel frame 63.6 x 47 cm | 25 1/8 x 18 1/2 in
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3 Vegetables, 2019 Formica, acrylic paint on epoxy resin, fiberglass, lead on panel, stainless steel frame 63.6 x 47 cm | 25 1/8 x 18 1/2 in
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3 Vegetables, 2019 | flipped view
3 Fruits, 2019 Formica, acrylic paint on epoxy resin, fiberglass, lead on panel, stainless steel frame 63.6 x 47 cm | 25 1/8 x 18 1/2 in
FRANS HALSSTRAAT 26 1072 BR AMSTERDAM
KEIZERSGRACHT 241 1016EA AMSTERDAM
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202 BOWERY NEW YORK NY 10012
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Matthew Day Jackson
B. 1974, Panormama City, CA Lives and works in Brooklyn, NY & Jackson Hole, WY Education
Hi, Low and In Between, Douglas Hyde Gallery, Dublin (IE) 2008
Terranaut, Peter Blum Gallery, New York, NY (US) Drawings from Tlön, Nicole Klagsbrun Gallery, New York, NY (US)
2007
Diptych, Mario Diacono at Ars Libri, Boston (US)
NHRA Supercomp Dragster License, Frank Hawleys Racing School,
Matthew Day Jackson: The Lower 48, Perry Rubenstein Gallery, NY (US)
Gainesville, FL (US)
Paradise Now! (The Salvage), WorkSpace: Matthew Day Jackson,
2002
Skowhegan School of Painting Sculpture, Skowhegan, ME (US)
The Blanton Museum of Art, Austin, TX (US)
2001
2001 MFA Mason Gross School of the Arts, Rutgers University, New
2009
1997
2006
Matthew Day Jackson – Paradise Now! (Limbo), CUBITT Artists
Brunswick (US)
Space, London (UK)
1997 BFA University of Washington, Seattle, WA (US)
Paradise Now! Portland Institute of Contemporary Art, Portland, OR (US) Oracle (Days of Future Passed), Mario Diacono at Ars Libri, Boston,
Residencies and Scholarships
MA (US)
2018
Hauser & Wirth, Somerset (UK)
2005
Matthew Day Jackson, Perry Rubenstein Gallery, New York, NY (US)
2006
Residency Portland Institute for Contemporary Art, Portland, OR
2004
By No Means Necessary, The Locker Plant, Chinati Foundation,
(US) 2004
Visiting artist at the Chinati Foundation, Marfa, TX (US)
Solo Exhibitions 2019
Pareidolia, GRIMM Keizersgracht, Amsterdam (NL)
Marfa, TX (US) Selected Group Exhibitions 2020
Death Cult, Torrance Art Museum [Forthcoming]
2019
Thrill of Deception: From Ancient Art to Virtual Reality, Ludwig
Van Gogh Inspireert Matthew Day Jackson, Van Gogh Museum, Amsterdam (NL)
2018
Forum, Aachen (DE) 2018
Tables, Carpets & Dead Flowers, Hauser & Wirth, Zürich (CH)
Maa, Gösta Serlachius Museum, Mänttä, (FI)
Naked - the vulnerable body, Museum Kranenburgh, Bergen (NL) ]
Pathetic Fallacy, Hauser & Wirth, Somerset (UK)
Magic Lantern Film Festival, Rome (IT)
New Landscape, Qiao Space, Shanghai (CN)
Blessed Be, MoCA, Tucson, AZ (US)
Still Life and the Reclining Nude, Hauser & Wirth London, London (UK)
She sees the shadows, The David Roberts Art Foundation, London (UK)
2017
Gunshot Plywood Bronze Works, GRIMM Keizersgracht, Amsterdam (NL)
Into Nature: Glass Palace, Drents Museum Assen, Frederiksoord (NL)
2015
Matthew Day Jackson/Rashid Johnson, Studio des Acacias, Paris (FR)
Nieuw Amsterdams Peil: Matthew Day Jackson & Philippe
Core and Strip, GRIMM, Amsterdam (NL)
Vandenberg, curated by Joost
There Will Come Soft Rains, Savannah College of Art and Design
Declercq, GRIMM Keizersgracht, Amsterdam (NL)
Atlanta, GA (US)
AfterVan Gogh, Van Goghhuis, Zundert (NL)
2014
Family, Hauser & Wirth, Zürich (CH)
Naked, Museum Kranenburgh, Bergen aan zee (NL)
2013
Something Ancient, Something New, Something Stolen, Something
Mountain Energei, Gallery Har-El, Printers & Publishers, Tel Aviv /
Blue, Hauser & Wirth,
Jaffa (IL)
New York, NY (US)
Pop-up GRIMM, Brussels (BE)
Total Accomplishment, ZKM | Museum of Contemporary Art,
Bronze Age c. 3500 BC – AD 2018, Firstsite, Colchester (UK)
Karlsruhe (DE)
Community Board, GRIMM Frans Halsstraat, Amsterdam (NL)
Hauser & Wirth Outdoor Sculpture: Matthew Day Jackson,
2017
After the Fall, Peter Blum Gallery, New York, Ny (US)
Southwood Garden, St James’sChurch, London (UK)
Observatories, curated by Matthew Day Jackson, The Centre for the
2012
In Search of…, Gemeentemuseum Den Haag, The Hague (NL)
Arts, Jackson, WY(US)
2011
Heel Gezellig, GRIMM, Amsterdam (NL)
The Coverly Set, Sargent’s Daughters, New York, NY (US)
Everything Leads to Another, Hauser & Wirth, London (UK)
Portable Art: A Project by Celia Forner, Hauser & Wirth, New York,
In Search of…, MAMBo, Bologna (IT)
NY (US)
In Search of…, Kunstmuseum Luzern (CH)
Dusk to Dusk, Vicki Myhren Gallery, University of Denver, Denver,
In Search of…, Peter Blum Chelsea, New York, NY (US)
CO (US)
2010
The Tomb, Peter Blum Soho, New York, NY (US) 2009
Gezellig, Galerie Emmanuel Perrotin, Paris (FR)
Human Condition, Michael Lett, Los Angeles, CA (US) 2016
Clifford Owens: Hard & Fast, Invisible-Exports, New York, NY (US)
Dynamic Maximum Tension, GRIMM, Amsterdam (NL)
Piston Head II, Artists Engage The Automobile, Venus, Los Angeles,
The Immeasurable Distance, Contemporary Arts Museum, Houston,
CA (US)
TX (US)
For Freedoms, Jack Shainman Gallery, New York, NY (US)
The Immeasurable Distance, Massachusetts Institute of Technology, Cambridge, MA (US)
Selected Collections Astrup-Fearnley Museum, Oslo (NO) Beelden aan Zee, Scheveningen (NL) Blanton Museum of Art, Austin, TX (US) Collectie de Heus-Zomer, Barneveld (NL) Collection de Bruin-Heijn, Amsterdam (NL) Collection HMBT, Zurich (CH) Collezione Maramotti, Reggio Emilia (IT) Defares Collection, Amsterdam (NL) Domus Collection, New York & Beijing (US, CN) EKARD collection Gemeentemuseum Den Haag, The Hague (NL) High Museum of Art, Atlanta, GA (US) Museo d’Arte Moderna, Bologna (IT) Museum of Contemporary Art, San Diego, CA (US) Pinault Collection, Paris (FR) Princeton University Art Museum, Princeton, NJ (US) Qiao Zhibing Collection, Shanghai (CN) Rosenblum Collection, Paris (FR) Rubell Family Collection, Miami, FL (US) S. & A. Abu Ghazaleh Collection, Amman (JO) Saatchi Gallery, London (UK) Shuman Art Collection, New York, NY (US) Stedelijk Museum, Amsterdam (NL) The Sender Collection, New York, NY (US) Van Abbemuseum, Eindhoven (NL) Vanhaerents Art Collection, Brussels (BE) Whitney Museum for American Art, New York, NY (US) Zabludowicz Collection, London (UK)
Matthew Day Jackson
2015
2014
2013
Industriale Immaginario, Collezione Maramotti, Reggio Emilia (IT)
Gyeongnam Art Museum, Gyeongnam (SK)
Experiments in Print, The Print Center, Lower East Side Printshop,
The Spectacular of Vernacular, Walker Art Center, Minneapolis, MN
New York, NY (US)
(US)
TAHOE: Art of the Lake Tahoe Region, Oakland Museum of Art,
T.O.E. Synergies En Résonance, CAB Bastille Art Center, Grenoble
Oakland, CA (US)
(FR)
Skelet: de Armatuur van het lichaam in de hedendaagse kunst,
Stortytellers, Centre d’Art Contemporain Passages, Troyes (FR)
Dusk to Dusk: Unsettled, Unraveled, Unreal, Ben Maltz Gallery, Los
How Soon Now, Rubell Family Collection, Miami, FL (US)
Angeles, CA (US)
Born in Dystopia, Rosenblum Collection, Paris (FR)
Heartbreak Hotel, Zuecca Project Space, Venice (IT)
Nobody’s Property: Art, Land, Space, 2000-2010, Princeton
TAHOE: Art of the Lake Tahoe Region, Nevada Museum of Art, Reno,
University Art Museum, Princeton, NJ (US)
NV (US)
Tauba Auerbach, Matthew Day Jackson, R.H. Quaytman, etc…,
A Bird’s-eye View of the World, Hiroshima City Museum of
Galerie Perrotin, Paris (FR)
Contemporary Art, Hiroshima (JP)
Curators’ Choice Portfolio, Rochelle School, Arnold Circus, London
Face to Face: Füssli, Böcklin, Rondinone and Others, Kunstmuseum
for CUBITT (UK)
Luzern, Lucerne (CH)
Home and Origin, Bukowskis, Stockholm (SE)
Secret Passions, Private Flemish Collections, Lille 3000, Euralille
Alejandro Jodorowsky’s ‘Dune’: An Exhibition of a Film of a Book
(FR)
That Never Was, (touring exhibition from The Drawing Room, curated
What Models Can Do, Museum für Gegenwartskunst Siegen (DE)
by Tom Morton), Plymouths Art Centre, Plymouth (UK)
Huidige Zaken, GRIMM, Amsterdam (NL)
C’est la vie: de Caravage a Damien Hirst, Musee Maillol, Paris (FR)
Trieste, GRIMM, Amsterdam (NL)
The Franks-Suss Collection, Philips de Pury’s Space at the Saatchi
American Beauty, Susan Inglett, New York, NY (US)
Gallery, London (UK)
National Pride (and Prejudice), Museum of Fine Arts, Boston, MA
Roundtrip: Beijing – New York, New Selections from the Domus
(US)
Collection, Ullens Center for Contemporary Art, Beijing (CN)
Anatomische Les-Van Rembrandt tot Damien Hirst,
Hope!, Palais des arts et du Festival, Dinard (FR)
Gemeentemuseum Den Haag, The Hague (NL)
(LEAN), Nicole Klagsbrun Gallery, New York, NY (US) 2009
The World Is Yours, Louisiana Museum, Humlebæk (DK)
(FR)
Alejandro Jodorowsky’s ‘Dune’: An Exhibition of a Film of a Book
Trieste, Marianne Boesky, New York, NY (US)
That Never Was, The Drawing Room, London (UK)
Dusk to Dusk: Unsettled, Unraveled, Unreal, Samek Art Gallery,
Deceitful Moon, Hayward Project Space, London (UK)
Lewisburg, PA (US)
Mapping the Studio: Artists from the François Pinault Collection,
A House Leaves: First Movement, David Roberts Art Foundation,
Punta della Dogana, Venice (IT)
London (UK)
Matthew Day Jackson/Rashid Johnson, Nicole Klagsbrun Gallery for
Repeat to Fade, Mendes Wood, Sao Paulo (BR)
FIAC, Paris (FR)
Common Ground, City Hall Park, New York, NY (US)
2011
New Paintings, GRIMM, Amsterdam (NL)
Museum Beelden aan Zee, Scheveningen (NL)
Dinard, L’Amour Atomique, Palais des Arts et du Festival, Dinard
2012
2010
2008
Matthew Day Jackson and Sara Krajewski: The Violet Hour, Henry
Crossing Mirrors, Rosenblum Collection, Paris (FR)
Art Gallery, University of Washington, Seattle, WA (US)
Out of Focus: Photography, Saatchi Gallery, London (UK)
Palimpset, Gallerie Xippas, Paris (FR)
Trieste, Federica Schiavo Gallery, Rome (IT)
The Old, Weird America, Contemporary Art Museum, Houston, TX
Science on the Back End (Curated by Matthew Day Jackson) Hauser
(US)
& Wirth, New York, NY (US)
Mission: to Interpret and Understand Contemporary Art, Martian
Paintings from the Rubell Family Collection, Fundación Banco
Museum of Terrestrial Art, Barbican Gallery, London (UK)
Santander, Madrid (ES)
Heartland, Van Abbemuseum, Eindhoven (NL)
American Exurbance, Rubell Family Collection/ Contemporary arts
2007
Huma Bhabha and Matthew Day Jackson: Sculptures and New Print
Foundation, Miami, FL (US)
Editions, Peter Blum Gallery, New York, NY (US)
The Collectors Show, Van Abbemuseum, Eindhoven (NL)
Shangri La, Alexandre Pollazzon Ltd, London (UK)
The Return, The House of Nobleman, London (UK)
To Build a Fire, Rivington Arms, New York, NY (US)
The Shape We’re In, Zabludowicz Collection, London (UK)
Omission, Perry Rubenstein, New York, NY (US)
Singular Visions, Whitney Museum, New York, NY (US)
Uncertain States of America – American Art in the 3rd Millennium,
Autobody: Featuring North of South West of East, Marfa, TX (US)
Herning Kunstmuseum, DE (March); Warsaw, PL (March); Moscow
Il Mondo vi Appartiene -The World Belongs to you, Palazzo Grassi,
Biennale, RU (January); Beijing Biennale (CN)
Venice (IT)
(October); Athens Biennale (GR) (Fall 2007)
No Object is an Island: New Dialogues with the Cranbrook Collection,
E-flux Video Rental, Centre Culturel Suisse, Paris (FR)
Cranbrook Art Museum, Bloomfield Hills, MI (US)
The Line of Time and the Plane of Now, Harris Lieberman, New
American Chambers: 20 American Contemporary Artists,
York, NY (US)
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