Matthew Day Jackson Pareidolia

Page 1

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

+31 (0) 20 675 24 65 THE NETHERLANDS

202 BOWERY NEW YORK NY 10012

+1 (646) 484-5223 UNITED STATES

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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)


FRANS HALSSTRAAT 26 1072 BR AMSTERDAM

KEIZERSGRACHT 241 1016EA AMSTERDAM

+31 (0) 20 675 24 65 THE NETHERLANDS

202 BOWERY NEW YORK NY 10012

+1 (646) 484-5223 UNITED STATES

INFO@GRIMMGALLERY.COM WWW.GRIMMGALLERY.COM

GRIMM


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