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Mungo Thomson

Building and Dreaming, BY ART MATTERS, Hangzhou, China, 2022, installation view, credit to BY ART MATTERS天目里美术馆, photo by Wu Qingshan

Building and Dreaming, BY ART MATTERS, Hangzhou, China, 2022, installation view, credit to BY ART MATTERS天目里美术馆, photo by Wu Qingshan

Building and Dreaming, BY ART MATTERS, Hangzhou, China, 2022, installation view, credit to BY ART MATTERS天目里美术馆, photo by Wu Qingshan

Building and Dreaming, BY ART MATTERS, Hangzhou, China, 2022, installation view, credit to BY ART MATTERS天目里美术馆, photo by Wu Qingshan

Mungo Thomson, Time Life, Karma, New York, 2022, installation view

Mungo Thomson, Time Life, Karma, New York, 2022, installation view

Single work, Mungo Thomson
Single work, Mungo Thomson
Single work, Mungo Thomson
Single work, Mungo Thomson
Single work, Mungo Thomson
Single work, Mungo Thomson
Geyser (Year), 2022, double-sided UV-cured print on samba fabric, custom LED lightbox, 67 x 87½ x 3½ inches; 170.2 x 222.3 x 8.9 cm

Geyser (Year), 2022, double-sided UV-cured print on samba fabric, custom LED lightbox, 67 × 87½ × 3½ inches; 170.2 × 222.3 × 8.9 cm

Wildfire (June), 2022, double-sided UV-cured print on samba fabric, custom LED lightbox, 77 x 77 x 3.5 inches; 195.6 x 195.6 x 8.9 cm

Wildfire (June), 2022, double-sided UV-cured print on samba fabric, custom LED lightbox, 77 × 77 × 3.5 inches; 195.6 × 195.6 × 8.9 cm

Mountain (November/December), 2022, double-sided UV-cured print on samba fabric, custom LED lightbox, 62½ x 96 x 3½ inches; 158.8 x 243.8 x 8.9 cm

Mountain (November/December), 2022, double-sided UV-cured print on samba fabric, custom LED lightbox, 62½ × 96 × 3½ inches; 158.8 × 243.8 × 8.9 cm

Wave (October), 2022, double-sided UV-cured print on samba fabric, custom LED lightbox, 67½ x 87½ x 3½ inches; 171.5 x 222.3 x 8.9 cm

Wave (October), 2022, double-sided UV-cured print on samba fabric, custom LED lightbox, 67½ × 87½ × 3½ inches; 171.5 × 222.3 × 8.9 cm

Nagori Yuki, 2021, Maki Gallery/Isetan, Tokyo, installation view

Nagori Yuki, 2021, Maki Gallery/Isetan, Tokyo, installation view


October 3 – October 12, 2020 (Ruth Bader Ginsburg 1933–2020), 2020, enamel on low-iron mirror, poplar and aluminum
74 x 56 x 2½ inches; 188 x 142.2 x 6.4 cm

October 3 – October 12, 2020 (Ruth Bader Ginsburg 1933–2020), 2020, enamel on low-iron mirror, poplar and aluminum 74 × 56 × 2½ inches; 188 × 142.2 × 6.4 cm

Snowman, 2021, painted bronze, 36 x 11 3/8 x 11 1/4 inches; 91 x 29 x 29 cm

Snowman, 2021, painted bronze, 36 × 11 38 × 11 14 inches; 91 × 29 × 29 cm

Snowman, 2021, painted bronze, 19 1/8 x 24 1/4 x 18 3/4 in.; 49 x 62 x 48 cm

Snowman, 2021, painted bronze, 19 18 × 24 14 × 18 34 in.; 49 × 62 × 48 cm

November 3, 1986 (Viruses) 2, 2022, enamel on low-iron mirror, poplar and aluminum, 74 x 56 inches; 188 x 142.2 cm

November 3, 1986 (Viruses) 2, 2022, enamel on low-iron mirror, poplar and aluminum, 74 × 56 inches; 188 × 142.2 cm

October 13, 1967 (Sculptor Tony Smith), 2020, enamel on low-iron mirror, poplar and aluminum, 74 x 56 x 2½ inches; 188 x 142.2 x 6.4 cm

October 13, 1967 (Sculptor Tony Smith), 2020, enamel on low-iron mirror, poplar and aluminum, 74 × 56 × 2½ inches; 188 × 142.2 × 6.4 cm

Special Edition (Prince 1958–2016), 2021, enamel on low-iron mirror, poplar and aluminum, 40 x 29½ x 1½ inches; 101.6 x 74.9 x 3.8 cm

Special Edition (Prince 1958–2016), 2021, enamel on low-iron mirror, poplar and aluminum, 40 × 29½ × 1½ inches; 101.6 × 74.9 × 3.8 cm

Snowman, 2020, painted bronze,
32 x 18⅛ x 18 inches; 81.3 x 46.1 x 45.7 cm

Snowman, 2020, painted bronze, 32 × 18⅛ × 18 inches; 81.3 × 46.1 × 45.7 cm

National Parks 2019 (November), 2019, double-sided UV-cured print on samba fabric, custom LED lightbox, 96 × 96 × 3 1/2 inches; 243.8 × 243.8 × 7.6 cm

National Parks 2019 (November), 2019, double-sided UV-cured print on samba fabric, custom LED lightbox, 96 × 96 × 3 12 inches; 243.8 × 243.8 × 7.6 cm

Mungo Thomson: Background Extinction, Galerie Frank Elbaz, Dallas, 2019, installation view

Mungo Thomson: Background Extinction, Galerie Frank Elbaz, Dallas, 2019, installation view

Wild & Scenic California 2019 (September-December), 2019, double-sided UV-cured print on samba fabric, custom LED lightbox, 96 × 112 × 3 1/2 inches; 243.8 × 284.4 × 7.6 cm

Wild & Scenic California 2019 (September-December), 2019, double-sided UV-cured print on samba fabric, custom LED lightbox, 96 × 112 × 3 12 inches; 243.8 × 284.4 × 7.6 cm

Mail, 2013-2015, Gallery mail accumulates unopened during run of exhibition, Hammer Museum, Los Angeles,  installation view, Stories of Almost Everyone, 2018

Mail, 2013-2015, Gallery mail accumulates unopened during run of exhibition, Hammer Museum, Los Angeles, installation view, Stories of Almost Everyone, 2018

Mail, 2013-2015, Gallery mail accumulates unopened during run of exhibition, Contemporary Art Gallery, Vancouver, installation view, Mungo Thomson: Time, People, Money, Crickets, 2015

Mail, 2013-2015, Gallery mail accumulates unopened during run of exhibition, Contemporary Art Gallery, Vancouver, installation view, Mungo Thomson: Time, People, Money, Crickets, 2015

Composition for 52 Keys, 2018, custom code, computer components, Yamaha Disklavier piano, duration variable

Composition for 52 Keys, 2018, custom code, computer components, Yamaha Disklavier piano, duration variable

Composition #24, 2016, embroidery on linen, 63½ x 61½ inches; 161.3 x 156.2 cm

Composition #24, 2016, embroidery on linen, 63½ × 61½ inches; 161.3 × 156.2 cm

February 5, 1996 (Is Anybody Out There?), 2013, 2013, enamel and printed vinyl on low-iron mirror, poplar and anodized aluminum, 74 × 56 × 2 1/2 inches; 187.9 × 142.2 × 5.1 cm

February 5, 1996 (Is Anybody Out There?), 2013, 2013, enamel and printed vinyl on low-iron mirror, poplar and anodized aluminum, 74 × 56 × 2 12 inches; 187.9 × 142.2 × 5.1 cm

Crickets, 2012-2013, Performance, Runtime 17:25, composed with and conducted by Michael Webster, The High Line, New York

Crickets, 2012-2013, Performance, Runtime 17:25, composed with and conducted by Michael Webster, The High Line, New York

Negative Space (STScI-PRC2012-10a), 2012, photographic mural, 180 × 1,116 inches; 457.2 × 2834.6 cm, Walker Art Center, Minneapolis

Negative Space (STScI-PRC2012-10a), 2012, photographic mural, 180 × 1,116 inches; 457.2 × 2834.6 cm, Walker Art Center, Minneapolis

Negative Space (STScI-PRC2007-41a) and Negative Space (STScI-PRC2003-24), 2008, photographic murals, Hammer Museum, Los Angeles, installation view

Negative Space (STScI-PRC2007-41a) and Negative Space (STScI-PRC2003-24), 2008, photographic murals, Hammer Museum, Los Angeles, installation view

Untitled (Margo Leavin Gallery, 1970– ) 2009, super-16mm film, color, silent, runtime 5:11

Untitled (Margo Leavin Gallery, 1970– ) 2009, super-16mm film, color, silent, runtime 5:11

Untitled (Margo Leavin Gallery, 1970– ) still, 2009, super-16mm film, color, silent, runtime 5:11

Untitled (Margo Leavin Gallery, 1970– ) still, 2009, super-16mm film, color, silent, runtime 5:11

Coat Check Chimes, 2008, nickel-plated aluminum and steel, 1,200 pieces overall, Whitney Museum of American Art, New York, installation View, Whitney Biennial Exhibition

Coat Check Chimes, 2008, nickel-plated aluminum and steel, 1,200 pieces overall, Whitney Museum of American Art, New York, installation View, Whitney Biennial Exhibition

Coat Check Chimes, 2008, nickel-plated aluminum and steel, 1,200 pieces overall, Whitney Museum of American Art, New York, installation View, Whitney Biennial Exhibition

Coat Check Chimes, 2008, nickel-plated aluminum and steel, 1,200 pieces overall, Whitney Museum of American Art, New York, installation View, Whitney Biennial Exhibition

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