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Mungo Thomson

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

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

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

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

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

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

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 #7, 2016, embroidery on linen, 29 1/4 × 27 1/4 inches

Composition #7, 2016, embroidery on linen, 29 14 × 27 14 inches

April 22, 2013 (Made in the USA), 2014, enamel on low-iron mirror, poplar and anodized aluminum, 74 × 56 × 2 1/2 inches

April 22, 2013 (Made in the USA), 2014, enamel on low-iron mirror, poplar and anodized aluminum, 74 × 56 × 2 12 inches

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

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

Crickets, 2012-2013, Performance, Runtime 17:25

Crickets, 2012-2013, Performance, Runtime 17:25

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

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

Negative Space (STScI-PRC2007-41a) and Negative Space (STScI-PRC2003-24), 2008, photographic murals, Hammer Museum, Los Angeles, Installation view, Hammer Projects: Mungo Thomson

Negative Space (STScI-PRC2007-41a) and Negative Space (STScI-PRC2003-24), 2008, photographic murals, Hammer Museum, Los Angeles, Installation view, Hammer Projects: Mungo Thomson

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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