Amulet Gallery
Amulet or He Calls it Chaos
David Ireland, Contadina, 1985. Polyurethane on drywall. Remade for the exhibition Amulet or He calls it chaos, 2019.
Katharina Grosse, Untitled, 2017. Acrylic on aluminum, 40 x 39 x 97 inches. Courtesy of the artist and Gagosian Gallery
Mathis Altmann, Untitled, 2019. Wood, acrylic mirror, pendants, resin, airbrush. 13.5 x 17.75 x 11 inches. Courtesy of the artist and Freedman Fitzpatrick, Los Angeles
Mathis Altmann, Untitled, 2019. Wood, acrylic mirror, pendants, resin, airbrush. 13.5 x 17.75 x 11 inches. Courtesy of the artist and Freedman Fitzpatrick, Los Angeles
Gabriel Sierra, Trapdoor for Contadina, 2019. Wood plank, yellow stain, 72 x 20 x 1.5 inches. Courtesy of the artist and Kurimanzutto, Mexico
Gabriel Sierra, Trapdoor for Contadina, 2019. Wood plank, yellow stain, 72 x 20 x 1.5 inches. Courtesy of the artist and Kurimanzutto, Mexico
Jorge Satorre, Sometimes I use images in my work that might be embarrassing to me, my family or my dealers (mice), 2019. Epoxy, dimensions variable. Courtesy of the artist and Labor, Mexico
Jorge Satorre, Sometimes I use images in my work that might be embarrassing to me, my family or my dealers (mice), 2019. Epoxy, dimensions variable. Courtesy of the artist and Labor, Mexico
Sherrie Levine, Green Mirror, 2012. Green mirror, maple frame, 21 1/8 x 17 1/8 inches. Private collection, San Francisco
Sherrie Levine, Green Mirror, 2012. Green mirror, maple frame, 21 1/8 x 17 1/8 inches. Private collection, San Francisco
Sherrie Levine, Green Mirror, 2012. Green mirror, maple frame, 21 1/8 x 17 1/8 inches. Private collection, San Francisco
Mathis Altmann, Neuigkeiten vom roten Teppich, 2016. Mdf, acrylic glass, cloth, mouse-trap 13.5 x 11.5 x 9.25 inches. Courtesy of the artist and Freedman Fitzpatrick, Los Angeles
Mathis Altmann, Neuigkeiten vom roten Teppich, 2016. Mdf, acrylic glass, cloth, mouse-trap 13.5 x 11.5 x 9.25 inches. Courtesy of the artist and Freedman Fitzpatrick, Los Angeles
Mathis Altmann, Neuigkeiten vom roten Teppich, 2016. Mdf, acrylic glass, cloth, mouse-trap 13.5 x 11.5 x 9.25 inches. Courtesy of the artist and Freedman Fitzpatrick, Los Angeles
Rashid Johnson, Untitled Shea Butter Table, 2018. Branded walnut and shea butter, 52 x 96 x 47.75 inches. Courtesy of the artist and David Kordansky Gallery, Los Angeles
Will Rogan, Eraser, 2014. Single channel video, 6:43 minutes. Courtesy of the artist and Altman Siegel Gallery San Francisco
Will Rogan, Eraser, 2014. Single channel video, 6:43 minutes. Courtesy of the artist and Altman Siegel Gallery San Francisco
David Ireland, 500 Capp Street (interior view with logs in doorway), 1987. Wood, 80 x 33 x 15 inches. Remade for the exhibition Amulet or He calls it chaos, 2019.
Mark McCloud, Blue Jungle, Green Jungle, circa 1985. 13.75 x 13.75. Ink on blotter paper, framed. Courtesy of the artist and Mark McCloud
David Ireland, 500 Capp Street (interior view with logs in doorway), 1987. Wood, 80 x 33 x 15 inches. Remade for the exhibition Amulet or He calls it chaos, 2019.
Cady Noland, Enquirer Page with Eyes Cut Out, Template l, 1990. Plywood, 72 x 60 x 1/2 inches. San Francisco Museum of Modern Art, Gift of Cady Noland, Luring Augustine Hetzler, and American Fine Arts.
Andra Ursuţa, From my Top 5 Deaths You Didn't See Coming, 2015. Dye on velvet, 59 x 56 inches, framed. Courtesy of the artist and Ramiken Crucible, New York
Gabriel Sierra, Untitled (síntesis para caverna), 2008. Cardboard boxes, light bulb, enamel, 13.78 x 10.43 x 3.94 inches; 10.43 x 6.5 x 3.94 inches. Courtesy of the artist and Kurimanzutto, Mexico
Gabriel Sierra, Untitled (síntesis para caverna), 2008. Cardboard boxes, light bulb, enamel, 13.78 x 10.43 x 3.94 inches; 10.43 x 6.5 x 3.94 inches. Courtesy of the artist and Kurimanzutto, Mexico
Gabriel Sierra, Untitled, 2019. Courtesy of the artist and Kurimanzutto, Mexico.
Andra Ursuţa, From my Top 5 Deaths You Didn't See Coming, 2015. Dye on velvet, 59 x 56 inches, framed. Courtesy of the artist and Ramiken Crucible, New York
Katharina Grosse, Untitled, 2017. Acrylic on aluminum, 29 x 35 x 56 inches. Courtesy of the artist and Gagosian Gallery
Installation view of Amulet or He calls it chaos, 2019.
Michel Houellebecq, Pelage d’hiver (Winter Coat), ink on papier, signé, framed, 31,2 x 22,6 cm. Courtesy of the artist and Air De Paris
Installation view of Amulet or He calls it chaos, 2019.
Cindy Sherman, Untitled (Male/Female Artist), 1980 / 2012. Two silver gelatin prints, 10 x 16 inches, framed. Courtesy of the artist and Metro Pictures, New York. Private collection, San Francisco
Cindy Sherman, Untitled (Male/Female Artist), 1980 / 2012. Two silver gelatin prints, 10 x 16 inches, framed. Courtesy of the artist and Metro Pictures, New York. Private collection, San Francisco
Moyra Davey, Glass SP-NY, 2014. 4 C-prints, tape, postage, ink, unique, 11.8 x 17.7 inches (each print); 24 x 36 inches (overall). Courtesy of the artist
Moyra Davey, Glass SP-NY, 2014. 4 C-prints, tape, postage, ink, unique, 11.8 x 17.7 inches (each print); 24 x 36 inches (overall). Courtesy of the artist
Gabriel Sierra, La Apertura del Cube (The Opening of the Cube), 2017. Single channel video, 8:4 minutes. Courtesy of the artist and Kurimanzutto, Mexico
Gabriel Sierra, La Apertura del Cube (The Opening of the Cube), 2017. Single channel video, 8:4 minutes. Courtesy of the artist and Kurimanzutto, Mexico
Hans Haacke, Condensation Cube, 1971. Clear acrylic, distilled water, climate in area of display, 10 x 10 x 10 inches. Courtesy of the artist and Paula Cooper Gallery, New York. Private collection, San Francisco
Hans Haacke, Condensation Cube, 1971. Clear acrylic, distilled water, climate in area of display, 10 x 10 x 10 inches. Courtesy of the artist and Paula Cooper Gallery, New York. Private collection, San Francisco
Tony Cokes, Black September (Evil.2/3), 2003. Single channel video, 2:08 minutes. Courtesy of the artist and Greene Naftali Gallery
Tony Cokes, Black September (Evil.2/3), 2003. Single channel video, 2:08 minutes. Courtesy of the artist and Greene Naftali Gallery
Installation view of Jorge Satorre, Sometimes I use images in my work that might be embarrassing to me, my family or my dealers, 2019. Courtesy of the artist and Labor, Mexico
Jorge Satorre, Sometimes I use images in my work that might be embarrassing to me, my family or my dealers (cornice), 2019. Plaster, dimensions variable. Courtesy of the artist and Labor, Mexico
Jorge Satorre, Sometimes I use images in my work that might be embarrassing to me, my family or my dealers (cornice), 2019. Plaster, dimensions variable. Courtesy of the artist and Labor, Mexico
Jorge Satorre, Sometimes I use images in my work that might be embarrassing to me, my family or my dealers, 2019. Collage, magazines. Courtesy of the artist and Labor, Mexico
Installation view of Jorge Satorre, Sometimes I use images in my work that might be embarrassing to me, my family or my dealers, 2019. Courtesy of the artist and Labor, Mexico
Jorge Satorre, Sometimes I use images in my work that might be embarrassing to me, my family or my dealers, 2019. Painted wood, epoxy, pencil on paper. Courtesy of the artist and Labor, Mexico
Jorge Satorre, Sometimes I use images in my work that might be embarrassing to me, my family or my dealers, 2019. Pencil on paper, steel, magnets. Courtesy of the artist and Labor, Mexico
Jorge Satorre, Sometimes I use images in my work that might be embarrassing to me, my family or my dealers, 2019. Pencil on paper, steel, magnets. Courtesy of the artist and Labor, Mexico
Oscar Tuazon, Chaos, 2019. Steel, refectory cement, fire. Courtesy of the artist
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Oscar Tuazon, Chaos, 2019. Steel, refectory cement, fire. Courtesy of the artist