Augustus Thompson

Winter '17


London, Savile Row

  • , Untitled, 2017
    Monotype in oil, ink and watercolor on paper
    25,4 x 27,9 cm (framed)
    10 x 11 inches (framed)
  • , The Late Brown Bobby, 2017
    Monotype in oil on paper, mounted on aluminum
    74,9 x 54,6 cm
    29 1/2 x 215 inches
  • , Untitled (Tire), 2017
    Monotype in oil on paper, ink, mounted on aluminum
    74,9 x 54,6 cm
    29 1/2 x 21 1/2 inches
  • , With Bonnard, 2017
    Monotype in oil on paper and auto body filler on aluminum
    12,7 x 15,2 cm
    5 x 6 inches
  • , Untitled, 2017
    Monotype in oil on paper mounted on aluminum
    45,7 x 28 cm
    18 x 11 inches
  • , Untitled (In two parts), 2017
    Acrylic on aluminum
    45,7 x 81,3 cm
    18 x 32 inches
  • , Untitled (Car Interior), 2017
    Monotype in oil on paper mounted on aluminum
    75,8 x 57,1 cm
    29 7/8 x 22 1/2 inches
  • , Behave your Ghost, 2017
    Oil, spray paint, gesso and auto body filler on aluminum
    106,7 x 129,5 cm
    42 x 51 inches
  • , Spirit of ‘76, 2017
    Oil, gesso and auto body filler on aluminum
    121,9 x 243,8 cm
    48 x 96 inches
  • , Untitled, 2017
    Oil, gesso and auto body filler on aluminum
    45,7 x 152,4 cm
    18 x 60 inches
  • , Untitled, 2017
    Oil on Aluminum
    121,9 x 101,6 cm
    48 x 40 inches
  • , Untitled, 2017
    Oil on aluminum
    76,2 x 127 cm
    30 x 50 inches
  • , Untitled, 2017
    Oil on aluminum
    243,8 x 121,9 cm
    96 x 48 inches
  • , Untitled, 2017
    Oil gesso and auto body filler on aluminum
    152,4 x 30,5 x 1,3 cm
    60 x 12 x 0 1/2 inches
  • , Untitled, 2017
    Monotype in oil on paper
    76,2 x 55,8 cm
    30 x 22 inches
  • , Untitled, 2017
    Monotype in oil on paper
    76,2 x 55,9 cm
    30 x 22 inches
  • , Backwards and Flat Earth I, 2017
    Monotype in oil on paper
    76,2 x 55,9 cm
    30 x 22 inches
  • , Backwards and Flat Earth II, 2017
    Monotype in oil on paper
    76,2 x 55,8 cm
    30 x 22 inches
  • , Backwards and Flat Earth III, 2017
    Monotype in oil on paper
    76,2 x 55,9 cm
    30 x 22 inches
  • , Portrait of Beth Gibbons, 2017
    Monotype in oil on paper
    76,2 x 55,9 cm
    30 x 22 inches
  • , 878-0222, 2017
    Bell Systems telephone, mp3 player, looped track, inkjet on paper with pencil
    22 x 20 x 12,3 cm
    8 5/8 x 7 7/8 x 48 3/8 inches
  • , Untitled, 2017
    Poplar, pencil, ink, wood filler, danish oil
    77,5 x 216,4 x 71 cm
    30 1/2 x 852 x 28 inches
  • , Untitled, 2017
    Poplar, pencil, ink, wood filler, danish oil
    77,5 x 216,4 x 71 cm
    30 1/2 x 852 x 28 inches
  • , Downspout, 2014
    Plaster, ceramic
    11 x 51 x 5,7 cm
    4 3/8 x 20 1/8 x 22 1/2 inches
  • , Downspout, 2014
    Plaster, ceramic
    10 x 32,5 x 5,5 cm
    3 7/8 x 128 x 21 5/8 inches

Press release

Every year, we become obsessed with a different word containing the prefix “post-”. “Post-truth” was the Oxford English Dictionary’s word of the year in 2016, cynically and officially giving us a lexical tool for discussing the incomprehensible absurdity of the world post-Brexit, post-Trump. It is our linear temporal vision that makes “post” particularly heartbreaking (more so than “non” or “anti”): “post” doesn’t just mean that something is absent; it means that it is gone, behind us in time as we float helplessly forward without it. Even though “post-“ typically attaches itself to critical thought, it is the product of the same illusion of departure, of loss, that makes Americans long for the intangible “again” of Trump’s #MAGA...