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Glenn Brown

Glenn Brown, “The Pornography of Death”—Painting for Ian Curtis (copied from “Floating Cities” 1981 by Chris Foss), 1995 Oil on canvas, 86 ½ × 129 ¼ inches (220 × 328 cm)© Glenn Brown

Glenn Brown, “The Pornography of Death”—Painting for Ian Curtis (copied from “Floating Cities” 1981 by Chris Foss), 1995

Oil on canvas, 86 ½ × 129 ¼ inches (220 × 328 cm)
© Glenn Brown

Glenn Brown, You Take My Place in This Showdown, 1996 Oil on canvas, 84 ⅝ × 126 ¾ inches (214.9 × 321.9 cm)© Glenn Brown

Glenn Brown, You Take My Place in This Showdown, 1996

Oil on canvas, 84 ⅝ × 126 ¾ inches (214.9 × 321.9 cm)
© Glenn Brown

Glenn Brown, The Loves of Shepherds (after “Doublestar” by Tony Roberts), 2000 Oil on canvas, 86 ½ × 132 ¼ inches (219.5 × 336 cm)© Glenn Brown

Glenn Brown, The Loves of Shepherds (after “Doublestar” by Tony Roberts), 2000

Oil on canvas, 86 ½ × 132 ¼ inches (219.5 × 336 cm)
© Glenn Brown

Glenn Brown, Dirty, 2003 Oil on panel, 41 ¼ × 32 ¾ inches (105 × 83 cm)© Glenn Brown

Glenn Brown, Dirty, 2003

Oil on panel, 41 ¼ × 32 ¾ inches (105 × 83 cm)
© Glenn Brown

Glenn Brown, Architecture and Morality, 2004 Oil on panel, 55 ⅛ × 38 ⅝ inches (140 × 98 cm)© Glenn Brown

Glenn Brown, Architecture and Morality, 2004

Oil on panel, 55 ⅛ × 38 ⅝ inches (140 × 98 cm)
© Glenn Brown

Glenn Brown, Wild Horses, 2007 Oil on panel, 52 ⅜ × 40 ¼ inches (133 × 102 cm)© Glenn Brown

Glenn Brown, Wild Horses, 2007

Oil on panel, 52 ⅜ × 40 ¼ inches (133 × 102 cm)
© Glenn Brown

Glenn Brown, Suffer Well, 2007 Oil on panel, 61 ⅞ × 47 ¼ inches (157 × 120 cm)© Glenn Brown

Glenn Brown, Suffer Well, 2007

Oil on panel, 61 ⅞ × 47 ¼ inches (157 × 120 cm)
© Glenn Brown

Glenn Brown, Some Velvet Morning When I’m Straight I'm Going to Open Up Your Gates, 2007 Oil on panel, 87 ⅜ × 58 ⅜ inches (222 × 148 cm)© Glenn Brown

Glenn Brown, Some Velvet Morning When I’m Straight I'm Going to Open Up Your Gates, 2007

Oil on panel, 87 ⅜ × 58 ⅜ inches (222 × 148 cm)
© Glenn Brown

Glenn Brown, Wooden Heart, 2008 Oil paint on acrylic medium on metal armature, 35 × 58 ⅜ × 27 ⅝ inches (89 × 148 × 70 cm)© Glenn Brown

Glenn Brown, Wooden Heart, 2008

Oil paint on acrylic medium on metal armature, 35 × 58 ⅜ × 27 ⅝ inches (89 × 148 × 70 cm)
© Glenn Brown

Glenn Brown, Christina of Denmark, 2008 Oil on panel, 65 × 46 ⅞ inches (165 × 119 cm)© Glenn Brown

Glenn Brown, Christina of Denmark, 2008

Oil on panel, 65 × 46 ⅞ inches (165 × 119 cm)
© Glenn Brown

Glenn Brown, Burlesque, 2008 Oil on panel, 48 ¼ × 79 ⅞ inches (122.5 × 203 cm)© Glenn Brown

Glenn Brown, Burlesque, 2008

Oil on panel, 48 ¼ × 79 ⅞ inches (122.5 × 203 cm)
© Glenn Brown

Glenn Brown, Layered Portrait (after Urs Graf) 1, 2008 Etching on Velin Arches 300gsm paper, 15 ⅞ × 11 ⅞ inches (40.5 × 30 cm), edition of 30© Glenn Brown

Glenn Brown, Layered Portrait (after Urs Graf) 1, 2008

Etching on Velin Arches 300gsm paper, 15 ⅞ × 11 ⅞ inches (40.5 × 30 cm), edition of 30
© Glenn Brown

Glenn Brown, Spearmint Rhino, 2009 Oil on panel, 76 ½ × 102 ½ inches (194 × 260 cm)© Glenn Brown

Glenn Brown, Spearmint Rhino, 2009

Oil on panel, 76 ½ × 102 ½ inches (194 × 260 cm)
© Glenn Brown

Glenn Brown, Star Dust, 2009 Oil on panel, 60 ¾ × 48 inches (154 × 122 cm)© Glenn Brown

Glenn Brown, Star Dust, 2009

Oil on panel, 60 ¾ × 48 inches (154 × 122 cm)
© Glenn Brown

Glenn Brown, Cactus Land, 2012 Oil on panel, 67 × 55 ⅞ inches (170 × 142 cm)© Glenn Brown. Photo: Mike Bruce

Glenn Brown, Cactus Land, 2012

Oil on panel, 67 × 55 ⅞ inches (170 × 142 cm)
© Glenn Brown. Photo: Mike Bruce

Glenn Brown, Drawing 39 (after Greuze), 2014 India ink on Pergamenata paper, 19 ¾ × 13 ¾ inches (50 × 35 cm)© Glenn Brown

Glenn Brown, Drawing 39 (after Greuze), 2014

India ink on Pergamenata paper, 19 ¾ × 13 ¾ inches (50 × 35 cm)
© Glenn Brown

Glenn Brown, Marie Berna/Die Toteninsel (The Isle of the Dead), 2014 Oil on panel, 63 × 39 ⅜ inches (160 × 100 cm)© Glenn Brown

Glenn Brown, Marie Berna/Die Toteninsel (The Isle of the Dead), 2014

Oil on panel, 63 × 39 ⅜ inches (160 × 100 cm)
© Glenn Brown

Glenn Brown, The Glory of Spain, 2014 Oil paint over acrylic paint and bronze, 49 ¼ × 28 ⅜ × 28 ⅜ inches (125 × 72 × 72 cm)© Glenn Brown

Glenn Brown, The Glory of Spain, 2014

Oil paint over acrylic paint and bronze, 49 ¼ × 28 ⅜ × 28 ⅜ inches (125 × 72 × 72 cm)
© Glenn Brown

Glenn Brown, Woman II, 2015 Oil paint over acrylic, steel structure and bronze with marble base and vitrine, 38 ⅝ × 13 ¾ × 13 ¾ inches (98 × 35 × 35 cm)© Glenn Brown. Photo: Mike Bruce

Glenn Brown, Woman II, 2015

Oil paint over acrylic, steel structure and bronze with marble base and vitrine, 38 ⅝ × 13 ¾ × 13 ¾ inches (98 × 35 × 35 cm)
© Glenn Brown. Photo: Mike Bruce

Glenn Brown, Drawing 36 (after Flinck), 2015 India ink and acrylic on panel, 33 ¾ × 23 ⅝ inches (85.5 × 60 cm)© Glenn Brown. Photo: Prudence Cuming Associates Ltd

Glenn Brown, Drawing 36 (after Flinck), 2015

India ink and acrylic on panel, 33 ¾ × 23 ⅝ inches (85.5 × 60 cm)
© Glenn Brown. Photo: Prudence Cuming Associates Ltd

Glenn Brown, Drawing 6 (after Murillo/Murillo), 2015 India ink and acrylic on beech plywood panel, 30 × 19 ⅞ inches (76.1 × 50.5 cm)© Glenn Brown

Glenn Brown, Drawing 6 (after Murillo/Murillo), 2015

India ink and acrylic on beech plywood panel, 30 × 19 ⅞ inches (76.1 × 50.5 cm)
© Glenn Brown

Glenn Brown, On the Way to the Leisure Centre, 2017 Oil on panel, 48 ⅛ × 96 ⅛ inches (122 × 244 cm)© Glenn Brown

Glenn Brown, On the Way to the Leisure Centre, 2017

Oil on panel, 48 ⅛ × 96 ⅛ inches (122 × 244 cm)
© Glenn Brown

Glenn Brown, Children of the Revolution (after Rembrandt), 2017 India ink and acrylic on polyester film over cardboard, in Italian 17th-century carved and gilded overlapping leaf frame with later gilded arch-topped spandrel, 42 ¾ × 27 ¾ × 2 ⅛ inches (108.5 × 70.5 × 5.5 cm)© Glenn Brown

Glenn Brown, Children of the Revolution (after Rembrandt), 2017

India ink and acrylic on polyester film over cardboard, in Italian 17th-century carved and gilded overlapping leaf frame with later gilded arch-topped spandrel, 42 ¾ × 27 ¾ × 2 ⅛ inches (108.5 × 70.5 × 5.5 cm)
© Glenn Brown

Glenn Brown, Drawing 1 (after Bloemaert), 2018 India ink and acrylic on film over panel, in likely Genoese 17th-century fully carved frame with scrolling leaves, 30 ¾ × 35 ⅛ × 2 ⅜ inches (78 × 89.3 × 6 cm)© Glenn Brown

Glenn Brown, Drawing 1 (after Bloemaert), 2018

India ink and acrylic on film over panel, in likely Genoese 17th-century fully carved frame with scrolling leaves, 30 ¾ × 35 ⅛ × 2 ⅜ inches (78 × 89.3 × 6 cm)
© Glenn Brown

About

I like my paintings to have one foot in the grave, to be not quite of this world. For me they exist in a dream world, a world that is made up of all the accumulated images stored in our subconscious that coagulate and mutate when we sleep.
—Glenn Brown

Mining art history and popular culture, Glenn Brown has created an artistic language that eschews categorization, fusing a wide range of time periods and pictorial conventions through reference, appropriation, and precise attention to detail. His mannerist impulses stem from a desire to breathe new life into history, using its forms as vehicles for his exploration of paint.

As an art student at Goldsmiths College, London, in the 1980s, Brown wrestled with the idea that painting had reached its end, as artists, critics, and scholars were then proclaiming. Seeking a future for painting despite its historical baggage, he made illusionistic versions of the thickly painted works of Frank Auerbach and Karel Appel, rendering their layered impasto in smoothly detailed two-dimensional brushstrokes.

Brown sources images from the internet, books, and other printed materials, distorting and manipulating them. In the 1990s he created several paintings based on science fiction novels drawing inspiration from sci-fi illustrations of the 1970s and 1980s, as well as the apocalyptic scenes created by painter and illustrator John Martin. In these works Brown combined panoramic and close-up views, a technique he would later apply to depictions of the body and flesh, alluding to works by Salvador Dalí, Willem de Kooning, Chaim Soutine, and others.

As a complement to his painting practice, he creates sculptures by accumulating thick layers of oil paint over structures or found bronze casts. Brown has also produced detailed drawings in which he further explores the uncanny juxtapositions seen in his paintings. Since 2013 he has increased his engagement with drawing’s tactility, using different types of lines, shadings, and strokes in order to reinterpret the age-old tradition of copying historical subjects as a learning tool. His drawings reinforce the importance of gesture, echoing the layered lines of Old Master sketches.

Many of Brown’s titles make reference to literature, film, or individuals. Though not overtly related to the content of the paintings, drawings, and sculptures they name, the titles assert a directness that parallels Brown’s subject matter. In this way, he combines textual and visual reference as a means to update art history and perception.

Exhibitions such as the British Museum’s Historical Baggage: Glenn Brown and His Sources (2018) have made the links between Brown’s works and those from which he draws inspiration even more apparent. The show paired early portraits based on prints by Rembrandt van Rijn and Lucian Freud with Brown’s 2012 series Half-Life, a new engagement with Rembrandt’s work, revealing Brown’s intricate technical evolution over the past decade.

Glenn Brown in his studio

Glenn Brown: We’ll Keep On Dancing Till We Pay the Rent

In conjunction with his exhibition Glenn Brown: We’ll Keep On Dancing Till We Pay the Rent at Gagosian in New York, the artist sits down to discuss his new paintings, sculptures, and drawings.

Glenn Brown’s studio, London, 2021. Photo: Lucy Dawkins

In Conversation
Glenn Brown and Jacky Klein

Glenn Brown speaks with art historian Jacky Klein about working between mediums, his first finished painting of 2021, and the evolution of his artistic voice.

Augurs of Spring

Augurs of Spring

As spring approaches in the Northern Hemisphere, Sydney Stutterheim reflects on the iconography and symbolism of the season in art both past and present.

Still from video Visions of the Self: Jenny Saville on Rembrandt

Visions of the Self: Jenny Saville on Rembrandt

Jenny Saville reveals the process behind her new self-portrait, painted in response to Rembrandt’s masterpiece Self-Portrait with Two Circles.

Glenn Brown and Xavier Bray

Gagosian Quarterly Talks
Glenn Brown and Xavier Bray

Touching on everything from the politics of taste to the vibratory character of lines, Glenn Brown and Xavier Bray, the director of the Wallace Collection, discuss Brown’s exhibition, Come to Dust, in London.

Glenn Brown

Glenn Brown

With preparations underway for an exhibition in London, Glenn Brown sat down with author Hari Kunzru to discuss Brown's artmaking process, the idea of the copy, and surprising overlaps between creating visual and literary works.

Gagosian Quarterly Spring 2018

Gagosian Quarterly Spring 2018

The Spring 2018 Gagosian Quarterly with a cover by Ed Ruscha is now available for order.

Glenn Brown Rembrandt: After Life

Glenn Brown Rembrandt: After Life

In this short film, Glenn Brown demonstrates his process in creating artworks for an exhibition at Museum Het Rembrandthuis, Amsterdam.

Fairs, Events & Announcements

Interior of the Brown Collection, London. Artwork © Glenn Brown

Visit

The Brown Collection
Glenn Brown

On October 11, 2022, Glenn Brown is opening the Brown Collection, home to the artist’s art collection and administrative offices, as well as three floors of exhibition space, in an exactingly renovated warehouse building in the Marylebone district of LondonThe inaugural exhibition reveals the breadth of Brown’s oeuvre through a selection of his paintings, drawings, and sculptures, ranging from early appropriations of Frank Auerbach and Jean-Honoré Fragonard to recent layered portraits. In time, works by other historical and contemporary artists that have inspired or that comment on works in the Collection will be exhibited.

During Frieze week, the Collection will be open from Tuesday, October 11, to Sunday, October 16, from 11am to 6pm. The regular hours are Thursdays, Fridays, and Saturdays from 11am to 6pm. 

Interior of the Brown Collection, London. Artwork © Glenn Brown

Photo: Edgar Laguinia

Performance

Glass Handel
with Glenn Brown

Saturday, September 3, 2022, 3pm & 8pm
Printworks, London
www.bbc.co.uk

Glass Handel combines music by Philip Glass and George Frideric Handel to create a unique operatic experience featuring dance, live painting, fashion, film, and soundscapes in the vast space of Printworks London. Glenn Brown will be painting live during the performance, which is organized by the BBC Proms classical music festival and the English National Opera. The production was conceived by Cath Brittan, Anthony Roth Costanzo, and Visionaire.

Purchase Tickets

Photo: Edgar Laguinia

Tetsuya Ishida, Untitled (Planting Trees), 2000 © Estate of Tetsuya Ishida

Art Fair

West Bund Art & Design 2021

November 12–14, 2021, booth A102
West Bund Art Center, Shanghai
westbundshanghai.com

Gagosian is pleased to participate in the eighth edition of West Bund Art & Design. The gallery will present works by Balthus, Georg Baselitz, Jean-Michel Basquiat, Glenn Brown, Helen Frankenthaler, Katharina Grosse, Mark Grotjahn, Damien Hirst, Thomas Houseago, Tetsuya Ishida, Alex Israel, Takashi Murakami, Albert Oehlen, Nam June Paik, Sterling Ruby, Ed Ruscha, Rudolf Stingel, Spencer Sweeney, Zao Wou-Ki, and Zeng Fanzhi, among others.

To receive a pdf with detailed information on the works, please contact the gallery at inquire@gagosian.com.

Tetsuya Ishida, Untitled (Planting Trees), 2000 © Estate of Tetsuya Ishida

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Museum Exhibitions

Installation view, Masterpieces in Miniature: The 2021 Model Art Gallery, Pallant House Gallery, Chichester, England, June 26, 2021–April 24, 2022. Artwork, left to right, top to bottom: © Lothar Gotz; © Julian Opie; © Bob and Roberta Smith; © Michael Landy; © Sean Scully; © Cecily Brown; © Glenn Brown; © Tacita Dean; © George Shaw; © Damien Hirst and Science Ltd, DACS 2021; © Gillian Wearing; © Damien Hirst and Science Ltd, DACS 2021; © Gary Hume; © Fiona Rae; © Rachel Whiteread; © Toby Ziegler

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Masterpieces in Miniature
The 2021 Model Art Gallery

June 26, 2021–April 24, 2022
Pallant House Gallery, Chichester, England
pallant.org.uk

In a unique response to the coronavirus pandemic, Pallant House Gallery has commissioned the 2021 Model Art Gallery, a scaled-down space designed by Wright & Wright architects featuring specially made miniature artworks—all ranging from the size of a pound coin to no larger than 20 centimeters—by more than thirty leading contemporary British artists, including Glenn Brown, Edmund de Waal, Damien Hirst, and Rachel Whiteread. Together with the Thirty Four Gallery and the Model Gallery 2000, these miniature galleries tell the story of Modern British art from the 1930s through today.

Installation view, Masterpieces in Miniature: The 2021 Model Art Gallery, Pallant House Gallery, Chichester, England, June 26, 2021–April 24, 2022. Artwork, left to right, top to bottom: © Lothar Gotz; © Julian Opie; © Bob and Roberta Smith; © Michael Landy; © Sean Scully; © Cecily Brown; © Glenn Brown; © Tacita Dean; © George Shaw; © Damien Hirst and Science Ltd, DACS 2021; © Gillian Wearing; © Damien Hirst and Science Ltd, DACS 2021; © Gary Hume; © Fiona Rae; © Rachel Whiteread; © Toby Ziegler

Ewa Juszkiewicz, Untitled (After Elisabeth Vigée Le Brun), 2020 © Ewa Juszkiewicz

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Face à Arcimboldo

May 29–November 22, 2021
Centre Pompidou-Metz, France
www.centrepompidou-metz.fr

This exhibition, whose title translates to Arcimboldo Face to Face, invites visitors to explore the timeless vocabulary of the sixteenth-century painter Giuseppe Arcimboldo (c. 1527–1593). The show demonstrates how his work has influenced art history for more than four centuries through the work of 130 artists, including work by Francis Bacon, Glenn Brown, Alex Israel, Ewa Juszkiewicz, Roy Lichtenstein, Man Ray, Pablo Picasso, Auguste Rodin, and Ed Ruscha.

Ewa Juszkiewicz, Untitled (After Elisabeth Vigée Le Brun), 2020 © Ewa Juszkiewicz

Glenn Brown, Lemon Sunshine, 2001 © Glenn Brown

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00s. Collection Cranford
Les années 2000

October 24, 2020–May 30, 2021
Mo.Co. Contemporary, Montpellier, France
www.moco.art

This exhibition of work from the Cranford Collection, established by Muriel and Freddy Salem in 1999, aims to define the identity of the 2000s by creating a dialogue between one hundred artworks by a multigenerational array of artists who contributed to shaping the beginning of the millennium. Work by Glenn Brown, Damien Hirst, Mike Kelley, Albert Oehlen, Gerhard Richter, Ed Ruscha, Cindy Sherman, Jeff Wall, Franz West, and Christopher Wool is included.

Glenn Brown, Lemon Sunshine, 2001 © Glenn Brown

Installation view, Inspiraatio—Nykytaide & Klassikot, Ateneum, Finnish National Gallery, Helsinki, June 18–September 20, 2020. Artwork, left to right: © Glenn Brown, © Wolfe von Lenkiewicz. Photo: Hannu Pakarinen

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Inspiraatio—Nykytaide & Klassikot

June 18–September 20, 2020
Ateneum, Finnish National Gallery, Helsinki
ateneum.fi

This exhibition, whose title translates to Inspiration—Contemporary Art and Classics, explores contemporary art inspired by iconic masterpieces. Here, the original works are referenced through replicas, prints, plaster casts, and an abundance of archival materials. This exhibition has traveled from the Nationalmuseum, Stockholm, under the title Inspiration: Iconic Works. Work by Georg Baselitz, Glenn Brown, Jeff Koons, and Jenny Saville is included.

Installation view, Inspiraatio—Nykytaide & Klassikot, Ateneum, Finnish National Gallery, Helsinki, June 18–September 20, 2020. Artwork, left to right: © Glenn Brown, © Wolfe von Lenkiewicz. Photo: Hannu Pakarinen

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Press

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