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Llyn Foulkes

Bombs Away

January 21–February 25, 2023
Beverly Hills

Installation view Artwork © Llyn Foulkes. Photo: Jeff McLane

Installation view

Artwork © Llyn Foulkes. Photo: Jeff McLane

Installation view Artwork © Llyn Foulkes. Photo: Jeff McLane

Installation view

Artwork © Llyn Foulkes. Photo: Jeff McLane

Installation view Artwork © Llyn Foulkes. Photo: Jeff McLane

Installation view

Artwork © Llyn Foulkes. Photo: Jeff McLane

Installation view Artwork © Llyn Foulkes. Photo: Jeff McLane

Installation view

Artwork © Llyn Foulkes. Photo: Jeff McLane

Installation view Artwork © Llyn Foulkes. Photo: Jeff McLane

Installation view

Artwork © Llyn Foulkes. Photo: Jeff McLane

Installation view Artwork © Llyn Foulkes. Photo: Jeff McLane

Installation view

Artwork © Llyn Foulkes. Photo: Jeff McLane

Installation view Artwork © Llyn Foulkes. Photo: Jeff McLane

Installation view

Artwork © Llyn Foulkes. Photo: Jeff McLane

Installation view Artwork © Llyn Foulkes. Photo: Jeff McLane

Installation view

Artwork © Llyn Foulkes. Photo: Jeff McLane

Installation view Artwork © Llyn Foulkes. Photo: Jeff McLane

Installation view

Artwork © Llyn Foulkes. Photo: Jeff McLane

Works Exhibited

Llyn Foulkes, Implantation, 2019–21 Pigment print, acrylic, and found objects in aluminum frame, with velvet on panel, 79 × 89 inches (200.7 × 226.1 cm)© Llyn Foulkes. Photo: Jeff McLane

Llyn Foulkes, Implantation, 2019–21

Pigment print, acrylic, and found objects in aluminum frame, with velvet on panel, 79 × 89 inches (200.7 × 226.1 cm)
© Llyn Foulkes. Photo: Jeff McLane

Llyn Foulkes, Black Hat, 2019 Found image, found objects, and oil on panel, 12 × 9 ¼ inches (30.5 × 23.5 cm)© Llyn Foulkes. Photo: Jeff McLane

Llyn Foulkes, Black Hat, 2019

Found image, found objects, and oil on panel, 12 × 9 ¼ inches (30.5 × 23.5 cm)
© Llyn Foulkes. Photo: Jeff McLane

Llyn Foulkes, Untitled: Baby Mickey, 2020 Pigment print and oil on panel, 22 × 16 inches (55.9 × 40.6 cm)© Llyn Foulkes. Photo: Jeff McLane

Llyn Foulkes, Untitled: Baby Mickey, 2020

Pigment print and oil on panel, 22 × 16 inches (55.9 × 40.6 cm)
© Llyn Foulkes. Photo: Jeff McLane

Llyn Foulkes, Ivanka, 2022 Found objects, 13 ½ × 10 ¾ inches (34.3 × 27.3 cm)© Llyn Foulkes. Photo: Jeff McLane

Llyn Foulkes, Ivanka, 2022

Found objects, 13 ½ × 10 ¾ inches (34.3 × 27.3 cm)
© Llyn Foulkes. Photo: Jeff McLane

Llyn Foulkes, Birthington, 2022 Giclee and oil on panel, 16 × 11 inches (40.6 × 27.9 cm)© Llyn Foulkes. Photo: Jeff McLane

Llyn Foulkes, Birthington, 2022

Giclee and oil on panel, 16 × 11 inches (40.6 × 27.9 cm)
© Llyn Foulkes. Photo: Jeff McLane

Llyn Foulkes, Induction, 2022 Giclee, oil, and found media on panel, 13 ¾ × 29 ½ inches (34.9 × 74.9 cm)© Llyn Foulkes. Photo: Jeff McLane

Llyn Foulkes, Induction, 2022

Giclee, oil, and found media on panel, 13 ¾ × 29 ½ inches (34.9 × 74.9 cm)
© Llyn Foulkes. Photo: Jeff McLane

Llyn Foulkes, Family Portrait, 2022 Giclee, acrylic, and chalk on panel, 13 × 29 ½ inches (33 × 74.9 cm)© Llyn Foulkes. Photo: Jeff McLane

Llyn Foulkes, Family Portrait, 2022

Giclee, acrylic, and chalk on panel, 13 × 29 ½ inches (33 × 74.9 cm)
© Llyn Foulkes. Photo: Jeff McLane

Llyn Foulkes, Le Bomb, 2022 Found objects, 50 × 16 inches (127 × 40.6 cm)© Llyn Foulkes. Photo: Jeff McLane

Llyn Foulkes, Le Bomb, 2022

Found objects, 50 × 16 inches (127 × 40.6 cm)
© Llyn Foulkes. Photo: Jeff McLane

Llyn Foulkes, The Broken Chain, 2020 ​Taxidermy lion, card catalog in oak cabinet, epoxy, urethane, and found objects, 103 ½ × 105 × 33 inches (262.9 × 266.7 × 83.8 cm)© Llyn Foulkes. Photo: Jeff McLane​

Llyn Foulkes, The Broken Chain, 2020

​Taxidermy lion, card catalog in oak cabinet, epoxy, urethane, and found objects, 103 ½ × 105 × 33 inches (262.9 × 266.7 × 83.8 cm)
© Llyn Foulkes. Photo: Jeff McLane​

About

A lot of my stuff is in opposition. My machine. My paintings. I’ve been fighting against something the whole time.
—Llyn Foulkes

Gagosian is pleased to announce Bombs Away, an exhibition of paintings, sculptures, and mixed-media works produced by Llyn Foulkes between 2018 and 2022.

Highly diverse, tough to categorize, and often wickedly confrontational, Foulkes’s body of work includes landscape and portrait paintings, mixed-media constructions, and narrative tableaux. Having progressed from the unsettling imagery of his early 1960s paintings, through the geological and postcard subjects of his late ’60s and early ’70s work, to the “bloody head” series of figures from later that decade, he also became known for singular combinations of painting with wood, found clothing, and upholstery fabric. Foulkes’s mordant social commentary has consistently targeted human cruelty and challenged the excesses of corporate America—particularly the Walt Disney Company.

Whatever their medium and format, Foulkes’s works are characterized by their provocative subjects and unexpected formal juxtapositions. In the sculpture The Broken Chain (2020), a lion, standing on an antique-style library card catalogue, bites into a bald eagle in flight, while a nude mannequin looks on. Le Bomb (2020), another jarring assemblage of found objects, features the titular weapon projecting from a gnarled tree trunk. Ivanka (2022) incorporates fragments of animal hide and jawbone into a brutally unflattering portrait of Donald Trump’s eldest daughter and former senior adviser, while Surrender (2022) tackles the war in Ukraine, picturing a sickle-wielding figure blindfolded by the blue-and-yellow Ukrainian flag.

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