Featuring the work Wenn alle Künste untergehn, die edle Kochkunst bleibt bestehn, 1969

*Please note these items are secondhand and have some traces of previous ownership.

Produced on the occasion of the exhibition Peter Shire, Chairs at Frank Lloyd Gallery, Santa Monica, October 20-November 24, 2007.

Peter Shire is an LA-based artist whose subversive humour and playfulness extend throughout his work and made him a natural fit for the controversial and iconic Milan-based Memphis design group, of which he was a founding member.

Produced on the occasion of the exhibition Peter Shire, Selected Ceramics and New Works at Frank Lloyd Gallery, Santa Monica, December 7 – December 31, 1996.

Peter Shire is an LA-based artist whose subversive humour and playfulness extend throughout his work and made him a natural fit for the controversial and iconic Milan-based Memphis design group, of which he was a founding member.

Invitation card produced on the occasion of Ken Price’s exhibition at Frank Lloyd Gallery, Santa Monica, 26 September–10 November.

For over 50 years, Ken Price produced small-scale, brightly colored ceramic sculptures with exquisitely worked glazed and painted surfaces in which he achieved a balance between form and surface. In recent years, Price began making works in much larger sizes. His youthful experiences as a surfer in Los Angeles greatly influenced his art, which he explained as the manifestation of that which he found pleasurable.

Produced on the occasion of the exhibition Peter Shire: Ceramics, Works on Paper at Frank Lloyd Gallery, Santa Monica, May 8 – June 5, 2004

Peter Shire is an LA-based artist whose subversive humour and playfulness extend throughout his work and made him a natural fit for the controversial and iconic Milan-based Memphis design group, of which he was a founding member.

Rosemarie Trockel is widely regarded as one of the most important and influential conceptual artists in Germany. Her sculptures, collages, ceramics, knitted works, drawings and photographs are noted for their subtle social critique and range of subversive, aesthetic strategies—including the reinterpretation of “feminine” techniques, the ironic shifting of cultural codes, a delight in paradox, and a refusal to conform to the commercial and institutional ideologies of the art system.

*Please note this publication is secondhand and has some traces of previous ownership.