SIMON EVANS AND SARAH LANNAN
Up the Otaku Tree We Are Watching the Kaiju Going Places, 2025
Paper, old books, gouache, watercolor, house paint, glue, tape, pen, pencil on wood panel
17 1/2 x 15 in.
44.5 x 38.1 cm
JCG18696
SIMON EVANS AND SARAH LANNAN
Improvements, 2024
Iron on inlet transfer film, paper, tape, felt tip pen, glue, pencil and text from John Cage’s "Diary: How to Improve the World (You Will Only Make Matters Worse)" on board
33 x 43 1/2 in.
83.8 x 110.5 cm
JCG17927
SIMON EVANS AND SARAH LANNAN
Improvements, 2024
Detail
SIMON EVANS AND SARAH LANNAN
Bananas, 2024
Gouache, graphite pencil, glass beads, watercolor, latex house paint, felt tip pen, invisible tape, glue, colored pencil, fruit sticker, gel pen, colored papers on board
30 x 22 in.
76.2 x 55.9 cm
JCG17654
SIMON EVANS AND SARAH LANNAN
Bananas, 2024
Detail
SIMON EVANS AND SARAH LANNAN
This American Dollhouse Condominium, 2023
Mixed media
40 x 60 in.
101.5 x 152.3 cm
JCG14774
SIMON EVANS AND SARAH LANNAN
Used Dream Car, 2023
Mixed media
30 x 40 in.
76.2 x 101.6 cm
JCG15676
SIMON EVANS AND SARAH LANNAN
This American Dollhouse is Haunted, 2022
Mixed media
40 1/8 x 30 1/8 in.
101.9 x 76.5 cm
JCG13499
Photo by Kristine Larsen
Simon Evans and Sarah Lannan collaborate to create dense text-based collages saturated with short, poetic phrases, drawings, and images often created from the detritus of everyday life both inside and outside of the studio. They describe a world poised between two poles of earnestness and irony. With a wry brand of melancholy, Evans and Lannan present us with a laundry list of drawings that take the form of diagrams, charts, maps, advertisements, diary entries, inventories, and cosmologies that plunge the viewer into alternate states of pathos and hope.
Simon Evans and Sarah Lannan have exhibited extensively, both in the US and internationally. Significant solo museum exhibitions include Palais de Tokyo, Paris (2016); Museum of Contemporary Art Cleveland, OH (2013); Musée d’Art Moderne Grand-Duc Jean (MUDAM), Luxembourg (2012); Aspen Art Museum, CO (2005); and White Columns, New York (2005). Evans and Lannan were featured in the 12th International Istanbul Biennial in Turkey and the 27th São Paulo Biennial in Brazil. The artists’ work has also been included in international group exhibitions at the Museum Van De Geest, NL; Columbus Museum of Art, OH; Jewish Museum, New York; Kunsthalle Düsseldorf, Germany; Kunsthal Charlottenborg, Copenhagen, Denmark; Louisiana Museum of Modern Art, Humlebaek, Denmark; GEM Museum of Contemporary Art, The Hague, the Netherlands ; Museu de Arte Moderna de São Paulo, Brazil; Neuberger Museum of Art, Purchase; San Francisco Museum of Modern Art, CA; Rhode Island School of Design Museum of Art, Providence; Scottsdale Museum of Contemporary Art, AZ; Grimmuseum, Berlin, Germany; The Museum of Contemporary Art, Roskilde, Denmark; Fotomuseum Winterthur, Switzerland; Tate Modern, London, United Kingdom; Mori Art Museum, Tokyo, Japan; and the Frankfurter Kunstverein, Frankfurt, Germany.
Work by Simon Evans and Sarah Lannan is included in the permanent collections of major institutions worldwide, including the Berkeley Art Museum, CA; Cisneros Fontanals Art Foundation (CIFO), Miami; Honolulu Museum of Art, HI; Louisiana Museum of Modern Art, Humlebaek, Denmark; Pérez Art Museum Miami, FL; Musée d’Art Moderne Grand-Duc Jean (MUDAM), Luxembourg; Philadelphia Museum of Art, PA; Museum of Art Rhode Island School of Design, Providence; and the San Francisco Museum of Modern Art, CA. Simon Evans and Sarah Lannan currently live and work in Brooklyn, NY.
Photo by Kristine Larsen
Simon Evans and Sarah Lannan collaborate to create dense text-based collages saturated with short, poetic phrases, drawings, and images often created from the detritus of everyday life both inside and outside of the studio. They describe a world poised between two poles of earnestness and irony. With a wry brand of melancholy, Simon Evans™ presents us with a laundry list of drawings that take the form of diagrams, charts, maps, advertisements, diary entries, inventories, and cosmologies that plunge the viewer into alternate states of pathos and hope.
Los Angeles, California