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Monorepo for Aesthetic.Computer aesthetic.computer
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"artist": { "name": "Thomas Lawson", "born": 1951, "birthplace": "Glasgow, Scotland", "website": "https://www.thomaslawson.com", "contact": "studio@thomaslawson.com" }, "sections": [ { "pageId": 347, "label": "In the Studio: 1977–1979", "section": "in-the-studio", "period": "1977-1979", "tag": null, "wpTitle": "InTheStudio_1977-1979", "sourceUrl": "https://www.thomaslawson.com/inthestudio_1977-1979/", "intros": [] }, { "pageId": 401, "label": "In the Studio: 1980–1982", "section": "in-the-studio", "period": "1980-1982", "tag": null, "wpTitle": "InTheStudio_1980-1982", "sourceUrl": "https://www.thomaslawson.com/inthestudio_1980-1982/", "intros": [] }, { "pageId": 428, "label": "In the Studio: 1983–1987", "section": "in-the-studio", "period": "1983-1987", "tag": null, "wpTitle": "InTheStudio_1983-1987", "sourceUrl": "https://www.thomaslawson.com/elementor-428/", "intros": [] }, { "pageId": 457, "label": "In the Studio: 1987–1990", "section": "in-the-studio", "period": "1987-1990", "tag": null, "wpTitle": "InTheStudio_1987-1990", "sourceUrl": "https://www.thomaslawson.com/inthestudio_1987-1990/", "intros": [] }, { "pageId": 476, "label": "In the Studio: 1991–1993", "section": "in-the-studio", "period": "1991-1993", "tag": null, "wpTitle": "InTheStudio_1991-1993", "sourceUrl": "https://www.thomaslawson.com/inthestudio_1991-1993/", "intros": [] }, { "pageId": 486, "label": "In the Studio: 1994–1998", "section": "in-the-studio", "period": "1994-1998", "tag": null, "wpTitle": "InTheStudio_1994-1998", "sourceUrl": "https://www.thomaslawson.com/inthestudio_1994-1998/", "intros": [] }, { "pageId": 504, "label": "In the Studio: 1999–2006", "section": "in-the-studio", "period": "1999-2006", "tag": null, "wpTitle": "InTheStudio_1999-2006", "sourceUrl": "https://www.thomaslawson.com/inthestudio_1999-2006/", "intros": [] }, { "pageId": 524, "label": "In the Studio: 2006–2010", "section": "in-the-studio", "period": "2006-2010", "tag": null, "wpTitle": "InTheStudio_2006-2010", "sourceUrl": "https://www.thomaslawson.com/inthestudio_2006-2010/", "intros": [] }, { "pageId": 544, "label": "In the Studio: 2015–2016", "section": "in-the-studio", "period": "2015-2016", "tag": null, "wpTitle": "InTheStudio_2015-2016", "sourceUrl": "https://www.thomaslawson.com/inthestudio_2015-2016/", "intros": [] }, { "pageId": 560, "label": "In the Studio: 2017–2020", "section": "in-the-studio", "period": "2017-2020", "tag": null, "wpTitle": "InTheStudio_2017-2020", "sourceUrl": "https://www.thomaslawson.com/inthestudio_2017-2020/", "intros": [] }, { "pageId": 1552, "label": "Painted Installations", "section": "beyond-the-studio", "period": null, "tag": "painted installations", "wpTitle": "Beyond the Studio – Painted Installations", "sourceUrl": "https://www.thomaslawson.com/beyond-the-studio-painted-installations/", "intros": [ { "heading": "Painted Installations", "text": "During the latter half of the 80s I added a contextual layer to my painting exhibitions by painting various color patterns on the wall. The idea was to extend the individual works into a larger whole, to make the entire gallery space a container which brought the individual pieces into conversations with one another." }, { "heading": "Anthony Reynolds", "text": "This was the first time I tried out the idea. I thought it would be funny to paint a very schematic plaid pattern on the wall, a pattern based on a design I found on a plastic shopping bag, for my first show in a London gallery. But The Guardian reviewer didn’t see the humor and came at me with one of the oldest character smears the English bring to the Scots, that we are grim and ‘dour,’ unable to see the joy in life. Anthony was one of the most supportive gallerists I ever worked with, and I returned several times to paint on his walls." }, { "heading": "The Party’s Over", "text": "For this show at MetroPictures n early 1987 I built a semi-circular wall to contain an arrangement of paintings in a continuous narrative. I had been doing research on 19th Century panorama paintings for an essay in Artforum, and that informed the project. The panorama here was of life in the later Reagan years in the US, spanning self-congratulatory wealth and power to abject poverty and sickness. In the front part of the gallery I arranged several almost abstract paintings over an elongated triangle painted pale blue." }, { "heading": "Freedom of Choice", "text": "Some months after The Party’s Over at MetroPictures Ron Onorato invited me to do a show at the La Jolla Museum of Contemporary Art (now expanded to be the San Diego Museum of Contemporary Art, MCASD) in. Here I rein stalled the second part of the MetroPictures show, tying the two walls together with a large graphic with two arrows pointing away from a photographic close-up of the US Capitol building. In the small gallery overlooking the ocean I built a makeshift billboard with photographic images of the Manhattan skyline at night and oversized martini glasses, punctuated by round fluourescent lights. The idea being to continue the discourse on spectacularized consumerism." } ] }, { "pageId": 1580, "label": "Dark Installations", "section": "beyond-the-studio", "period": null, "tag": "dark installations", "wpTitle": "Beyond the Studio – Dark Installations", "sourceUrl": "https://www.thomaslawson.com/beyond-the-studio-dark-installations/", "intros": [ { "heading": "Dark Installations", "text": "Between 1989 and 1992 I made a number of room installations that were dark in color and in theme. I had discovered a new kind of iridescent paint that responded in interesting ways under artificial light, and combined this with various dark matte backgrounds to create somber spaces on which to hang paintings, and sometimes add sound." }, { "heading": "Forrest of Signs", "text": "Forrest of Signs was a comprehensive survey of the “Pictures” phenomenon, organized by MoCA LA for what was then called the Temporary Contemporary, in 1989. Each artist was given space to create a large installation. I painted the walls of my space a dark blue, and lit a selection of old and new work with theatrical spots. I think there was also a sound component, but can’t remember what." }, { "heading": "Gallery Too", "text": "This installation was done at a distance; I mailed instructions to the gallery staff regarding color (a pale blue I think) and placement of the two B&W photos (outtakes from the Portrait of New York project)." }, { "heading": "For Derry", "text": "Also in 1989, Declan McGonagle, the director of the Orchard Gallery in Derry, Northern Ireland, invited me to devise an installation that would address the fraught situation there. During the site visit I found a city sharply divided, with areas marked, through murals and painted curbs, as “no go” to the opposing populations. A tense peace was imposed by the constant patrols of the British army through the center and the neighborhoods. In the center, an old market town surrounded by a thick stone wall, I found a massive memorial to the dead of the First World War – a column topped by an angel, and surrounded by soldiers lunging forward with bayonets. A shockingly brutal reminder of British rule (parallel to the imposed British name for the city, Londonderry). I used images from this memorial, along with some illicitly taken photographs of current British army patrols, and included some words from both Yeats and Joyce." }, { "heading": "El sueno Imperativo", "text": "In 1991 the Spanish curator Mar Villaspesa invited me to participate in a group show at the Circulo de Bellas Artes in central Madrid. Dating from the late 19th century, the Circulo had a complex history as both an important venue for contemporary art and film, but as a one-time hang out for supporters of the Francoist regime. After a site visit I sought to address that history, working with a craftsman at the San Fernando Real Academia de Bellas Artes to create a human-sized replica of the wing of a “fallen angel” in the nearby Parque de el Retiro. This wing, surrounded by a ring of red neon, was then placed at the foot of the grand staircase of the Circulo, to be viewed from the upper floors." }, { "heading": "Tiefe Nacht", "text": "On moving to Los Angeles I began a series based on photographs on houses on fire. I used the primitive computer lab at CalArts to manipulate the images and then had then printed on canvas. After the riots in April 1992, I decided to drop the project out of concern that it might carry more meaning than intended. Foundation Arts Resources (FAR) had negotiated a short lease of a disused bank building in downtown LA, and made a huge open show later in the year. I commandeered a room, painted it red, with a text culled from Goethe’s Faust running around the ceiling molding, and installed one of the paintings. There was a soundtrack, a female voice reading a longer passage from Goethe’s epic poem, a passage about the burning of a house in the woods." }, { "heading": "Vienna Academy", "text": "I conducted a workshop on public art at the Academy of Fine Art in Vienna during the summer of 1992. As part of the project I worked with a couple of students on this temporary mural sketch." } ] }, { "pageId": 1608, "label": "Early New York", "section": "beyond-the-studio", "period": null, "tag": "early new york", "wpTitle": "Beyond the Studio – Early New York", "sourceUrl": "https://www.thomaslawson.com/beyond-the-studio-early-new-york/", "intros": [ { "heading": "Early New York", "text": "During the latter half of the 80s I added a contextual layer to my painting exhibitions by painting various color patterns on the wall. The idea was to extend the individual works into a larger whole, to make the entire gallery space a container which brought the individual pieces into conversations with one another." }, { "heading": "Civic Virtue/Civil Rights", "text": "This was the first time I tried out the idea. I thought it would be funny to paint a very schematic plaid pattern on the wall, a pattern based on a design I found on a plastic shopping bag, for my first show in a London gallery. But The Guardian reviewer didn’t see the humor and came at me with one of the oldest character smears the English bring to the Scots, that we are grim and ‘dour,’ unable to see the joy in life. Anthony was one of the most supportive gallerists I ever worked with, and I returned several times to paint on his walls." }, { "heading": "City Hall Park", "text": "For this show at MetroPictures n early 1987 I built a semi-circular wall to contain an arrangement of paintings in a continuous narrative. I had been doing research on 19th Century panorama paintings for an essay in Artforum, and that informed the project. The panorama here was of life in the later Reagan years in the US, spanning self-congratulatory wealth and power to abject poverty and sickness. In the front part of the gallery I arranged several almost abstract paintings over an elongated triangle painted pale blue." } ] }, { "pageId": 1622, "label": "Temporary Murals", "section": "beyond-the-studio", "period": null, "tag": "temporary murals", "wpTitle": "Beyond the Studio – Temporary Murals", "sourceUrl": "https://www.thomaslawson.com/beyond-the-studio-portraits-of-new-york/", "intros": [ { "heading": "Temporary Murals", "text": "I met Russell Rainbolt at some point during 1988. He was in a class I was teaching at SVA, and was an established sign-painter, working for a billboard company in New Haven, CT. At some point during our conversations about painting he told me that he had arranged for me to have access to one of the company’s billboards on I-95, and that if I would give him an 8×10 drawing, he would take care of the rest. Intrigued, I put together a composite image of the art historian Bernard Berenson admiring a sculpture, flanked by rearing horses. A couple of weeks later he invited me up to see the finished project." }, { "heading": "Memory Lingers Here", "text": "As I was completing the New York project the Irish curator, Declan McGonagle, invited me to participate in the First Tyne International. This was to be an examination of artists’ responses to urban renewal, set in Gateshead, the impoverished twin of Newcastle in the north of England. A site, I zeroed in on the walls of an abandoned soap factory, and drew up plans for another large scale temporary mural based on images of a statue of St George that had been somehow abandoned and overwhelmed by a municipal parking structure. Armed with my drawings, Russell Rainbolt went ahead to paint the panels on site, and I joined him in March 1990 to supervise the installation. It was while this was happening that I got a call from someone at CalArts to say that I was shortlisted for the position of dean of the Art School, and could I come in for an interview with the search committee." }, { "heading": "Portraits of New York", "text": "The following year, knowing I could rely on Russell Rainbolt’s expertise, I submitted a proposal to New York City’s General Services Administration to install a temporary mural on the scaffolding surrounding the Municipal Building during a major renovation. My proposal was simple – to create a portrait of the city through its public statuary — and I was awarded the commission. I suspect that the committee that selected the work thought the project unpolitical, but my research had shown me that public statuary was only political, a system of recognizing and rewarding the powerful, and the interests of the powerful. At that time, the only non-allegorical woman represented on the streets of New York was Golda Meir. The only African-Americans were supplicants at the feet of white abolitionists, or, in the case of the infamous equestrian statue of Teddy Roosevelt, half-naked retainers supporting the great man. In composing the mural, which wrapped around the entire building, I sought to bring attention to this by alternating close-up faces of those less seen with a seeming endless parade of the politicians striking rhetorical poses as if making public speeches. The work was in situ for approximately three years." } ] }, { "pageId": 1646, "label": "Glasgow Projects", "section": "beyond-the-studio", "period": null, "tag": "glasgow projects", "wpTitle": "Beyond the Studio – Glasgow Projects", "sourceUrl": "https://www.thomaslawson.com/beyond-the-studio-glasgow-projects/", "intros": [ { "heading": "Glasgow Projects", "text": "I left my hometown, Glasgow, in 1969, to go to college. During the next few years I returned intermittently, mostly during holidays, but after 1972 I stayed away until 1990, when I was invited to make an exhibition surveying the work I had done during the 80s, in New York. In the wake of that invitation, I made several new works in Glasgow, thinking about Glasgow." }, { "heading": "Third Eye Centre", "text": "The survey exhibition was curated by Andrew Nairne, and presented at the Third Eye Centre, the contemporary art space on Sauchiehall Street now called CCA. Along with the survey of a decade’s worth of work, I was given some funds to make two new pieces. One was a painting inspired by a memorial sculpture of a materially successful Scottish artist, mounted on a wall painted with a garish approximation of the Black Watch tartan. The top of the painting was crested with a string of lights. In a separate gallery I hung a large photographic detail, printed on canvas, of a ruined fountain that stood in the city’s oldest park, Glasgow Green. In front of this I installed a scaffolding rig to hold theatrical lights." }, { "heading": "Here’s Looking at You Kid.", "text": "The following year local artist Alan Dunn invited me to participate in his Bellgrove Project, basically a billboard space facing a train station in the east end of Glasgow that he controlled for a while. The station had a certain notoriety because it was the closest stop to Parkhead, the stadium of Glasgow Celtic Football Club, and thus got rowdy on Saturdays. As a result there was a heavy police presence most of the time. To make the piece I took photographs of a different group of police officers standing around the Cenotaph in George Square in the center of the city." }, { "heading": "Shawhead Sentinel", "text": "In 1995 I was approached by “Art in Partnership,” a consultancy group in Edinburgh, about making a proposal for a monumental structure to function as a kind of sign for a new, interactive museum of the industrial age, planned for the village of Shawhead outside Coatbridge. The area had been at the center of Scotland’s iron and coal industries in the 19th century, but had long fallen on hard times, and the museum was intended as an economic lifeline. The design remit was for a structure that would be visible from the nearby Motorway connecting Edinburgh and Glasgow, and that it should include some sort of light feature. I designed a castellated tower whose side opened to reveal large spinning cogwheels. This area was to be lit inside, and a high intensity beam shot up vertically from the battlements. My proposal was not accepted." } ] }, { "pageId": 1660, "label": "Theatre, Dance & Fashion", "section": "beyond-the-studio", "period": null, "tag": "theatre dance fashion", "wpTitle": "Beyond the Studio – Theatre Dance & Fashion", "sourceUrl": "https://www.thomaslawson.com/beyond-the-studio-theatre-dance-fashion/", "intros": [ { "heading": "Deidre", "text": "Working in theater was eye-opening, the way the project unfolded over time as everyone came to understand the text had a different quality than in the art space, perhaps not more collaborative, but there was certainly more discussion about the poet’s meanings. The play was a short piece by W.B. Yeats, his 1906 Deidre, a poetic story of love, power, and betrayal. I designed the set – a massive, curved wall to suggest the heroine’s entrapment, and giant warrior heads to represent the armed forces arraigned against her. These heads, which were modeled on the Lewis chess pieces in the Scottish National Museum, were lowered on to the set at various times in the action. I made a short video of birds rising in flight to serve as an introduction to the action. The production premiered at the MOD Theater at CalArts, and then the producer, Susan Solt, found support from the Dunnard Fund to take it to the Edinburgh Fringe Festival." }, { "heading": "Silmane Vogue Project", "text": "I got a call one morning in the spring of 2013 from Dodie Kazanjian, contributing editor for Vogue, asking if I would be interested in doing a portrait of the designer Hedi Slimane for the upcoming September issue. She warned me that final approval would sit with Anna Wintour, but that the editorial team was excited to see what I would do. Flattering. I spent a morning with Slimane at his place in Trousdale Estates, chatting and taking photos. I made several paintings, finally settling on a double portrait to submit to the magazine. Anna Wintour approved, and it was published as a two page spread in the September issue, with Jennifer Lawrence on the cover.\n\nDodie Kazanjian was also director of Gallery Met at the Metropolitan Opera, and shortly afterwards she invited me to participate in a show celebrating the restaging of Alexander Borodin’s Prince Igor. I was able to repurpose some of the unpublished Slimane portraits and studies for this." }, { "heading": "Till You Drop", "text": "Lauri Firstenberg invited me to participate in the LAXART Benefit, to be held at the fabled, possibly haunted, Greystone Mansion in Beverly Hills. I asked the dancer Flora Weigman and the composer Nina Waisman to collaborate on the piece. We chose an octagonal room at one end of the building, I designed a set of painted screens, Waisman constructed an interactive sound work based on various found music from the 1920s, and Wegman and her dancers improvised as they triggered the sound." } ] }, { "pageId": 1689, "label": "Los Angeles", "section": "beyond-the-studio", "period": null, "tag": "los angeles", "wpTitle": "Beyond the Studio – Los Angeles", "sourceUrl": "https://www.thomaslawson.com/beyond-the-studio-los-angeles/", "intros": [ { "heading": "East Rancho", "text": "In 2014 the Provost at Calarts, Jeannene Przyblyski, created Some Place Chronicles as a vehicle to seek funding for various community arts projects. The first grant that came through was from the office of the Supervisor of Los Angeles County, District 2, and was to support five community making projects in several unincorporated areas of the district. I became involved, and opted to work with the community of East Rancho Dominguez, a small residential area east of Compton. Throughout the next couple of years I spent a good deal of time with a group of long-term residents, attending meetings and social events, building trust and interviewing people. My assistants, Kate Kendall and Lucia Prancha also took photographs and made videos. In addition I spent hours reading through archived editions of the Compton Herald at the library of CalState Dominguez Hills, learning about the development of the area in the 30s through the 60s. The ultimate goal was to produce five separate volumes, and the designer Anther Kiley was brought on board to provide an overall template, with graduate students working on individual books. In the end I wrote a personal essay accompanied by some of my own photographs and drawings, as well the images made by Kate and Lucia. The series was finally published in collaboration with EastofBorneo Books ." }, { "heading": "Metro LA", "text": "In the spring of 2021 I was invited to submit a proposal for a mural in the planned Rodeo Drive station on the Metro Purple Line. The space I was to consider was on an upper level of the station, and called for three long segments. The deadline for submission was tight, a matter of months. Walking around Beverly Hills, and riding the existing Metro I came up with a plan that incorporated some local architectural details with pictures of everyday subway riders. I was pleased with the result, but didn’t win the commission." } ] }, { "pageId": 1711, "label": "The Scottish Project", "section": "beyond-the-studio", "period": null, "tag": "the scottish project", "wpTitle": "Beyond the Studio – The Scottish Project", "sourceUrl": "https://www.thomaslawson.com/beyond-the-studio-the-scottish-project/", "intros": [ { "heading": "The Scottish Project", "text": "I spent some months in Scotland in 1997, during the months leading up to the vote that led to a devolved Scottish Parliament. A footnote in an essay on Scottish history opened up a new research topic, the life and times of Thomas Muir, a political reformer of the late 18th century who became radicalized by both his encounter with the French Revolution, and the severity of response of the British authorities to his rather mild pleas for change. I spent hours in the Scottish National Library archives, the Edinburgh Room at the Central Library in Edinburgh, and later at the Bancroft Library at UC Berkeley. I also spent a month at the Lewis Walpole Library at Yale researching their extraordinary collection of political caricatures from that period. The results were several small chapbooks, a couple of exhibitions, and a secondary series of paintings that ultimately took me in a different direction." }, { "heading": "Escape Towards Liberty", "text": "The following year Nothing Moments Press in Los Angeles approached me about making a book, and I offered a third in the series. This one based on the diaries of a French trader who helped Muir escape Australia and cross the Pacific to California. To this I then added excerpts for several letters that Muir wrote to friends and family from Monterey while in captivity of the Spanish authorities. The book was illustrated by a series of drawings by Andrea Bowers, and designed by Penny Pehl and James W. Moore." }, { "heading": "Gathered Under the Tree of Liberty", "text": "This 2013 book contains 39 black and white line portraits of Muir and some of his fellow reformers and revolutionists. These drawings were based on the painted portraits included in the Suburban show in 2004. It was funded by a grant from USA Projects (United States Artists) and designed by John Wiese." }, { "heading": "Paranoia on the High Seas", "text": "The second book in the series was a joint production of Distrito Cu4rto, Madrid, and White Wine Press, Santa Monica, published in 2006. The text here is based on a long letter written by a fellow political prisoner who shared Muir’s transport to the penal colony in Botany Bay." }, { "heading": "Pest of Scotland", "text": "In 1999 Visual Art Projects in Glasgow awarded me an Artist Research Fellowship to work with the Spanish architect, Enric Miralles, as he designed a new Scottish Parliament Building in Edinburgh. I had several preliminary meetings with him, at his office in Barcelona and in Edinburgh, before he died suddenly, in 2000. Too upset to continue with this, I asked if I could redirect the funds to publish a small chapbook based on my Thomas Muir research. This was the result, a text based on a transcript of Muir’s trial for sedition, edited and embellished. The book was designed by Jessica Fleischman, who would later design the look of EastofBorneo." }, { "heading": "Constructing a World View; reconstructing a journey", "text": "Sleeper is a small gallery in the basement of an architectural firm in Edinburgh. I was invited to make a show there in late summer of 2001, and chose to paint a map of the world directly on the wall, faced by a listing of Muir’s travels, by longitude and latitude. The map was based on an older projection. The show opened on the first weekend of that September." } ] }, { "pageId": 1998, "label": "In the Studio: 2010–2015", "section": "in-the-studio", "period": "2010-2015", "tag": null, "wpTitle": "InTheStudio_2010-2015", "sourceUrl": "https://www.thomaslawson.com/inthestudio_2010-2015/", "intros": [] } ], "artworks": [ { "id": "EttDU57r", "serial": "TL1", "title": "Formanesque", "slug": "formanesque-1977", "year": 1977, "yearEnd": null, "type": "painting", "medium": "oilstick and graphite on paper", "artMedium": "oilstick, graphite", "artworkSurface": "paper", "dimensions": { "width": 110, "height": 150, "depth": null, "unit": "in", "text": "110 X 150 in. (25 sheets, 22 X 30 in. each)" }, "artEdition": null, "series": null, "tags": [], "images": [ { "url": "https://www.thomaslawson.com/wp-content/uploads/2022/07/001-Tlawson_Forman-esque-25-drawings1977.jpg", "caption": null, "primary": true, "isDetail": false, "detailLabel": null, "credit": "Photography©2009 Fredrik Nilsen, All Rights Reserved", "wpMediaId": 363 }, { "url": "https://www.thomaslawson.com/wp-content/uploads/2022/07/003-TlawsonFigures-Foreman-esque1977.jpg", "caption": null, "primary": false, "isDetail": true, "detailLabel": "Running Figures", "credit": "Photography©2009 Fredrik Nilsen, All Rights Reserved", "wpMediaId": 370 }, { "url": "https://www.thomaslawson.com/wp-content/uploads/2022/07/004-Tlawson_FiguresAeroplanes-Several-21977.jpg", "caption": null, "primary": false, "isDetail": true, "detailLabel": "Several Aeroplanes", "credit": "Photography©2009 Fredrik Nilsen, All Rights Reserved", "wpMediaId": 369 } ], "description": null, "collection": null, "provenance": 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"updatedAt": "2026-03-18T07:24:09.852Z" }, { "id": "9d059rfA", "serial": "TL4", "title": "Single Piper", "slug": "single-piper-1977", "year": 1977, "yearEnd": null, "type": "painting", "medium": "oilstick and graphite on paper", "artMedium": "oilstick, graphite", "artworkSurface": "paper", "dimensions": { "width": 22, "height": 30, "depth": null, "unit": "in", "text": "22 x 30 in." }, "artEdition": null, "series": null, "tags": [], "images": [ { "url": "https://www.thomaslawson.com/wp-content/uploads/2022/07/002-Tlawson_Scottish-Drawing-One-Piper1977.jpg", "caption": null, "primary": true, "isDetail": false, "detailLabel": null, "credit": null, "wpMediaId": 364 } ], "description": null, "collection": null, "provenance": [], "exhibitions": [], "writingIds": [], "sourceUrl": "https://www.thomaslawson.com/?p=347", "section": "in-the-studio", "period": "1977-1979", "createdAt": "2026-03-18T07:24:09.852Z", "updatedAt": "2026-03-18T07:24:09.852Z" }, { "id": "CjT1wG2o", "serial": "TL5", "title": "Gold Dog", "slug": "gold-dog-1978", "year": 1978, "yearEnd": null, "type": "painting", "medium": "oilstick and enamel paint on canvas, with painted wooden frame", "artMedium": "oilstick, enamel paint", "artworkSurface": "canvas", "dimensions": { "width": 53, "height": 43, "depth": null, "unit": "in", "text": "53 x 43 in." }, "artEdition": null, "series": null, "tags": [], "images": [ { "url": "https://www.thomaslawson.com/wp-content/uploads/2022/07/013-Tlawson_Gold-Dog1978.jpg", "caption": null, "primary": true, "isDetail": false, "detailLabel": null, "credit": null, "wpMediaId": 384 } ], "description": null, "collection": null, "provenance": [], "exhibitions": [], "writingIds": [], "sourceUrl": "https://www.thomaslawson.com/?p=347", "section": "in-the-studio", "period": "1977-1979", "createdAt": "2026-03-18T07:24:09.853Z", "updatedAt": "2026-03-18T07:24:09.853Z" }, { "id": "-evy1eGq", "serial": "TL6", "title": "Good Dog", "slug": "good-dog-1978", "year": 1978, "yearEnd": null, "type": "painting", "medium": "oilstick on paper", "artMedium": "oilstick", "artworkSurface": "paper", "dimensions": { "width": 30, "height": 45, "depth": null, "unit": "in", "text": "diptych, 30 x 45 in." }, "artEdition": null, "series": null, "tags": [], "images": [ { "url": "https://www.thomaslawson.com/wp-content/uploads/2022/07/009-Tlawson_Gold-Dog-Black-Orange1978.jpg", "caption": null, "primary": true, "isDetail": false, "detailLabel": null, "credit": null, "wpMediaId": 375 } ], "description": null, "collection": null, "provenance": [], "exhibitions": [], "writingIds": [], "sourceUrl": "https://www.thomaslawson.com/?p=347", "section": "in-the-studio", "period": "1977-1979", "createdAt": "2026-03-18T07:24:09.853Z", "updatedAt": "2026-03-18T07:24:09.853Z" }, { "id": "vKe8_dOy", "serial": "TL7", "title": "Jumping Baby", "slug": "jumping-baby-1978", "year": 1978, "yearEnd": null, "type": "painting", "medium": "oilstick and enamel on canvas", "artMedium": "oilstick, enamel", "artworkSurface": "canvas", "dimensions": { "width": 52, "height": 42, "depth": null, "unit": "in", "text": "52 x 42 in." }, "artEdition": null, "series": null, "tags": [], "images": [ { "url": "https://www.thomaslawson.com/wp-content/uploads/2022/07/008-Tlawson_Untitled-jumping-baby-on-aqua1978.jpg", "caption": null, "primary": true, "isDetail": false, "detailLabel": null, "credit": null, "wpMediaId": 374 } ], "description": null, "collection": null, "provenance": [], "exhibitions": [], "writingIds": [], "sourceUrl": "https://www.thomaslawson.com/?p=347", "section": "in-the-studio", "period": "1977-1979", "createdAt": "2026-03-18T07:24:09.852Z", "updatedAt": "2026-03-18T07:24:09.852Z" }, { "id": "fSxR6e8g", "serial": "TL8", "title": "Mirror Bassets", "slug": "mirror-bassets-1978", "year": 1978, "yearEnd": null, "type": "painting", "medium": "oilstick on paper", "artMedium": "oilstick", "artworkSurface": "paper", "dimensions": { "width": 30, "height": 45, "depth": null, "unit": "in", 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