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rusha_co
Rusha & Co.
Next Opening - Saturday 30th May
@tan.mu__ is featured in
Without Fixed Form
@penskeprojects @sophiapenske @ruttkowski68
19.04.26-17.05.26
Tan Mu
Dolly and Bonnie
2026
oil on linen
81 x 54 cm
Ruttkowski;68 and Penske Projects are pleased to present Without Fixed Form in Paris.
In Without Fixed Form, figures and environments remain open and indeterminate, shifting between presence and dissolution. Forms resist clear definition and move fluidly between figure and ground, unfolding through atmosphere, perception, and subtle shifts in form. Featuring works by AJ Pineda, Coco Young, Duo Lin, February James, François Halard, Joya Mukerjee Logue and Tan Mu, the exhibition brings together varied approaches, from distorted and dynamic portraits to abstracted landscapes and symbolic forms. Across the works, artists capture gestures, behaviors, and fleeting situations in different states, where forms shift through color, movement, and suggestion, and where meaning emerges through transformation rather than permanence.
@tan.mu__ is featured in
Without Fixed Form
@penskeprojects @sophiapenske @ruttkowski68
19.04.26-17.05.26
Tan Mu
Dolly and Bonnie
2026
oil on linen
81 x 54 cm
Ruttkowski;68 and Penske Projects are pleased to present Without Fixed Form in Paris.
In Without Fixed Form, figures and environments remain open and indeterminate, shifting between presence and dissolution. Forms resist clear definition and move fluidly between figure and ground, unfolding through atmosphere, perception, and subtle shifts in form. Featuring works by AJ Pineda, Coco Young, Duo Lin, February James, François Halard, Joya Mukerjee Logue and Tan Mu, the exhibition brings together varied approaches, from distorted and dynamic portraits to abstracted landscapes and symbolic forms. Across the works, artists capture gestures, behaviors, and fleeting situations in different states, where forms shift through color, movement, and suggestion, and where meaning emerges through transformation rather than permanence.
PODUNK
Scarlett Carlos Clarke
Lancaster, California. 128 Super 8 stills from a house in the Mojave Desert.
Looking forward to working together later this year.
@scarlettcarlosclarke
PODUNK
Scarlett Carlos Clarke
Lancaster, California. 128 Super 8 stills from a house in the Mojave Desert.
Looking forward to working together later this year.
@scarlettcarlosclarke
PODUNK
Scarlett Carlos Clarke
Lancaster, California. 128 Super 8 stills from a house in the Mojave Desert.
Looking forward to working together later this year.
@scarlettcarlosclarke
PODUNK
Scarlett Carlos Clarke
Lancaster, California. 128 Super 8 stills from a house in the Mojave Desert.
Looking forward to working together later this year.
@scarlettcarlosclarke
PODUNK
Scarlett Carlos Clarke
Lancaster, California. 128 Super 8 stills from a house in the Mojave Desert.
Looking forward to working together later this year.
@scarlettcarlosclarke
PODUNK
Scarlett Carlos Clarke
Lancaster, California. 128 Super 8 stills from a house in the Mojave Desert.
Looking forward to working together later this year.
@scarlettcarlosclarke
PODUNK
Scarlett Carlos Clarke
Lancaster, California. 128 Super 8 stills from a house in the Mojave Desert.
Looking forward to working together later this year.
@scarlettcarlosclarke
PODUNK
Scarlett Carlos Clarke
Lancaster, California. 128 Super 8 stills from a house in the Mojave Desert.
Looking forward to working together later this year.
@scarlettcarlosclarke
PODUNK
Scarlett Carlos Clarke
Lancaster, California. 128 Super 8 stills from a house in the Mojave Desert.
Looking forward to working together later this year.
@scarlettcarlosclarke
Rusha & Co. is pleased to announce an exhibition of new paintings by Ruby May Quilter.
Softly Cross Your Fingers is her first show with the gallery. Working from Polaroid self-portraits, the English artist draws on disguise, allegory, and performance. At once strange, seductive, and darkly playful.
Opening: Saturday 30th May, 6–9pm
Rusha & Co. is pleased to announce an exhibition of new paintings by Ruby May Quilter.
Softly Cross Your Fingers is her first show with the gallery. Working from Polaroid self-portraits, the English artist draws on disguise, allegory, and performance. At once strange, seductive, and darkly playful.
Opening: Saturday 30th May, 6–9pm
From across the room, the great expanse of the look you find returned, the eyes that see your seeing feigned as absent-minded movement, not the searching glance it knows itself to be, and which the gaze that now you meet has witnessed and uncovered.
Artists Artists and Rusha & Co are pleased to announce Oeillade to Cathexis, the first U.S. exhibition by Mexican artist Santiago Evans Canales, opening May 30th.
@rusha_co
@artists_artists_
@jorritvanderhoven
@helloapple
Images from Slow Grief I: Foundations
Organized by The Pioneers Co-Op
October 11 2025 - February 11, 2026
@thepioneers.la
A Note about Documentary Art
The Renaissance concept of disegno described drawing as both the act of making a line and the intellectual act of conceiving the idea behind it, thinking through the hand while drawing. In a similar spirit, the exhibition draws from The Pioneers Co-op’s studio moniker ‘documentary art,’ questioning the convention that lensing the documentation must be neutral, perfectly color-corrected, and stripped of the photographer’s viewpoint or hand, eye, and mind coordination.
Instead, The Pioneers Co-Op reintroduces a perspective and throughline in a kind of informal residency: a studio situated within the gallery, living with the work as it develops. The documentation becomes part of the practice itself, observing the art over time, through shifting light, changing moods, and an ongoing exchange with the gallery founder as friend, colleague, and collaborator, both representing the co-op and being represented by it. The experiment continues, and they’re in it too.
Images from Slow Grief I: Foundations
Organized by The Pioneers Co-Op
October 11 2025 - February 11, 2026
@thepioneers.la
A Note about Documentary Art
The Renaissance concept of disegno described drawing as both the act of making a line and the intellectual act of conceiving the idea behind it, thinking through the hand while drawing. In a similar spirit, the exhibition draws from The Pioneers Co-op’s studio moniker ‘documentary art,’ questioning the convention that lensing the documentation must be neutral, perfectly color-corrected, and stripped of the photographer’s viewpoint or hand, eye, and mind coordination.
Instead, The Pioneers Co-Op reintroduces a perspective and throughline in a kind of informal residency: a studio situated within the gallery, living with the work as it develops. The documentation becomes part of the practice itself, observing the art over time, through shifting light, changing moods, and an ongoing exchange with the gallery founder as friend, colleague, and collaborator, both representing the co-op and being represented by it. The experiment continues, and they’re in it too.
Images from Slow Grief I: Foundations
Organized by The Pioneers Co-Op
October 11 2025 - February 11, 2026
@thepioneers.la
A Note about Documentary Art
The Renaissance concept of disegno described drawing as both the act of making a line and the intellectual act of conceiving the idea behind it, thinking through the hand while drawing. In a similar spirit, the exhibition draws from The Pioneers Co-op’s studio moniker ‘documentary art,’ questioning the convention that lensing the documentation must be neutral, perfectly color-corrected, and stripped of the photographer’s viewpoint or hand, eye, and mind coordination.
Instead, The Pioneers Co-Op reintroduces a perspective and throughline in a kind of informal residency: a studio situated within the gallery, living with the work as it develops. The documentation becomes part of the practice itself, observing the art over time, through shifting light, changing moods, and an ongoing exchange with the gallery founder as friend, colleague, and collaborator, both representing the co-op and being represented by it. The experiment continues, and they’re in it too.
Images from Slow Grief I: Foundations
Organized by The Pioneers Co-Op
October 11 2025 - February 11, 2026
@thepioneers.la
A Note about Documentary Art
The Renaissance concept of disegno described drawing as both the act of making a line and the intellectual act of conceiving the idea behind it, thinking through the hand while drawing. In a similar spirit, the exhibition draws from The Pioneers Co-op’s studio moniker ‘documentary art,’ questioning the convention that lensing the documentation must be neutral, perfectly color-corrected, and stripped of the photographer’s viewpoint or hand, eye, and mind coordination.
Instead, The Pioneers Co-Op reintroduces a perspective and throughline in a kind of informal residency: a studio situated within the gallery, living with the work as it develops. The documentation becomes part of the practice itself, observing the art over time, through shifting light, changing moods, and an ongoing exchange with the gallery founder as friend, colleague, and collaborator, both representing the co-op and being represented by it. The experiment continues, and they’re in it too.
Images from Slow Grief I: Foundations
Organized by The Pioneers Co-Op
October 11 2025 - February 11, 2026
@thepioneers.la
A Note about Documentary Art
The Renaissance concept of disegno described drawing as both the act of making a line and the intellectual act of conceiving the idea behind it, thinking through the hand while drawing. In a similar spirit, the exhibition draws from The Pioneers Co-op’s studio moniker ‘documentary art,’ questioning the convention that lensing the documentation must be neutral, perfectly color-corrected, and stripped of the photographer’s viewpoint or hand, eye, and mind coordination.
Instead, The Pioneers Co-Op reintroduces a perspective and throughline in a kind of informal residency: a studio situated within the gallery, living with the work as it develops. The documentation becomes part of the practice itself, observing the art over time, through shifting light, changing moods, and an ongoing exchange with the gallery founder as friend, colleague, and collaborator, both representing the co-op and being represented by it. The experiment continues, and they’re in it too.
Images from Slow Grief I: Foundations
Organized by The Pioneers Co-Op
October 11 2025 - February 11, 2026
@thepioneers.la
A Note about Documentary Art
The Renaissance concept of disegno described drawing as both the act of making a line and the intellectual act of conceiving the idea behind it, thinking through the hand while drawing. In a similar spirit, the exhibition draws from The Pioneers Co-op’s studio moniker ‘documentary art,’ questioning the convention that lensing the documentation must be neutral, perfectly color-corrected, and stripped of the photographer’s viewpoint or hand, eye, and mind coordination.
Instead, The Pioneers Co-Op reintroduces a perspective and throughline in a kind of informal residency: a studio situated within the gallery, living with the work as it develops. The documentation becomes part of the practice itself, observing the art over time, through shifting light, changing moods, and an ongoing exchange with the gallery founder as friend, colleague, and collaborator, both representing the co-op and being represented by it. The experiment continues, and they’re in it too.
Images from Slow Grief I: Foundations
Organized by The Pioneers Co-Op
October 11 2025 - February 11, 2026
@thepioneers.la
A Note about Documentary Art
The Renaissance concept of disegno described drawing as both the act of making a line and the intellectual act of conceiving the idea behind it, thinking through the hand while drawing. In a similar spirit, the exhibition draws from The Pioneers Co-op’s studio moniker ‘documentary art,’ questioning the convention that lensing the documentation must be neutral, perfectly color-corrected, and stripped of the photographer’s viewpoint or hand, eye, and mind coordination.
Instead, The Pioneers Co-Op reintroduces a perspective and throughline in a kind of informal residency: a studio situated within the gallery, living with the work as it develops. The documentation becomes part of the practice itself, observing the art over time, through shifting light, changing moods, and an ongoing exchange with the gallery founder as friend, colleague, and collaborator, both representing the co-op and being represented by it. The experiment continues, and they’re in it too.
Images from Slow Grief I: Foundations
Organized by The Pioneers Co-Op
October 11 2025 - February 11, 2026
@thepioneers.la
A Note about Documentary Art
The Renaissance concept of disegno described drawing as both the act of making a line and the intellectual act of conceiving the idea behind it, thinking through the hand while drawing. In a similar spirit, the exhibition draws from The Pioneers Co-op’s studio moniker ‘documentary art,’ questioning the convention that lensing the documentation must be neutral, perfectly color-corrected, and stripped of the photographer’s viewpoint or hand, eye, and mind coordination.
Instead, The Pioneers Co-Op reintroduces a perspective and throughline in a kind of informal residency: a studio situated within the gallery, living with the work as it develops. The documentation becomes part of the practice itself, observing the art over time, through shifting light, changing moods, and an ongoing exchange with the gallery founder as friend, colleague, and collaborator, both representing the co-op and being represented by it. The experiment continues, and they’re in it too.
Images from Slow Grief I: Foundations
Organized by The Pioneers Co-Op
October 11 2025 - February 11, 2026
@thepioneers.la
A Note about Documentary Art
The Renaissance concept of disegno described drawing as both the act of making a line and the intellectual act of conceiving the idea behind it, thinking through the hand while drawing. In a similar spirit, the exhibition draws from The Pioneers Co-op’s studio moniker ‘documentary art,’ questioning the convention that lensing the documentation must be neutral, perfectly color-corrected, and stripped of the photographer’s viewpoint or hand, eye, and mind coordination.
Instead, The Pioneers Co-Op reintroduces a perspective and throughline in a kind of informal residency: a studio situated within the gallery, living with the work as it develops. The documentation becomes part of the practice itself, observing the art over time, through shifting light, changing moods, and an ongoing exchange with the gallery founder as friend, colleague, and collaborator, both representing the co-op and being represented by it. The experiment continues, and they’re in it too.
Images from Slow Grief I: Foundations
Organized by The Pioneers Co-Op
October 11 2025 - February 11, 2026
@thepioneers.la
A Note about Documentary Art
The Renaissance concept of disegno described drawing as both the act of making a line and the intellectual act of conceiving the idea behind it, thinking through the hand while drawing. In a similar spirit, the exhibition draws from The Pioneers Co-op’s studio moniker ‘documentary art,’ questioning the convention that lensing the documentation must be neutral, perfectly color-corrected, and stripped of the photographer’s viewpoint or hand, eye, and mind coordination.
Instead, The Pioneers Co-Op reintroduces a perspective and throughline in a kind of informal residency: a studio situated within the gallery, living with the work as it develops. The documentation becomes part of the practice itself, observing the art over time, through shifting light, changing moods, and an ongoing exchange with the gallery founder as friend, colleague, and collaborator, both representing the co-op and being represented by it. The experiment continues, and they’re in it too.
Images from Slow Grief I: Foundations
Organized by The Pioneers Co-Op
October 11 2025 - February 11, 2026
@thepioneers.la
A Note about Documentary Art
The Renaissance concept of disegno described drawing as both the act of making a line and the intellectual act of conceiving the idea behind it, thinking through the hand while drawing. In a similar spirit, the exhibition draws from The Pioneers Co-op’s studio moniker ‘documentary art,’ questioning the convention that lensing the documentation must be neutral, perfectly color-corrected, and stripped of the photographer’s viewpoint or hand, eye, and mind coordination.
Instead, The Pioneers Co-Op reintroduces a perspective and throughline in a kind of informal residency: a studio situated within the gallery, living with the work as it develops. The documentation becomes part of the practice itself, observing the art over time, through shifting light, changing moods, and an ongoing exchange with the gallery founder as friend, colleague, and collaborator, both representing the co-op and being represented by it. The experiment continues, and they’re in it too.
Images from Slow Grief I: Foundations
Organized by The Pioneers Co-Op
October 11 2025 - February 11, 2026
@thepioneers.la
A Note about Documentary Art
The Renaissance concept of disegno described drawing as both the act of making a line and the intellectual act of conceiving the idea behind it, thinking through the hand while drawing. In a similar spirit, the exhibition draws from The Pioneers Co-op’s studio moniker ‘documentary art,’ questioning the convention that lensing the documentation must be neutral, perfectly color-corrected, and stripped of the photographer’s viewpoint or hand, eye, and mind coordination.
Instead, The Pioneers Co-Op reintroduces a perspective and throughline in a kind of informal residency: a studio situated within the gallery, living with the work as it develops. The documentation becomes part of the practice itself, observing the art over time, through shifting light, changing moods, and an ongoing exchange with the gallery founder as friend, colleague, and collaborator, both representing the co-op and being represented by it. The experiment continues, and they’re in it too.
Four years ago.
Hello.
The much anticipated United States debut of the remarkable works of Glasgow-born, Liverpool-based Naive John. Both a cult-followed enigma and influential painter to a generation of artists, working in surrealism, comic-book influence and digital-real application.
Naive John (b. 1962) is a self-proclaimed purveyor of absurdism, a contemporary eye for our very contemporary chaotic times. Through what appear to be household cartoon characters but entirely of his own creation, John painstakingly reconstructs his own digital compositions by hand, using pen, pencil, acrylics and airbrush to complete the works. His technical skill is unmatched, personal and with a machine-like meticulousness. Each painting or drawing appears to have the human hand stripped from its creation, and yet that is John’s ultimate intention.
Naive John
“Sometimes we found ourselves wondering if - when we weren’t being observed - we really existed”, 2021
acrylic on canvas
27¾ x 19¾ x 1 in.
Naive John
“15th C. Florence. Here, we are hired by the Medici family to sit for Pierro della Francesca.”, 2021
acrylic on panel
16 x 12 x 1⅜ in.
Four years ago.
Hello.
The much anticipated United States debut of the remarkable works of Glasgow-born, Liverpool-based Naive John. Both a cult-followed enigma and influential painter to a generation of artists, working in surrealism, comic-book influence and digital-real application.
Naive John (b. 1962) is a self-proclaimed purveyor of absurdism, a contemporary eye for our very contemporary chaotic times. Through what appear to be household cartoon characters but entirely of his own creation, John painstakingly reconstructs his own digital compositions by hand, using pen, pencil, acrylics and airbrush to complete the works. His technical skill is unmatched, personal and with a machine-like meticulousness. Each painting or drawing appears to have the human hand stripped from its creation, and yet that is John’s ultimate intention.
Naive John
“Sometimes we found ourselves wondering if - when we weren’t being observed - we really existed”, 2021
acrylic on canvas
27¾ x 19¾ x 1 in.
Naive John
“15th C. Florence. Here, we are hired by the Medici family to sit for Pierro della Francesca.”, 2021
acrylic on panel
16 x 12 x 1⅜ in.
Four years ago.
Hello.
The much anticipated United States debut of the remarkable works of Glasgow-born, Liverpool-based Naive John. Both a cult-followed enigma and influential painter to a generation of artists, working in surrealism, comic-book influence and digital-real application.
Naive John (b. 1962) is a self-proclaimed purveyor of absurdism, a contemporary eye for our very contemporary chaotic times. Through what appear to be household cartoon characters but entirely of his own creation, John painstakingly reconstructs his own digital compositions by hand, using pen, pencil, acrylics and airbrush to complete the works. His technical skill is unmatched, personal and with a machine-like meticulousness. Each painting or drawing appears to have the human hand stripped from its creation, and yet that is John’s ultimate intention.
Naive John
“Sometimes we found ourselves wondering if - when we weren’t being observed - we really existed”, 2021
acrylic on canvas
27¾ x 19¾ x 1 in.
Naive John
“15th C. Florence. Here, we are hired by the Medici family to sit for Pierro della Francesca.”, 2021
acrylic on panel
16 x 12 x 1⅜ in.
Four years ago.
Hello.
The much anticipated United States debut of the remarkable works of Glasgow-born, Liverpool-based Naive John. Both a cult-followed enigma and influential painter to a generation of artists, working in surrealism, comic-book influence and digital-real application.
Naive John (b. 1962) is a self-proclaimed purveyor of absurdism, a contemporary eye for our very contemporary chaotic times. Through what appear to be household cartoon characters but entirely of his own creation, John painstakingly reconstructs his own digital compositions by hand, using pen, pencil, acrylics and airbrush to complete the works. His technical skill is unmatched, personal and with a machine-like meticulousness. Each painting or drawing appears to have the human hand stripped from its creation, and yet that is John’s ultimate intention.
Naive John
“Sometimes we found ourselves wondering if - when we weren’t being observed - we really existed”, 2021
acrylic on canvas
27¾ x 19¾ x 1 in.
Naive John
“15th C. Florence. Here, we are hired by the Medici family to sit for Pierro della Francesca.”, 2021
acrylic on panel
16 x 12 x 1⅜ in.
Minimal in form but full of feeling, Michelle Jane Lee translates personal letters into grids of colour, turning language into abstraction. Raised in Seoul, she studied in Chicago and now lives and works in Los Angeles.
We look forward to presenting her first solo exhibition with the gallery later this year.
Michelle Jane Lee
Burn Baby, Burn
2026
beeswax, hemp, and stainless steel nails on birch panel
30 × 8 × 1 3/4 in.
Minimal in form but full of feeling, Michelle Jane Lee translates personal letters into grids of colour, turning language into abstraction. Raised in Seoul, she studied in Chicago and now lives and works in Los Angeles.
We look forward to presenting her first solo exhibition with the gallery later this year.
Michelle Jane Lee
Burn Baby, Burn
2026
beeswax, hemp, and stainless steel nails on birch panel
30 × 8 × 1 3/4 in.
never to late to get to a party, from last December with
@princessgollum at Miami Mini Fair @uhaul_gallery
never to late to get to a party, from last December with
@princessgollum at Miami Mini Fair @uhaul_gallery
never to late to get to a party, from last December with
@princessgollum at Miami Mini Fair @uhaul_gallery
never to late to get to a party, from last December with
@princessgollum at Miami Mini Fair @uhaul_gallery
never to late to get to a party, from last December with
@princessgollum at Miami Mini Fair @uhaul_gallery
We showed this @scoutzabinski painting in April 2022.
It’s out there living its life now.
Featured in @archdigest and @1stdibs from the Pink Palace project designed by @harryheissmann, photographed by @davidengelhardt.
In print and online at @archdigestpolska and @admiddleeast.
Scout Zabinski
A Hell Only I Know, 2021
acrylic on canvas
40 x 60 inches
101.6 x 152.4 cm
We showed this @scoutzabinski painting in April 2022.
It’s out there living its life now.
Featured in @archdigest and @1stdibs from the Pink Palace project designed by @harryheissmann, photographed by @davidengelhardt.
In print and online at @archdigestpolska and @admiddleeast.
Scout Zabinski
A Hell Only I Know, 2021
acrylic on canvas
40 x 60 inches
101.6 x 152.4 cm
We showed this @scoutzabinski painting in April 2022.
It’s out there living its life now.
Featured in @archdigest and @1stdibs from the Pink Palace project designed by @harryheissmann, photographed by @davidengelhardt.
In print and online at @archdigestpolska and @admiddleeast.
Scout Zabinski
A Hell Only I Know, 2021
acrylic on canvas
40 x 60 inches
101.6 x 152.4 cm
We showed this @scoutzabinski painting in April 2022.
It’s out there living its life now.
Featured in @archdigest and @1stdibs from the Pink Palace project designed by @harryheissmann, photographed by @davidengelhardt.
In print and online at @archdigestpolska and @admiddleeast.
Scout Zabinski
A Hell Only I Know, 2021
acrylic on canvas
40 x 60 inches
101.6 x 152.4 cm
We showed this @scoutzabinski painting in April 2022.
It’s out there living its life now.
Featured in @archdigest and @1stdibs from the Pink Palace project designed by @harryheissmann, photographed by @davidengelhardt.
In print and online at @archdigestpolska and @admiddleeast.
Scout Zabinski
A Hell Only I Know, 2021
acrylic on canvas
40 x 60 inches
101.6 x 152.4 cm
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