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Wexler Gallery

Tim Rollins & K.O.S.

  • Amerika, The Hotel Occidental, 2006
    Acrylic and graphite on book pages on canvas
    75 x 59 in
  • Amerika - The Missing Person (after Franz Kafka), 2012
    Acrylic, watercolor, pencil, book pages on linen
    60.25 x 72 in

  • Untitled (Study for Amerika Series), 1988
    Metallic paint and ink on printed paper; four works
    15 x 11 in each
  • The Nature Theater of Oklahoma: For Thoreau, 1987-88
    Watercolor and pencil drawing on book pages mounted on linen
    15 x 15 in each
  • The Nature Theater of Oklahoma: For Thoreau, 1987-88
    Watercolor and pencil drawing on book pages mounted on linen
    15 x 15 in each
  • The Nature Theater of Oklahoma: For Thoreau, 1987-88
    Watercolor and pencil drawing on book pages mounted on linen
    15 x 15 in each
  • X-Men/Malcolm X (after Marvel Comics and Malcolm X), 1997
    Comic book covers on book pages on rag board; 12 parts
    9 x 6 in each (framed)
    58 x 46 in (installation)
  • X-Men ‘68 - The Devil Had a Daughter! (after Marvel Comics), 1991-92
    Vintage comic book pages on canvas
    38.25 x 33.125 in
  • The Whiteness of the Whale (after Melville), 2016
    Matte acrylic, spray paint, and book pages on panel
    48 x 36 in
  • The Black Spot (after Robert Louis Stevenson), Made with young people from Edinburgh, 2012
    Charcoal, Indian ink, bible fragments, parchment, book pages, matte acrylic on canvas
    42.25 x 60 in
  • One the Origin of Species (after Charles Darwin), Made with young people from the Lothian region, 2012
    Rubberstamps, watercolor, matte acrylic, book pages on wood panel
    36 x 36 in
  • Invisible Man (after Ralph Ellison), 1998
    Acrylic, linen, and book pages mounted on canvas
    62.25 x 52.125 in
  • Black Alice & White Alice, 1989
    Offset lithograph with hand coloring
    33 x 52 in each
    Ed. 22/50
  • Black Alice & White Alice, 1989
    Offset lithograph with hand coloring
    33 x 52 in each
    Ed. 22/50
  • Black Alice & White Alice, 1989
    Offset lithograph with hand coloring
    33 x 52 in each
    Ed. 22/50
  • Invisible Man (after Ralph Ellison), 2014
    Matte acrylic and pencil on book pages on wood panel
    36 x 36 in
  • Invisible Man (after Ralph Ellison), 2016
    Invisible Man (after Ralph Ellison), 2016
    Matte acrylic and on book pages on panel
    36 x 36 in
  • The Creation (after Haydn), 2005
    Portfolio with 7 prints, water-based silkscreen with chine colle
    23.625 x 14.125 in each
    Ed. 9/25
  • The Creation (after Haydn), 2005
    Portfolio with 7 prints, water-based silkscreen with chine colle
    23.625 x 14.125 in each
    Ed. 9/25
  • Metamorphosen (after Richard Strauss), 2007
    Black shellac ink, music score pages on canvas; 12 parts
    14 x 11 in each (framed)
  • Metamorphosen (after Richard Strauss), 2007
    Black shellac ink, music score pages on canvas; 12 parts
    12 x 8.625 in each
    14 x 11 in framed
  • A Midsummer Nights's Dream (after Shakespeare and Mendelssohn), 2016-2017
    A Midsummer Night’s Dream (after Shakespeare and Mendelssohn), 2016-17
    Watercolor, ink, mulberry paper, collage, and mustard seed on music score on wood panel
    Three individual works
    12 x 9 in each
  • A Midsummer Nights's Dream (after Shakespeare and Mendelssohn), 2016-2017
    Watercolor, ink, mulberry paper, collage, and mustard seed on music score on wood panel
    12 x 9 in

>>EXPLORE NEW DIGITAL WORK BY STUDIO K.O.S. AS FEATURED
IN THE
NEW YORK TIMES.

>> READ THE NEW YORK TIMES ARTICLE.

 

In 1982, artist and teacher Tim Rollins created an after-school program in the South Bronx for his most dedicated students.The Art and Knowledge workshop soon morphed into Tim Rollins and the Kids of Survival (K.O.S.). Together, Rollins and K.O.S. developed a collaborative strategy that combined lessons in reading and writing with the production of impactful works of art. In a process they called “jamming,” Rollins or a member of the collective would read selected texts aloud while other members drew, cut, ripped, painted onto pages of the text, relating the stories to their own experiences. What was manifested from their collaborations became a powerful body of work that can be seen today in over 120 museums and public collections worldwide including MoMA, The Tate Modern and The Art Institute of Chicago.