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Private View Tuesday 9 January 10 January – 3 February 2018 Marlborough Fine Art 6 Albemarle Street London W1S 4BY +44 (0)20 7629 5161 mfa@marlboroughfineart.com www.marlboroughlondon.com Cover: Mustang Flex (detail)


THUNDERSTRUCK

Pamela Golden


INTRODUCTION By Akhil Sharma

When I was a child, I hoped I had been Muslim in my past life. Most of the little Hindu boys I knew did so as well. This was in Delhi, India and it was because Muslims appeared so much more glamorous than us Hindus. Whatever the Koran might say, based on the movies we saw, we imagined Muslims as drinking wine. We also saw their lives as primarily involving reciting poetry, and, of course and best of all to us little boys, having multiple wives. Orientalism is a complicated concept. Not only does the west exoticize the east, but the east exoticizes itself. I went to school with Muslim boys. I played cricket with them. I went to their homes and we played board games. And yet I thought that as soon as I left their company, they and their relatives began to lead exciting lives. I think I chose to imagine their lives this way because it was nice to tell myself stories, to imagine that the world was full of adventure. It might make sense that I as a Hindu had a sense of Muslims as exotic. But when I meet Muslims in India, they too appear to view their past as exotic. I once talked to a Muslim scientist in the Indian army who told me that things such as flying carpets had once existed but we had lost the technology. This imagining of a magical past might have something to do with a sense of feeling helpless before the west today. It might also have to do with making the past more legible. Most Muslims are baffled by their own theological past. The Koran is, of course, the word of God and one way we know this

is simply through its self-evident beauty, but what do we do about the hadiths? It is because the Koran does not cover every aspect of life that we end up with strange behavior like pouring milk on a certain wall in the Old Fort in Delhi because the djin that lives there can help one get pregnant. Each viewer brings himself or herself to a painting and this is why to me, the first and most obvious response to Pamela Golden’s Thunderstruck is an enormous sense of loss. These stunning watercolours, moody in a way watercolours rarely are, incorporate stills from the orientalist fantasia that is The Thief of Bagdad with images from the bombing of Iraq in the early 2000s, as well as flowers that bloom at night and which are primarily propagated by bats. The wonderful and delicately balanced Phantom Linebacker has in the middle left, almost at the periphery of the canvas, a half-naked man balanced on a flying carpet. His arms are waist high with the hands to the side and slightly down, looking very much like he is on a surf board. And on the


opposite edge is a much more obscure figure, also it seems a man, but turned away from the clearer man and lost in contemplation. In between, obscuring the landscape, is smoke like it is burning Baghdad that the carpet is flying over. I think to a western audience, the image might provoke thoughts on orientalist stereotypes and a clash between East and West. To me, though, the West in this image is not particular. It is the West that is general and exotic and the East that is specific. In this sense, the West is Occidentalized and the east is left alone. Because that is my experience of the work, the mood and meaning that presses on me is more internal. I identify with the figure on the flying carpet. This man is looking down on what has been lost.

Phantom Linebacker

I have the same response to other works in the exhibition: Centaur Rodeo, Phantom Fury. They can be experienced without having a sense of a particular West or even a West at all. The violence that is represented inside the paintings could just be violence without it being violence from the West. What is most palpable for me in the works is an idealization of a past and a loss of this fantasy. All of this can be experienced from within the culture that is being painted.

Orientalism is a complicated concept. Not only does the west exoticize the east, but the east exoticizes itself. There is, of course, a more traditional “Western” way to interpret these works. Many of the paintings are titled based on the AC / DC song that American soldiers played during the bombing of Iraq. The paintings therefore act as the space where an orientalist fantasy and another artwork (the AC / DC song) that was part of the moment of destruction meet over reality (the actual bombing of Iraq). With this interpretation, we are reminded of the distance between fantasies and reality. Still another way to experience these artworks is to see that the fantasies being represented make each other possible. The fact that Baghdad is seen as “other” and so to some extent not real means that it is possible to enjoy the heightened emotions of a song while bombing human beings. To talk about these artworks only as meaning generating objects is to do them a disservice. They generate not meaning but experience. It feels essential therefore to acknowledge their handling of color: the green in the palm leaves of Centaur Rodeo and the burnt orange of Golden Phantom Fury. There is also both a comedy and pathos to how figures and objects are arranged on the canvas. And finally there is a restlessness generated by how the narrative inside the works feels not yet concluded. Pamela Golden appears to be going from strength to strength in her work and these latest watercolours show her extraordinary talent and intelligence.


Down Rodeo


Black Typhoon


Phantom Linebacker


Phantom Fury


Iron Fury


Thunderstruck


Enter Sandman


Devil Clinch


Duke Fortitude


Tangerine Squeeze


Soprano Sunset


Centaur Rodeo


Thunderstruck Again


Ivy Serpent


Swamp


Operation Aloha


Mustang Flex


Clematis Langmosa


Cereus (Blue)


Scarracenia flava, Pitcher Plant


Iris germanica, Lord of June


Oenetheora Biennis


Rosa Hogonis


Night Blooming Jasmine


Night Blooming Jasmine


Cereus (orange)


Cereus


LIST OF WORKS

Down Rodeo, 2016 sumi, watercolour and ink on paper 110 x 110 cm

Black Typhoon, 2017 sumi, watercolour and ink on paper 110 x 110 cm

Duke Fortitude, 2017 sumi, watercolour and ink on paper 110 x 150 cm

Tangerine Squeeze, 2017 sumi, watercolour and ink on paper 110 x 150 cm

Clematis Langmosa, 2017 sumi ink on sandpaper 28 x 23 cm

Cereus (Blue), 2017 watercolour on sandpaper 28 x 23 cm

Soprano Sunset, 2017 sumi, watercolour and ink on paper 110 x 100 cm

Scarracenia flava, ‘Pitcher Plant’, 2017 sumi ink on sandpaper 28 x 23 cm

Phantom Linebacker, 2017 sumi, watercolour and ink on paper 110 x 100 cm

Centaur Rodeo, 2017 sumi, watercolour and ink on paper 110 x 150 cm

Iris germanica, Lord of June, 2017 sumi ink on sandpaper 28 x 23 cm

Phantom Fury, 2016 sumi, watercolour and ink on paper 150 x 110 cm

Thunderstruck Again, 2017 sumi, watercolour and ink on paper 110 x 150 cm

Oenetheora Biennis, 2017 watercolour on sandpaper 28 x 23 cm


Iron Fury, 2017 sumi, watercolour and ink on paper 110 x 110 cm

Ivy Serpent, 2016 sumi, watercolour and ink on paper 110 x 150 cm

Thunderstruck, 2016 sumi, watercolour and ink on paper 110 x 110 cm

Enter Sandman, 2016 sumi, watercolour and ink on paper 110 x 110 cm

Swamp, 2014 sumi, watercolour and ink on paper 110 x 150 cm

Devil Clinch, 2017 sumi, watercolour and ink on paper 110 x 150 cm

Operation Aloha, 2017 sumi, watercolour and ink on paper

Mustang Flex, 2017 sumi, watercolour and ink on paper 110 x 150 cm

110 x 100 cm

Rosa Hogonis, 2017 sumi ink on sandpaper 28 x 23 cm

Night Blooming Jasmine, 2017 watercolour on sandpaper 28 x 23 cm

Night Blooming Jasmine, 2017 watercolour on sandpaper 28 x 23 cm

Cereus (orange), 2017 watercolour on sandpaper 28 x 23 cm

Cereus, 2017 watercolour on sandpaper 28 x 23 cm


BIOGRAPHY SELECTED SOLO SHOWS 2015

Charlie Don’t Surf, Marlborough Contemporary, London

2014

Good Morning! Mister Williams., Marlborough Contemporary, London

2013

Auction Paintings, World Legend, Lisbon

2008

Love and Hysteria, Tate Britain, London

2007–2008 Love and Hysteria, Fondacion Elektra, Paris 2005

The Word, Gimpel Fils, London

2004

Nothing Personal, Fundação Calouste Gulbenkian, Lisbon

2002

Even the car is dead, Graystone, San Francisco

2001

Even the car is dead, Gimpel Fils, London

1999

Fassbender Gallery, Chicago

1998

You Know I’ve Been At Sea Before, Gimpel Fils, London Art Jonction, Nice You Know I’ve been at Sea Before, Galerie Reckermann, Koln

1997

From the corner of it all, Book Works Library Relocations, RIBA, London

1996

Plumbers, Gimpel Fils, London

1995

The Shadow of Your Simile, Margaret Murray Fine Art, New York La Signora Watson versa II Caffe, The British School, Rome and Pino Casagrande, Rome Jilted, Rheinhard Hauff, Stuttgart

1994

Forder Program, Cologne Art Fair Galerij S-65, Aalst, Belgium

1993

School of the Art Institute of Chicago, M.F.A. in Painting, Art History Certificate Programme

Advice for the Injured, Gimpel Fils, London Galerij S-65, Aalst, Belgium Arnolfini Gallery, Bristol, England

1992

Galerie Froment & Putman, Paris

1991

Certificate of Botanical Art, The English Gardening School, London

Interim Art, London Bath Art Fair, Bath, England

1990

Galerij S-65, Aalst, Belgium Interim Art, London

1989

Robbin Lockett Gallery, Chicago

1988

Robbin Lockett Gallery, Chicago

1986

Saint Xavier College, Chicago Arts Club, Chicago

1985

Dart Gallery, Chicago

1981

Northern Illinois University, Dekalb

1959

Born in Chicago, Illinois

1975–78

Young Artists’ Studios, The School of the Art Institute of Chicago

1981

Northern Illinois University, DeKalb B.F.A. in Painting, Minor in Art History

1984

2014

Lives and works in London, England


SELECTED GROUP SHOWS 2017

Fazer Sentido / Making Sense, Casa da Cerca, Almada, Portugal

2015

I never thought I’d see you again, Painting History, Marlborough Contemporary, London

2013

The Sea, Murray Guy, New York Landgang: Vision-Utopie-Sehnsucht, Galerie Fabian Walter, Basel The Great Hall, Bury St. Edmunds Art Gallery 1998

What is a Photograph?, Five Years Gallery, London

Cowboy Style, Marlborough Contemporary, London More than I Dare to Think About, Marlborough Contemporary, London

1997

History, Ferens Art Gallery, Kingston upon Hull; Fruitmarket Gallery, Edinburgh & Eastbourne Libero blu, Galleria Blu, Milan

2012

A Sort of Night to the Mind, A KIND OF NIGHT FOR OUR THOUGHTS, Illusion and Materiality in Contemporary Painting, Artary Gallery, Stuttgart

1996

Private View, Bowes Museum (curated by Penelope Curtis and Veit Gorner)

1995

Heteronymns, London

2011

Biennial, The Drawing Room, London A Sort of Night to the Mind, A KIND OF NIGHT FOR OUR THOUGHTS, Illusion and Materiality in Contemporary Painting, Arch 402, London Print Fair, Karsten Schubert Gallery at the Royal Academy

1994–5

Women and Paint, Mendel Gallery, Saskatchewan, Canada Galerij S-65, Aalst, Belgium

1993

Galerij S-65, Basel Art Fair, Re-present, Todd Gallery, London

2010

Abstraction and the Human Figure in CAM's British Art Collection, Fundação Calauste Gulbenkian, Lisbon

1992

2009

A Sort of Night to the Mind, A KIND OF NIGHT FOR OUR THOUGHTS, Illusion and Materiality in Contemporary Painting, Herbert Read Gallery, University of Canterbury, Kent

Nothing is Hidden, Rear Window Gallery, London Mind the Gap, Gimpel Fils, London Curt Marcus Gallery, New York The Anonymous Museum, Chicago

1991

Interim Art, London

1990

Drawing Invitational, Central Washington University, Washington Robbin Lockett Gallery, Chicago Paula Allen Gallery, New York Interim Art, London

1988

Latitudes Focus on Chicago, Aspen Art Museum, Colorado Drawings, Robbin Lockett Gallery, Chicago Gardens, Fort Wayne, Indiana Good Painting, State of Illinois Art Gallery Chicago The Flower Show, Betsy Rosenfield Gallery, Chicago

1987

Chicago Art, Moreau Gallery, St. Mary's College Notre Dame, Indiana New Chicago: Quiet & Deliberate, Tangeman Fine Arts Gallery, University of Cincinnati, Ohio Surfaces: Two Decades of Painting in Chicago, Terra Museum of American Art, Chicago Red Dot Show, Bates Gallery, Chicago

2007–2008 Residents Fondation Elektra, Paris 2007

Thoughts, Feature, New York Artfutures, Bloomberg Space London

2005

Almond Milk, Primo Piano Living Gallery, Lecce, Italy

2004

No Particular Place To Go, Apt Gallery, London Drawing Show, Gimpel Fils, London Cologne Art Fair, Cologne

2003

In Portraiture Irrelevance is Ugliness, Museum Schloss Hardenberg, Germany Twilight, Gimpel Fils, London

2002

Jerwood Painting Prize 2002, Jerwood Space, London & Waterhall Gallery, Birmingham Location: UK, Gimpel Fils, London

2001

Multiplications, British Council Touring Programme Total Object Complete With Missing Parts, Tramway, Glasgow The (Ideal) Home Exhibition, Gimpel Fils, London

2000

Group Exhibition, San Francisco Art Fair, Graystone Contemporary Art Mommy Dearest, Gimpel Fils, London London Calling, Gimpel Fils, London

1999

Nature / Culture, Gimpel Fils, London

Dark Laughter, Randolph Street Gallery, Chicago Morality Tales: History Painting in the 1980's, curated by Independent Curators Incorporated, touring exhibition through 1989, Grey Art Gallery and Study Center, New York University; Laguna Art Museum, California; Lowe Art Museum, University of Miami, Coral Gables, Florida; Musee du Quebec, Canada


1986

1985

1984

Golden-Lebergott-Wexler, Robbin Lockett Gallery, Chicago New Works from Gallery Artists, Dart Gallery, Chicago USA Exchange, Managua, Nicaragua

A Chicago Souvenir, Dart Gallery, Chicago Engagement, Feature Gallery, Chicago Artists to Watch, Dart Gallery, Chicago New Order, Feature Gallery, Chicago Looking at Men, Artemesia Gallery, Chicago Chicago Head, Randolph Street Gallery, Chicago Print Biennial, Sao Paolo, Brazil Six Painters, Randolph Street Gallery, Chicago Group exhibition, School of the Art Institute, Chicago Artist Call, A.R.C. Gallery and School of the Art Institute, Chicago

1982

Group Exhibition, School of the Art Institute, Chicago The Other Show, Chicago

1981

Bus Surf ‘n in Dekalb, Dekalb, Illinois Illinois Bell Works on Paper, Chicago

1980

Traps for Artists, Dekalb, Illinois Charlotte Moorman's Avant-Garde Festival, New York

Cable and Wireless Commission 1994

London Arts Board – Research and Development Grant Abbey Award in Painting, The British School at Rome

1993

Publication Grant, University of Leeds

1989

Art Matters Inc., New York Illinois Arts Council Completion Grant, Chicago

1987

Art Matters Inc., New York Illinois State Technical Assistant Grant

1985

Illinois Arts Council Chairman's Grant

1981–84

Unendowed Scholarship, School of the Art Institute of Chicago

1981

Commission and Funding, Northern Illinois University, Dekalb, Illinois

SELECTED BIBLIOGRAPHY 2016

Coxhead, Gabriel, Pamela Golden, Blouin Modern Painters, March 2016

2015

Dineen, Steve Pamela Golden: Charlie Don’t Surf, City A. M., 13 November

2014

Good Morning! Mister Williams., Time Out London Pino Casagrande. A un anno dalla morte, la sua ultima intervista, Artribune Good Morning! Mister Williams., Artplaces

AWARDS / COMMISSIONS 2012

Pollock-Krasner Foundation

2008

Smithsonian Institution Journal of American Art Archives

2007

Marie de Paris, Recollets, Paris British Council in Paris

2007

Preview – ARTfutures, The Guardian ARTfutures Brings Emerging Contemporary Art To London, Culture 24

2005

Residency, Resident Recollets, Paris Winner of the public prize of the Sovereign European Art Prize

Hubbard, Sue, The Independent, 14 February Metrolife Magazine, Evening Standard, 3 February

2003

The Twilight Zone, Art Review, July / August Twilight, The Guardian Guide, 12 July

2004

Arts Council Award to individual artist RETF, University of Reading

2002

2002

AHRB Small Grants Award, University of Reading

2000

Book Commission, onestar press, Paris Research Award, Wimbledon School of Art

Jerwood Prize, Galleries Magazine, June Jerwood Painting Prize 2002, What's On, London, June Art Preview, The Gallery Guide, May Furlong, Bill. Audio Arts

2001

Mahoney, Elizabeth, Total Objects Complete with Missing Parts, Art Monthly, October Total Object@tramway, Flash Art, October Young Gifted and Broke, ITV1 August Walsh, Maria, Pamela Golden, Art Monthly, July–August Currah, Mark. Pamela Golden, Time Out, June / July

2000

Buck, Louisa. Exhibition Choice, The Art Newspaper, July–August

2006

1999

Standard Life, Edinburgh, Commission

1998

Research Award, Wimbledon School of Art

1996–97

Library Relocations’, Book Works, London

1996

Publication Grant, University of Leeds

1995

British Council, Travel Grant Publication Grant, University of Leeds


Mommy Dearest, Burlington Magazine, July Mommy Dearest, Hot Tickets Magazine, July

1991 Hubbard, Sue.Fraser, Golden, Hansen, Time Out, June 12–19

1999 Grant, Simon. The Guide, The Guardian, 31 July Johnson, Ken. The Sea, The Sea, The New York Times, 16 July, p.E 38 Rosenfeld, Kathryn. Review, The New Art Examiner, Chicago, June Camper, Fred.Size Matters, The Reader, Art, June 18

1990

1998 Hubbard, Sue.Pamela Golden, Time Out, November Kent, Sarah. What is a Photograph?, Time Out, August Tips und Termine, KolnerStadt-Anzeiger, nr.25, March 6 1997 Artists Newsletter – Library Relocations 1996 Golden, Pamela. A Brush With Genius, The Guardian, July 30 Craddock, Sacha Around the Galleries, The Times, July 30 Kent, Sarah. Pam Golden, Time Out, July 24–31 Pamela Golden, London Magazine, June London Reviews, Art Review, July / August Drake, Nicholas. Pamela Golden: Plumbers, Evening Standard Choice, July Barrett, David. Private View – Bowes Museum, Art  Monthly, July / August Cathy Courtney. Artists’ Books – Plumbers, Pamela Golden, Art Monthly, No.201, November 1995 Pamela Golden, Trova Roma, La Republica, Italy 1994 Archer, Michael. Pamela Golden, Frieze, no.14, Jan–Feb 1993 Lillington, David. Pamela Golden, Time Out, December, p.59 Beaumont, Mary Rose. Pamela Golden, Art Review, December, p.68 'Weinstock, Nino Kunst Bulletin, September, p.48–49 Bush, Kate. Pamela Golden, Art Monthly, April, p.27–28 Met Nieumthal, Pamela Golden en Joel Fisher in S65, review, 5th April De Morgen, 'Gaeensnaar Aalst' review, 12th February Wilson, Andrew. London Winter Round-Up, Art Monthly, February, p. 20 Dyer, Richard. Pam Golden, Galleries, January, p.13 Searle, Adrian. Mind the Gap, Time Out, January Dutt, Robin. review, City Limits. 14–21 January 1992 Searle, Adrian. Nothing is Hidden, Time Out 16–30 December Galleries Magazine Vol.X No.7 , November Morse, Stan. The Case of the Missing Intention, City Limits, December 17–24 December

Ottoman, Klaus Art week

Bulka, Michael. Tattoo, Dialogue, January / February, p.16 1990 Smith, Roberta. The Group Show as Crystal Ball, The New York Times, 6 July, pp.C1,C23 Kent, Sarah. Pamela Golden, Time Out, 26 September–3 October, no.1049 Renton, Andrew. Blitz, December, no.96, p.34 1989 Hixson, Kathryn. Chicago in Review, Arts Magazine, May, vol.63, no.8 McCracken, David. Tar painting not crude artifacts, Chicago Tribune, 24 March, Section 7, p.55 Sherlock, Maureen. Mediated Knot, Art Papers, January / February, vol.14, no.1, p.67 1988 Brown, Daniel. New Chicago: Quiet and Deliberate, Dialogue, July / August, vol.11, no.4, pp.39–40 Fernandes, Joyce. Reviews: Good Painting, New Art Examiner, June vol.15, no.10, pp.42–43 Hixson, Kathryn. Cool, Conceptual, Controversial, New Art Examiner, May, vol.15, no.9, pp.30–33 Sherman, Mary. Emotions just scratch surface in gallery's “Good Painting'', Chicago Sun-Times, 22 April, p.9 Holg, Garrett. Pamela Golden / Judy Ledgerwood, New Art Examiner, March vol.15, no.7, p.49 McCraken, David. Artists explore the interactions of nature, Chicago Tribune, XX February, Section 7,p.42 Kathryn. On Exhibit: a gallery full of flowers, The Reader, 15 January 1987 Nilson, Lisbet. Chicago's Art Explosion, Artnews, May, pp.110–119 Brenson, Michael. Art: 1980's History on Canvas in 'Mortality Tales', New York Times, 16 October This Fall, Canadian Art, Fall, p.42 Bonesteel, Michael. Skimming 'Surfaces' at Terra Museum, Northbrook Star, October Artner, Alan. Terra incognita, Chicago Tribune, 13 September, Section 13, pp.10–11 Bourrie, Sally Ruth. Terra, New City, vol.2, no.44, 7–20 October, pp.12–13 1986 Critics Choice, New Art Examiner, May Hudson. The Social Element of Art, Painted Viewed by Pam Golden, Nit & Wit, December, pp.12–14 1985 Hixson, Kathryn. Reviews: Pamela Golden / Torreano, New Art Examiner, December, p.48


CATALOGUES 2017

Fazer Sentido, Casa da Cerca, Almada, Portugal

2015

Charlie Don’t Surf, Marlborough Contemporary, London

2014

HONOURS AND PRIZES 2012

Pollock – Krasner Foundation Smithsonian Institution Journal of American Art Archives

Good Morning! Mister Williams., Marlborough Contemporary, London

2007

Marie de Paris, Recollets, Paris British Council, in Paris

2008

Residents, Marie de Paris, Paris

2006

2005

The Word, Onestar Press, Paris

2004

Nothing Personal, Fundacao Calouste Gulbenkian, Portugal

Residency, Resident Recollets, Paris Winner of the public prize of the Sovereign European Art Prize

2004

2002

Jerwood Painting Prize 2002 Jerwood Space, London

Arts Council Award to individual artist RETF, University of Reading

2002

AHRB Small Grants Award, University of Reading

2000

Book Commission, onestar press, Paris Research Award, Wimbledon School of Art

1999

Standard Life, Edinburgh, Commission

1998

Research Award, Wimbledon School of Art

The Pirate, Onestar Press, Paris 2001

Multiplications, British Council Touring Show Even the car is dead, Gimpel Fils, London

2000

Mommy Dearest, Gimpel Fils, London London Calling, Gimpel Fils, London

1997

History, The Mag Collection, Ferens Art Gallery, Hull Library Relocations, Book Works, London Quarant’Anni in Blu, Galleria Blu, Milan

1996–1997 Library Relocations’, Book Works, London 1996

Publication Grant, University of Leeds

1995

British Council, Travel Grant Publication Grant, University of Leeds Cable and Wireless Commisssion

1996

Plumbers, Gimpel Fils, London Private View, Bowes Museum

1995

La Signora Watson Versa Il Caffe, Pino Casa Grande Galerie and The British School at Rome, Rome Heteronymns, London

1994

London Arts Board – Research and Development Grant Abbey Award in Painting, The British Schoolat Rome

1993

Publication Grant, University of Leeds

1994

Cologne Art Fair, Germany Women and Paint, Museum of Art, Vancouver

1989

Art Matters Inc., New York

1993

Advice for the Injured, Gimpel Fils, London

1992

Mind the Gap, Gimpel Fils, London

1989

Tattoo, Randolph Street Gallery, essay by Maureen Sherlock

1988

Earthly Delights: Garden Imagery in Contemporary Art, Fort Wayne Museum of Art, Essay by Anna C. Noll

1987

Surfaces: Two Decades of Painting in Chicago, Terra Museum of American Art, Chicago. Essay by Judith Rossi Kirschner Morality Tales: History Painting in the 1980's, Independent Curators Incorporated, New York City, Essay by Thomas W. Sokolowski

Illinois Arts Council Completion Grant, Chicago 1987

Art Matters Inc., New York Illinois State Technical Assistant Grant

1985

Illinois Arts Council Chairman’s Grant

1981–84

Unendowed Scholarship, School of the Art Institute of Chicago, Commission and Funding

1981

Northern Illinois University, Dekalb, Illinois


Marlborough

London

New York

Marlborough Fine Art (London) Ltd 6 Albemarle Street London, W1S 4BY Telephone: +44 (0)20 7629 5161 Telefax: +44 (0)20 7629 6338 mfa@marlboroughfineart.com www.marlboroughlondon.com

Marlborough Gallery Inc. 40 West 57th Street New York, N.Y. 10019 Telephone: +1 212 541 4900 Telefax: +1 212 541 4948 mny@marlboroughgallery.com www.marlboroughgallery.com

Marlborough Contemporary 6 Albemarle Street London, W1S 4BY Telephone: +44 (0)20 7629 5161 Telefax: +44 (0)20 7629 6338 info@marlboroughcontemporary.com www.marlboroughcontemporary.com

Marlborough Contemporary 545 West 25th Street New York, N.Y. 10001 Telephone: +1 212 463 8634 Telefax: +1 212 463 9658 info@marlboroughcontemporary.com www.marlboroughcontemporary.com

Madrid

Barcelona

GalerĂ­a Marlborough SA Orfila 5 28010 Madrid Telephone: +34 91 319 1414 Telefax: +34 91 308 4345 info@galeriamarlborough.com www.galeriamarlborough.com

Marlborough Barcelona Enric Granados, 68 08008 Barcelona. Telephone: +34 93 467 4454 Telefax: +34 93 467 4451 infobarcelona@galeriamarlborough.com www.galeriamarlborough.com


Photography: Richard Ivey Design: Stocks Taylor Benson Print: Impress Print Services Text: Akhil Sharma ISBN 978-1-909707-45-0 Catalogue No. 773 © 2018 Marlborough


Thunderstruck – Pamela Golden  

A catalogue to accompany the upcoming Pamela Golden exhibition, Thunderstruck, at Marlborough Fine Art, London

Thunderstruck – Pamela Golden  

A catalogue to accompany the upcoming Pamela Golden exhibition, Thunderstruck, at Marlborough Fine Art, London