Marc Selwyn Fine Art

Marc Selwyn Fine Art Contemporary art gallery

Then and now.Dorothea Rockburne with “Study for Noli Me Tangere” in 1977, and nearly fifty years later with Marc Selwyn ...
09/17/2026

Then and now.

Dorothea Rockburne with “Study for Noli Me Tangere” in 1977, and nearly fifty years later with Marc Selwyn and David Nolan in front of the work at the gallery.

Dorothea Rockburne: On the Consideration of the Curve opens tonight, September 17, from 6–8 PM at Marc Selwyn Fine Art.

9953 S Santa Monica Blvd
Beverly Hills, CA

Pictured:

1. Dorothea Rockburne with “Study for Noli Me Tangere,” 1976. Photograph by James Hamilton, Vogue, June 1977. © 2025 Dorothea Rockburne / Artists Rights Society (ARS), New York.
2. Marc Selwyn, Dorothea Rockburne, and David Nolan with “Study for Noli Me Tangere,” 1976.

Dorothea Rockburne: On the Consider of The CurveOpening September 17th at 9953 S Santa Monica Blvd.Please join us for a ...
09/15/2026

Dorothea Rockburne: On the Consider of The Curve

Opening September 17th at 9953 S Santa Monica Blvd.
Please join us for a reception with the artist from 6-8pm.

Pictured: Installation of Dorothea Rockburne’s ‘Untitle’, 1969, graphite on Kraft paper, height dimensions variable x 40 inches wide.

The Murals of La Jolla project’s latest commission, a collaboration with the Museum of Contemporary Art San Diego, is an...
09/12/2026

The Murals of La Jolla project’s latest commission, a collaboration with the Museum of Contemporary Art San Diego, is an homage to q***r art and cultural memory.

“Remembrance,” by Los Angeles-based artist Joey Terrill, is an image the artist created in 1989 of himself and his then-partner Robert Ward in a garden setting of cacti and succulents; the botanical setting is at once beautiful and threatening, evoking the complex sexual politics and broader cultural climate of the 1980s during the HIV/AIDS crisis. Each figure carries a bouquet of long-stemmed gladiolas and birds-of-paradise, the official flower of the City of Los Angeles, firmly grounding the scene in Southern California.

Spanning mediums of zine-making, performance, printmaking, collage, and painting, Terrill’s practice engages his lived experiences within intersecting q***r, Chicano, and artistic communities.

Murals of La Jolla began in 2010 as a project of the Athenaeum Music & Arts Library originally initiated by the La Jolla Community Foundation to commission large-scale art for public spaces around La Jolla.

The murals are commissioned for privately-owned spaces and funded through private donations to enhance La Jolla’s civic character, with each mural remaining for two to four years so as to continually bring new perspective.

Murals of La Jolla
Joey Terrill
The Museum of Contemporary Art San Diego
Athenaeum Music & Arts Library

Pictured: 𝙍𝙚𝙢𝙚𝙢𝙗𝙧𝙖𝙣𝙘𝙚 - Joey Terrill, 2026, Museum of Contemporary Art San Diego at 700 Prospect Street.
Wall Sponsors: Maryanne and Irwin Pfister. Photos by Philipp Scholz Rittermann

Marc Selwyn Fine Art is pleased to present ‘Dorothea Rockburne: On the Consideration of the Curve’. Please join us on Se...
09/11/2026

Marc Selwyn Fine Art is pleased to present ‘Dorothea Rockburne: On the Consideration of the Curve’. Please join us on September 17th for an opening reception with the artist from 6-8pm at 9953 S Santa Monica Blvd.

Spanning more than fifty years, the exhibition traces the evolution of a practice in which mathematics and material are inseparable. For Rockburne, an artwork is not an illustration of a predetermined idea; its form emerges through the physical actions of folding, cutting, layering, marking, and measuring.

Rockburne’s distinctive approach emerged during her studies at Black Mountain College from 1950 to 1954. There, the mathematician Max Dehn introduced her to topology, geometry, and mathematical structures found in nature. These ideas became enduring foundations of her work, informing an approach to abstraction in which paper, linen, vellum, and industrial materials function as active elements rather than neutral supports.

Pictured: 1. ‘2, 4, 6, 8’, 1969-70, graphite on brown paper, 96 x 72 inches. 2. ‘Study for Noli Me Tangere’, 1976, oil, gesso, and glue on linen, 55 x 34 inches. 3. ‘Interior Perspective/Discordant Harmony’, 1985, oil on linen, 62 1/4 x 88 5/8 x 4 inches. 4. ‘Musician Angel: Parallelogram, Square, 1979-81, pencil, wax, and glue on vellum mounted to rag board in artist’s frame, 56 1/4 x 45 7/8 inches.

The Fitzwilliam Museum in Cambridge collaborated with the studio of Sir Frank Bowling OBE RA and the screenprinters Cori...
09/04/2026

The Fitzwilliam Museum in Cambridge collaborated with the studio of Sir Frank Bowling OBE RA and the screenprinters Coriander Studio to produce a hand-signed, limited-edition run of 30 prints of Bowling’s ‘Swan’ (1964).

Made to accompany ‘Frank Bowling: Seeking the Sublime’, the museum’s current display, which spans Bowling’s seven-decade career.

Swans feature repeatedly in Bowling’s work - his lifelong fascination with the birds began in the early 1960s when he saw a swan flailing desperately beside the River Thames, covered in oil. The swan’s struggle in the 1964 painting suggests inner conflict, symbolising the complexities of the artist’s life at that time.

The prints are for sale and can be found by the link in the The Fitzwilliam Museum bio.

Frank Bowling Studio
Coriander Studio

Photos: 1. Sir Frank Bowling OBE RA in Peacock Yard, March 2026. Photo by Frederik Bowling © Frank Bowling. Courtesy Frank Bowling Archive. 2. Screen print of ‘Swan’ (1964), printed in Coriander Studio. Photography by Worton Hall Studios © 2026

It’s the final few days to see ‘Lee Mullican: Silent Shades’, on view at our Camden Annex (427 N Camden Drive, Beverly H...
09/01/2026

It’s the final few days to see ‘Lee Mullican: Silent Shades’, on view at our Camden Annex (427 N Camden Drive, Beverly Hills). Come see it before it closes on Saturday September 5th.

The exhibition centers on the paintings created during the artist’s Guggenheim year in Rome, together with a selection of terracotta sculptures produced shortly thereafter, examining a key moment in the artist’s career when his interests in automatism and ancient cultures coalesced into a powerful new visual language.

The Estates of Luchita Hurtado and Lee Mullican
Pictured: 1. ‘Untitled’, 1960, terra cotta, 10 ½ x 6 x 1 ¾ inches. 2. Installation view of ‘Lee Mullican: Silent Shades’, 2026. 3. ‘Untitled’, 1959-60, acrylic on paper, 59 x 86 ½ inches. 4. Installation view of ‘Lee Mullican: Silent Shades’, 2026.

William Wegman’s large-scale color Polaroids occupy a singular place in both his career and the history of photography.B...
08/23/2026

William Wegman’s large-scale color Polaroids occupy a singular place in both his career and the history of photography.

Beginning in the late 1970s, Wegman became one of the artists invited to work with Polaroid’s extraordinary 20 x 24-inch camera, a room-sized instrument capable of producing uniquely detailed, one-of-a-kind instant photographs. For Wegman, this was far more than a technical innovation. The scale, saturated color, immediacy, and physical presence of the Polaroid opened a new chapter in his practice.

The shift was especially significant following the arrival of Fay Ray in 1986. Wegman’s longstanding interest in photography, performance, humor, illusion, and conceptual play found an expansive new vocabulary in these monumental images. What had once been intimate, experimental photographic gestures could suddenly command the scale and visual authority of painting, advertising, and cinema—while retaining the spontaneity and singularity of an instant photograph.

In the broader history of photography, Wegman’s Polaroids are equally important. Instant photography had traditionally been associated with informality, experimentation, and the everyday. Wegman transformed that immediacy into a sophisticated fine-art language, demonstrating that an instant photograph could be conceptually rigorous, visually complex, and monumental in scale. His 20 x 24 Polaroids entered major museum collections, including those of MoMA and The Metropolitan Museum of Art, affirming the medium’s place within contemporary photographic history.

Our current exhibition brings together works that reveal the remarkable range of this period. On view through September 5th at 427 N Camden Drive, Beverly Hills.

Inquiries welcome, please DM us for more details.

William Wegman
Pictured: 1. 3 Out of Four, 1988, color Polaroid, 24 x 20 inches. 2. Splitting Image, 2005, black & white Polaroid, 24 x 20 inches. 3. Eye On, 1994, color Polaroid, 24 x 20 inches. 4. Vertical Lines, 2008, color Polaroid, 24 x 20 inches. 5. Trio of One, 2000, black & white Polaroid, 24 x 20 inches. 6. Installation view.

It’s the final week to see ‘Joey Terrill: Chisme y Memorias’, which runs through Saturday, August 22nd at our main galle...
08/17/2026

It’s the final week to see ‘Joey Terrill: Chisme y Memorias’, which runs through Saturday, August 22nd at our main gallery, located at 9953 South Santa Monica Blvd.

The paintings presented in this exhibition originate from photographs, some that Terrill took over decades, reflecting his lifelong habit of carrying a 32mm camera to document the people, places, and moments that shaped his life, and others taken by family or friends. Throughout these works, Terrill’s distinctive painterly approach—combining bold color, graphic line, and a balance between photographic reference and expressive interpretation—remains central. Figures are outlined with crisp black lines which come from the artist’s love of cartoons and harkens back to his early Zine publications ‘Chicos Modernos’ and ‘Homeboy Beautiful’ which portrayed his gay community with dignity, humor and affection that lend clarity and presence, while nuanced tonal shifts capture light, texture, and emotional atmosphere.

Terrill’s work continues to bridge the personal and the collective. His paintings serve not only as records of individual experience but also as reflections of broader cultural histories—particularly those of q***r and Chicano communities navigating visibility, loss, and resilience.

Joey Terrill
Pictured: 1. ‘Waiting to go to Dennis’s Memorial - Santa Fe, 1991’, 2001, acrylic on canvas, 30 x 40 inches. 2. Installation view of ‘Joey Terrill: Chisme y Memories’, 2026. 3. ‘Chisme, Tucson, 2025’, 2026, acrylic on canvas, 30 x 40 inches.

Join us Friday, August 7 from 5-8pm on Camden Drive for cocktails in the courtyard and a special presentation of works f...
08/06/2026

Join us Friday, August 7 from 5-8pm on Camden Drive for cocktails in the courtyard and a special presentation of works from Hoffman Donahue, Marc Selwyn Fine Art, and Nonaka-Hill, accompanied by Persian bites from Mameg - including objects from the Perfect
Nothing Catalog.

Friday, August 7, 5-8 PM
417 N Camden Drive
Beverly Hills, CA 90210

The presentation will remain on view Saturday, August 8, from 11am - 6pm

Hoffman Donahue Nonaka-Hill MAMEG
Pictured: 1. Rodolfo Abularach, ‘Untitled’, 1976, oil on canvas, 24 x 30 inches. 2. Carlos Almaraz, ‘Echo Park’, 1982, gouache on paper, 11 x 14 inches. 3. William Leavitt, ‘Reverse Angle’, 2005, oil on linen, 30 x 68 inches. 4. Joey Terrill, ‘Chisme, East LA, 1984’, 2025, acrylic on canvas, 30 x 40 inches. 5. Lee Mullican, ‘Untitled’, c. 1980, oil paint and pastel on canvas, 49 ¾ x 123 ¾ inches.

August 1st: Tamales & Tequila with artist Joey TerrillPlease join us this Saturday from 5 - 7pm at 9953 S Santa Monica B...
07/29/2026

August 1st: Tamales & Tequila with artist Joey Terrill

Please join us this Saturday from 5 - 7pm at 9953 S Santa Monica Blvd. for tamales and tequila in the gallery to celebrate ‘Joey Terrill: Chisme y Memorias’

Let us know you’ll be there: [email protected]

Joey Terrill
Pictured: 1. ‘Tamalada’, 1999, acrylic on canvas, 30 x 40 inches. 2. Installations view of ‘Joey Terrill: Chisme y Memorias’.

Address

9953 S Santa Monica Boulevard
Beverly Hills, CA
90212

Opening Hours

Tuesday 11am - 6pm
Wednesday 11am - 6pm
Thursday 11am - 6pm
Friday 11am - 6pm
Saturday 11am - 6pm

Telephone

+13102779953

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