Viewing Room Main Site
Skip to content
a square canvas with an aerial view of a two men crawling over a manhole. a Mcdonald's wrapper, two straws and a lastic lid are strewn on the ground. one man reaches out to pick up a straw, the other crawls away out of the canvas .

Thomas Eggerer

Hands and Heels (Gotlik der Ferse)

2018

Oil on linen

65.35 x 64.17 inches

166 x 163 cm

$75,000

black background with yellow wrappers unfolded. french fries, ketchup packets, and half-eaten burgers are scattered around the painting

Thomas Eggerer

Budget Meal Pattern

2019

Oil on linen

34 x 39 inches

86.4 x 99.1 cm

$40,000

a painting of a rectangular grated man hole. the canvas fades from a darker blue-gray to a lighter-blue gray from top to bottom.

Thomas Eggerer

ConEd

2017

Oil on linen

75 x 74 inches

190.5 x 188 cm

$85,000

an arial view of a man half on the canvas. he is doing yoga on the street. his yoga mat covers part of a circular man hole. the figures arms are outstretched.

Thomas Eggerer

Street Yoga

2017

Oil on linen

65 x 64 inches

165.1 x 162.6 cm

$75,000

a rectangular grated man hole on a blue-gray street

Thomas Eggerer

ConEd (Blue)

2017

Oil on linen

75 x 74 inches

190.5 x 188 cm

$85,000

a scene of people on a beach. the scene is painted in golds and yellows.

Thomas Eggerer

Drawing for "Sand" I

2007

Acrylic and pencil on paper

Framed dimensions:

51.57 x 75.59  inches

131 x 192 cm

$32,000

a scene showing people on the beach with the ocean in the background. the scene is painted in greens and grays.

Thomas Eggerer

Drawing for "Sand" II

2007

Acrylic and pencil on paper

55.51 x 83.46  inches

141 x 212 cm

$32,000

a piece of paper with purple zig zaps in the middle top of the page. people are drawn in the center and to the right of the page, where they are met by blue, red, and black cross hatching.

Thomas Eggerer

Untitled

2013

Acrylic, pencil and carbon on paper

82 x 82 inches

208.3 x 208.3 cm

$35,000

Each square canvas features precisely choreographed fragments of resting bodies, cutting in from the margins of the painting. This temporal occupation is contrasted with a circular “lid” or “cover” and intersecting parallel diagonals. The lids carry institutional significance, pointing to municipal authority, which contrasts with the transient fragility of leisurely carnal exposure. The lids also emphasize the presence of a concealed space underneath, quintessential to New York street life.

Excerpt from Mousse Magazine, October 2017

head shot of thomas eggerer.

Trained as a painter at the Art Academy in Munich, Thomas Eggerer (b. 1963 Munich, Germany) stepped away from painting to join the New York collective Group Material. He has since returned to painting, drawing and collage, and his works often portray figures in an abstract, surreal landscape, or set against dominating architecture or magazine cutouts. He has also been a professor of Visual and Environmental Studies at Harvard and is teaching at Bard College.

In Eggerer's most recent show at Petzel Gallery, Todd (2017), he created each square canvas to feature precisely choreographed fragments of resting bodies, cutting in from the margins of the painting. This temporal occupation is contrasted with a circular “lid” or “cover” and intersecting parallel diagonals. The lids carry institutional significance, pointing to municipal authority, which contrasts with the transient fragility of leisurely carnal exposure. The lids also emphasize the presence of a concealed space underneath, quintessential to New York street life.

Thomas Eggerer has had solo exhibitions at the Frans Hals Museum, Haarlem, The Netherlands (2008); Kunstverein Braunschweig, Germany, (2003); Wadsworth Atheneum Museum of Art, Hartford, CT (2002).

His work has also been included in group exhibitions at MUMOK, Vienna (2016); Museum Brandhorst, Munich (2015); White Columns, New York (2011); MoMA, New York (2009); Castello di Rivoli, Turin (2008); SFMoMA, San Francisco (2008); UCLA Hammer Museum, Los Angeles (2004); Museum of Contemporary Art San Diego (2004); Vancouver Art Gallery (2004); CCA Wattis Institute for Contemporary Arts (2004); Frankfurter Kunstverein, Frankfurt (2003).

Back To Top