1. 虽然现在离开了这个行业，但她一生都在悉尼的三个商业画廊工作过，有三个孩子，每一个都是来自每个画廊的艺术家，但是哀叹这一事实，而不是三个小狗屎中没有一个会去看她或关心她，2021。 by Dale Frank 高清作品[50%]

Although now left the industry she had worked for three Sydney commercial galleries all her life and had three children, each fathered by an artist from each gallery, but bemoaned the fact than none of the three little shits would visit or cared about her, 2021

材质 :Colour and metallic pigments, black aluminium, acrylic in easycast resin, epoxyglass, on perspex 尺寸 :200 × 180 cm Painting

图片文件尺寸 : 5630 x 4332px

虽然现在离开了这个行业，但她一生都在悉尼的三个商业画廊工作过，有三个孩子，每一个都是来自每个画廊的艺术家，但是哀叹这一事实，而不是三个小狗屎中没有一个会去看她或关心她，2021。-戴尔·弗兰克(Australian, b. 1959)

英文名称:Although now left the industry she had worked for three Sydney commercial galleries all her life and had three children, each fathered by an artist from each gallery, but bemoaned the fact than none of the three little shits would visit or cared about her, 2021-Dale Frank

2. 他曾在悉尼的大多数商业画廊工作过，在仓库的后面发现过几次，但在2000，他告诉我这并不奇怪，这只是Margaret Olley和Vivienne Binns在他的手机画上的照片，而不是他周围的废话，2021。 by Dale Frank 高清作品[46%]

He has worked for most of the commercial galleries in Sydney and has been found more than a few times masterbating in the back of stockrooms but in 2000 he told me it was not weird, it was only to pictures on his phone of paintings by Margaret Olley and Vivienne Binns, not the crap around him, 2021

材质 :Colour pigments in easycast resin, epoxyglass, on Perspex 尺寸 :200 × 180 cm Painting

图片文件尺寸 : 5630 x 4332px

他曾在悉尼的大多数商业画廊工作过，在仓库的后面发现过几次，但在2000，他告诉我这并不奇怪，这只是Margaret Olley和Vivienne Binns在他的手机画上的照片，而不是他周围的废话，2021。-戴尔·弗兰克(Australian, b. 1959)

英文名称:He has worked for most of the commercial galleries in Sydney and has been found more than a few times masterbating in the back of stockrooms but in 2000 he told me it was not weird, it was only to pictures on his phone of paintings by Margaret Olley and Vivienne Binns, not the crap around him, 2021-Dale Frank

4. 佩内洛普·惠特尼（Penelope Whitney）回忆道：“我从小在加利福尼亚州中部骑马和比赛的马匹世界是如此可怕的性别歧视；女孩和女人通常只被视为性对象，而不是天才的骑手和训练员。”惠特尼的灵感来自查理·帕克赫斯特（Charley Parkhurst，又名独眼查理）的故事。在淘金热期间，帕克赫斯特是一名著名的驿站马车司机，他去世后，人们发现帕克赫斯特在生物学上是女性。（2018年） by Jamil Hellu 高清作品[42%]

“The horse world I grew up riding and competing in central California was so horribly sexist; girls and women were often seen only as sexual objects, not as talented riders and trainers,” recalls Penelope Whitney who is inspired by the story of Charley Parkhurst, aka One-Eyed Charley. Celebrated as a stagecoach driver during the Gold Rush, it was discovered after his death that Parkhurst was biologically female. (2018) | Available for Sale

材质 :Digital pigment print 尺寸 :147.3 × 101.6 cm Photography

佩内洛普·惠特尼（Penelope Whitney）回忆道：“我从小在加利福尼亚州中部骑马和比赛的马匹世界是如此可怕的性别歧视；女孩和女人通常只被视为性对象，而不是天才的骑手和训练员。”惠特尼的灵感来自查理·帕克赫斯特（Charley Parkhurst，又名独眼查理）的故事。在淘金热期间，帕克赫斯特是一名著名的驿站马车司机，他去世后，人们发现帕克赫斯特在生物学上是女性。（2018年）-Jamil灯

英文名称:“The horse world I grew up riding and competing in central California was so horribly sexist; girls and women were often seen only as sexual objects, not as talented riders and trainers,” recalls Penelope Whitney who is inspired by the story of Charley Parkhurst, aka One-Eyed Charley. Celebrated as a stagecoach driver during the Gold Rush, it was discovered after his death that Parkhurst was biologically female. (2018) | Available for Sale-Jamil Hellu

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