Ken Womack builds the objects of American consumer culture at the scale they already occupy in our imaginations. A Pop-Tart with a bite taken out, neon glowing along the edge. A blank cassette tape seven feet tall, side B unrecorded. An eight-foot Texas vanity plate, rusted and unapologetic, reading GIANT.

GIANT: The Art of Ken Womack is published on the occasion of the artist's first solo museum exhibition, at the Museum of the Southwest in Midland, Texas. Twenty-four large-scale mixed-media works are reproduced in full color, from wall sculptures in plywood and acrylic to pieces built with neon, LED, motion, and salvaged industrial material.

Womack spent more than thirty years inside the language of advertising before turning it on itself. The work is affectionate and confrontational at once: a love letter to Texas that recognizes the state's faults, and an examination of how branding becomes identity and how memory gets packaged, sold, and mythologized. His sculptures are held in private collections alongside works by Andy Warhol and Jeff Koons.

The catalog includes a foreword by Beau Moore, Curator of Art at the Museum of the Southwest; an introduction by photographer Wesley Sherow; and "Popping the Nostalgic Bubble," a critical essay by Christine Burger placing Womack's wall sculptures within the lineage of Pop. Photography by Fernando Rojas and Kim Kanode. Written and edited by Michelle Green.

An art historian and curatorial consultant, Michelle Green works between artists and institutions — on the catalogs, chronologies, and exhibition histories through which a body of work enters the art-historical record.

She compiled the chronology and exhibition history for Susan Watkins and Women Artists of the Progressive Era (Yale University Press, 2025), edited by Corey Piper and published in association with the Chrysler Museum of Art. The volume accompanied the traveling exhibition of the same name at the Dixon Gallery and Gardens, Memphis, and the Chrysler Museum of Art, Norfolk. She is also co-author, with Hans Maes, of "From Model to Sitter: On Reclaiming Colonial Photography," published in the peer-reviewed journal Aesthetic Investigations.

Green holds a BA from Carthage College and an MA in Curation from the University of Kent.

She wrote and edited GIANT: The Art of Ken Womack, the catalog for the artist's first solo museum exhibition, at the Museum of the Southwest in Midland, Texas.

Ken Womack is a Houston-born, Dallas-based sculptor whose large-scale mixed-media works reconstruct the objects of American pop culture at a scale equal to the space they occupy in our lives. Working in plywood, cardboard, neon, LED, and recycled and repurposed materials, he builds Pop-Tarts, Lone Star cans, mix tapes, boomboxes, cigars, and t-bone steaks into oversized monuments, adding light, motion, and reflective surfaces because that is how these objects actually live in the world. The son of a bull rider and a ballerina, Womack received his BFA from the University of Texas at Austin in 1986 and spent more than thirty years founding and leading Dallas advertising agencies, including MindHandle and Hack, before turning the language of advertising toward his own work. His sculptures are held in private collections alongside works by Andy Warhol and Jeff Koons. Womack has exhibited at the Hamptons Art Fair, Spectrum Art Fair during Miami Art Week, ABV Gallery in Atlanta, and Patrick Jones Gallery in Dallas, among others. He served as the inaugural Artist in Residence at Scout Design Studio in Dallas in 2024 and has received sculpture commissions from Whataburger and City Electric Supply Co.. He serves on the Board of Trustees of The Winston School and advises Clay's Color Crew, a nonprofit serving neurodiverse youth. GIANT: The Art of Ken Womack, at the Museum of the Southwest in Midland, Texas, is his first solo museum exhibition.

Beau Moore is Curator of Art at the Museum of the Southwest in Midland, Texas, where he organized GIANT: The Art of Ken Womack. He wrote the foreword to this volume.

Christine Burger is a PhD candidate in art history at Southern Methodist University. Her essay "Popping the Nostalgic Bubble" examines Womack's wall sculptures within the lineage of Pop art.

Wesley Sherow is a photographer and the founder of Flashed. He wrote the introduction to this volume.