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THEASTER GATES (b. 1973)

ARTIST BIO INQUIREDOWNLOAD PDFSIMILAR ARTWORKS
 
THEASTER GATES - Stand-Ins for Period of Wreckage 25 - white concrete and porcelain - 48 x 12 x 12 in. THEASTER GATES - Stand-Ins for Period of Wreckage 25 - white concrete and porcelain - 48 x 12 x 12 in. THEASTER GATES - Stand-Ins for Period of Wreckage 25 - white concrete and porcelain - 48 x 12 x 12 in. THEASTER GATES - Stand-Ins for Period of Wreckage 25 - white concrete and porcelain - 48 x 12 x 12 in. THEASTER GATES - Stand-Ins for Period of Wreckage 25 - white concrete and porcelain - 48 x 12 x 12 in. THEASTER GATES - Stand-Ins for Period of Wreckage 25 - white concrete and porcelain - 48 x 12 x 12 in. THEASTER GATES - Stand-Ins for Period of Wreckage 25 - white concrete and porcelain - 48 x 12 x 12 in. THEASTER GATES - Stand-Ins for Period of Wreckage 25 - white concrete and porcelain - 48 x 12 x 12 in. THEASTER GATES - Stand-Ins for Period of Wreckage 25 - white concrete and porcelain - 48 x 12 x 12 in. THEASTER GATES - Stand-Ins for Period of Wreckage 25 - white concrete and porcelain - 48 x 12 x 12 in.
THEASTER GATES - Stand-Ins for Period of Wreckage 25 - white concrete and porcelain - 48 x 12 x 12 in.
Stand-Ins for Period of Wreckage 25201148 x 12 x 12 in. white concrete and porcelain
Provenance
Private Collection, Kavi Gupta
Private Collection, Puerto Rico

65,000

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The stands are: 32 H x 19-3/4 W x 19-3/4 D in. <br> <br>Rat: 27 7/8 x 12 7/8 x 20 7/8 in. <br>Ox: 29 1/8 x 20 1/8 x 16 7/8 in. <br>Tiger: 25 7/8 x 14 7/8 x 16 7/8 in. <br>Rabbit: 27 7/8 x 9 7/8 x 18 7/8 in. <br>Dragon: 35 7/8 x 18 1/8 x 25 7/8 in. <br>Snake: 27 7/8 x 14 1/8 x 6 3/4 in. <br>Horse: 29 1/8 x 12 1/4 x 22 in. <br>Ram: 25 1/4 x 20 7/8 x 16 1/8 in. <br>Monkey: 27 1/8 x 12 7/8 x 14 7/8 in. <br>Rooster: 24 x 9 x 16 7/8 in. <br>Dog: 25 1/4 x 14 7/8 x 18 7/8 in. <br>Boar: 27 1/8 x 16 1/8 x 20 7/8 in. <br> <br>World-renowned Chinese contemporary artist Ai Weiwei is a sculptor, installation artist, architectural designer, curator, and social and cultural critic who has been exhibiting his work internationally since the late 1990s. His artistic practice is inextricably linked with cultural engagement and willingly crosses barriers between different media—cultural, artistic, and social. It was perhaps his detention from 2011 until August 2015 by the Chinese government that brought his views to the greatest audience. Ai Weiwei now lives in Germany and continues to create new works and uses his significant international profile to promote artistic and personal freedom. <br> <br>These twelve sculptures depict the animals associated with the traditional Chinese zodiac. Ai Weiwei’s cycle references a European rendering of the zodiac animals designed by the Italian Jesuit Giuseppe Castiglione. The original sculptures were built in the eighteenth century for an elaborate water-clock fountain at the Yuanming Yuan (Old Summer Palace), which was ransacked in 1860. By recreating the lost and displaced statues, Ai Weiwei engages issues of looting, repatriation, and cultural heritage while expanding upon ongoing themes in his work concerning the “fake” and “copy” in relation to the original. <br> <br>Ai Weiwei now works in Berlin, Germany.

AI WEIWEI

Alexander Calder's "The Palm Tree", (1947) has an understated beauty and brings to life Calder's mastery of the oil paint medium. The present work is registered with the Alexander Calder Foundation under number #A08381. This painting was acquired directly from Perls Galleries in New York in 1974. Perls was one of the primary dealers of Calder's work. The painting has never been to auction and has remained in the same private collection since 1974.

ALEXANDER CALDER

"San Loretto" (2008) references a story from the Catholic faith, in which the house of the Holy Family was miraculously transported out of Nazareth for protection during the Crusades. The story appeals to Anselm Kiefer's distinctive visual themes of ruin and renewal, depicting the great effort of carrying the structure to Italy while speaking to the destruction of the Crusades. The buildup of fragments and rubble on San Loretto coalesces into an image of a bird, which combined with the title and its layers of meaning, suggests the figure of a dove and even the Holy Spirit. Kiefer has said, “People think of ruins as the end of something, but for me they were the beginning. When you have ruins you can start again." <br> <br>The painting shows Kiefer’s desire to create a self-contained world within the confines of the canvas; the winged form flies effortlessly across a vast, open landscape created using Kiefer’s favored thick-Impasto surface. <br> <br>Kiefer draws from a variety of sources for the subjects of his work, including Judeo-Christian themes, mythological subjects, and German history itself. Kiefer can produce some of the most provocative and innovative works of our time using his automatic process. Much like the spontaneous working nature of Jackson Pollock before him, Kiefer is spiritually connected to the work during the creative process, letting his subject come through at the moment. <br> <br>In honor of Kiefer’s 70th birthday, the Centre Pompidou, the Bibliothèque Nationale in Paris, and the Museum der bildenden Künste in Leipzig hosted a retrospective exhibition for the artist in 2015. The present work has been held in a private collection since its creation.

ANSELM KIEFER

Not Vital - Tongue - stainless steel - 307 x 67 x 59 in.

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Julian Schnabel is an American painter whose style is associated with the Neo-Expressionist movement of the 1980s. Pascin Pig Passin Time is part of Schnabel’s broken plate series of paintings, inspired by the trencadís, or broken tile mosaic, of architect Antoni Gaudí. With a humorous title and depicting his first wife, Jacqueline Beaurang, the broken ceramics give Schnabel an assertive and textural surface in which to create large-scale works that captured the brash and audacious period of the 1980s.

JULIAN SCHNABEL

A leading figure in the Young British Artists movement in the late 1980s and 1990s, Damien Hirst garnered international attention with his striking displays with death as a central theme. The most recognizable examples include “The Physical Impossibility of Death in the Mind of Someone Living” (1991), a 14-foot-long glass tank with a shark preserved in formaldehyde, “Mother and Child Divided” (1993), an installation that featured a bisected cow and her calf displayed in four vitrines at that year’s Venice Biennale, and “For the Love of God” (2007), a diamond-encrusted human skull made of platinum. <br> <br>Some of Hirst’s most iconic images include Spot paintings, consisting of organized rows of colored circles, and Butterfly paintings, such as “Overwhelming Love” (2008). Hirst’s Butterfly paintings speak to his characteristic themes, offering the contradiction of death with the bright vitality of a butterfly's wings. Hirst explains: “I think rather than be personal you have to find universal triggers: everyone’s frightened of glass, everyone’s frightened of sharks, everyone loves butterflies.” <br> <br>Damien Hirst Butterfly works feature prominently in his oeuvre, he started to incorporate them after flies, and other insects were accidentally affixed to some of his paintings. Hirst's record for paintings at auction is held by the butterfly painting "Eternity" which sold for $9.6 million in 2007.

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American artist Robert Rauschenberg helped to revolutionize art in the 20th century through his assemblages incorporating found objects and pop culture. For the Hoarfrost series, Rauschenberg used solvent to transfer images from newspapers and magazines to unstretched fabric. Hoarfrost is a kind of lacy film made up of minute, needle-like ice crystals. Rauschenberg evoked the transience of the hoarfrost by printing newspaper and magazine pages on overlapping layers of delicate fabrics. Other pieces in this series are in the collections of The Guggenheim, MoMA, SF MOMA, the National Gallery of Art and Tate.

ROBERT RAUSCHENBERG

TOM WESSELMANN - Study for Bedroom Painting #6 - pencil and thinned Liquitex on paper - 5 1/4 x 6 3/4 in.

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SERGEJ JENSEN - Men with Hats - canvas collage on canvas - 71 x 51 1/2 in

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GEORGE CONDO - Girl With Bow Tie - oil on canvas - 39 1/4 x 28 3/4 in

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HASSEL SMITH - I Dreamt I Dwelt in Marble Halls - acrylic on canvas - 68 x 68 in.

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HASSEL SMITH - Untitled - acrylic on canvas - 68 x 68 in.

HASSEL SMITH

ALEX KATZ - Untitled - oil on masonite - 11 7/8 x 15 3/4 in.

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HASSEL SMITH - From 1 to 9 - acrylic on canvas - 68 x 68 in.

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THEASTER GATES - Untitled (flooring) - white cement, debris, flooring - 35 x 35 x 3 in.

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KENNETH NOLAND - Winds 82-08 - painted monotype on handmade paper - 86 x 32 in.

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SYLVIA PLIMACK MANGOLD - Gray Winter Glaze - oil on canvas - 30 x 40 in.

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AMY SILLMAN - Untitled #7 - gouache, chalk, and pencil on etching on paper - 31 x 28 in.

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WILLIAM GLEN CROOKS - Night and Day Café - oil on canvas - 48 x 36 in.

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LOUISE BOURGEOIS - Untitled - glass hologram - 10 3/4 x 13 3/4 in.

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TIMOTHY TOMPKINS - Jungle v.1 - commercial enamel on aluminum - 48 x 80 in.

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WILLIAM WEGMAN - Dog Cabin - silver gelatin print - 7 1/4 x 6 3/4 in.

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CHRIS TRUEMAN - ZS - acrylic and acrylic spray paint on canvas - 36 x 38 3/4 in.

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ROGER THOMAS - Perfected World 3 Candlestick - pastel on Dieu Donné handmade archival rag - 60 x 40 in.

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