117
117

THE HISTORY OF NOW: THE COLLECTION OF DAVID TEIGER

Glenn Brown
MONUMENT TO INTERNATIONAL SOCIALISM
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UK: Greenford Park
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80,000120,000
LOT SOLD. 125,000 GBP
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117

THE HISTORY OF NOW: THE COLLECTION OF DAVID TEIGER

Glenn Brown
MONUMENT TO INTERNATIONAL SOCIALISM
Estimate
Irrevocable Bids
Lots with this symbol indicate that a party has provided Sotheby’s with an irrevocable bid on the lot that will be executed during the sale at a value that ensures that the lot will sell. The irrevocable bidder, who may bid in excess of the irrevocable bid, will be compensated based on the final hammer price in the event he or she is not the successful bidder or may receive a fixed fee in the event he or she is the successful bidder. If the irrevocable bidder is the successful bidder, the fixed fee (if applicable) for providing the irrevocable bid may be netted against the irrevocable bidder’s obligation to pay the full purchase price for the lot and the purchase price reported for the lot shall be net of such fixed fee. If the irrevocable bid is not secured until after the printing of the auction catalogue, a pre-lot announcement will be made indicating that there is an irrevocable bid on the lot. If the irrevocable bidder is advising anyone with respect to the lot, Sotheby’s requires the irrevocable bidder to disclose his or her financial interest in the lot. If an agent is advising you or bidding on your behalf with respect to a lot identified as being subject to an irrevocable bid, you should request that the agent disclose whether or not he or she has a financial interest in the lot.
UK: Greenford Park
Lots marked W will be sent to Greenford Park Fine Art Storage Facility immediately after the auction.
Artist's Resale Right
Purchase of lots marked with this symbol will be subject to the payment of the artist's resale right.
Double Dagger
Indicates that the lot is being sold whilst subject to Temporary Importation, and that VAT is due at the reduced rate
Guaranteed Property
Guaranteed Property. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. If every lot in a catalogue is guaranteed, the Conditions of Sale will so state and this symbol will not be used for each lot.
80,000120,000
LOT SOLD. 125,000 GBP
JUMP TO LOT

Details & Cataloguing

Contemporary Art Day Auction

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London

Glenn Brown
B. 1966
MONUMENT TO INTERNATIONAL SOCIALISM
oil and acrylic on bronze
38.1 by 52 by 37.1 cm. 15 by 20 1/2 by 14 5/8 in.
Executed in 2009.
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Provenance

Gagosian Gallery, London
Acquired from the above by David Teiger in 2009

Exhibited

London, Gagosian Gallery, Glenn Brown, October - November 2009, pp. 38-39, illustrated in colour

Literature

John-Paul Stonard, 'Glenn Brown', The Burlington Magazine, Vol. 156, No. 1137, August 2014, p. 559 (text)

Catalogue Note

For Glenn Brown, one of Britain’s most renowned contemporary artists, the past and present are treasuries of raw material, offering countless images, titles, and techniques to be combined, appropriated, and deconstructed. Drawing from an extensive knowledge of art history, as well as of literature, music, and popular culture, Brown creates complex and sensuous works of art that are resolutely of our time, through contemporary reading of images new and remembered.

Brown’s sculptures are highly compelling, elaborate masses built from precisely placed strokes of thick oil paint. In some of them, parts of the cold 19th century bronzes that he uses as supports are still visible under the gravity-defying impasto. While Brown started creating sculptures in 1993, it was with Monument to International Socialism in 2009 that he first started using antique bronze figures as support. The thick paint-slugs of eggplant, jade, buttery yellow and navy hide what seem to be a bronze horse or cow, suckling a miniature version of itself. Monument to International Socialism perfectly encapsulates the artist’s unique artistic vision, challenging not only the notion of what sculpture is, but the very laws of gravity and exploring new and undiscovered territory in art making. Contrary to the artist’s paintings, where he seems to strip the sitter of its skin and unveil the muscles that lie underneath, his sculptures do the exact opposite and pile on excessive layers of paint, adding a new painterly dimension to the found object.  According to Brown “sculpture has to operate in its own right – it cannot be slavish to its source” (Glenn Brown in conversation with Karen Wright, The Independent, 3 September 2015, online).

Many of Brown’s works seem to materialise as if part of a dreamy meditation in which scale is disproportionate, gravity is upended, and reality is not as it seems. The artist notes that he sees “the sculptural brush marks as challenging the logic of paint in that they appear to defy gravity by actually staying upright. For me, they exist within a surreal world that is based on getting paint to do something it shouldn’t do, and to sit in a three-dimensional world that it shouldn’t be in. The vitrine allows the sculpture to exist within its own mummified world”  (Glenn Brown in conversation with Rochelle Steiner, Exh. Cat.London, Serpentine Gallery, Glenn Brown, 2004, p. 99).

Mining art history and popular culture, Glenn Brown has created an artistic language that transcends time and pictorial conventions. In sophisticated compositions that fuse diverse histories - the Renaissance, Impressionism, Surrealism - Brown creates a space where the abstract and the visceral, the rational and irrational, the beautiful and grotesque, churn in a dizzying amalgamation of reference and form.

Contemporary Art Day Auction

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London