- 259
Sam Taylor-Wood
Estimate
9,000 - 12,000 USD
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Description
- Sam Taylor-Wood
- Five Revolutionary Seconds XV
- color prints mounted on vinyl, unframed, with accompanying CD
- 43 1/4 by 303 in.
- 109.9 by 769.6 cm.
- Executed in 2000, this work is unique.
Provenance
White Cube, London
Acquired by the present owner from the above
Acquired by the present owner from the above
Condition
Work is three photographs mounted on one piece of vinyl (each photograph 43 1/4 by 101 in.). In good condition aside from scattered areas of bubbling towards the center. Velcro (smooth side) attached along backing.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Catalogue Note
The large-scale, filmic photographs of Sam Taylor-Wood are moving in their minuscule detail delivered vis-à-vis grandeur. They call to mind the mass-cultural portrayal in the Untitled Film Stills (1977-80) of Cindy Sherman, while they continue in the trajectory of spectacular, vast photographs, for example, by Andreas Gursky or Jeff Wall. It is within this medley that Taylor-Wood fashions a unique niche, 'I have an interest, both personal and social, in ungluing the setting.'