- 322
Dan Colen
Estimate
80,000 - 120,000 USD
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Description
- Dan Colen
- Virgin Schmirgin
- acrylic, oil, polyfoam, tallis, fiberboard, styrofoam and papier-mâché
- 104 by 44 1/8 by 44 1/8 in. 353 by 112.3 by 112.3 cm.
- Executed in 2006.
Provenance
Peres Projects, Berlin
Acquired by the present owner from the above
Acquired by the present owner from the above
Exhibited
Berlin, Peres Projects, No Me, September - November 2006
Condition
This work is in very good condition overall. There is a vertical opening in the back of the rock which exposes the interior and which is presumably inherent to the work.
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
"Dan Colen is a complete artist: technically gifted, conceptually relevant, master of his references and conscious of art history. Coherent, disconnected and slightly provocative, his work makes light work of pretences and keeps on fighting prejudices, starting off with the ones he's directly involved in. He's not a poser but composed, not an offhand person easily productive but a reflective and patient artist...[his work] reproduces a reality that doesn't exist. A kind of décor of a future discovering a past that never existed. The monoliths are tagged as if the Youth had voluntarily damaged lost monuments, had appropriated the potential danger contained on these blocks of emptiness." Benjamin Bianciotto, February 2009