- 473
Gabriel Orozco
Estimate
225,000 - 275,000 USD
bidding is closed
Description
- Gabriel Orozco
- Evasive Action
- plastic coated computer-generated laser print
- 78 5/8 by 36 5/8 in. 199.7 by 93 cm.
- Executed in 1996, this work is number 3 from an edition of 3.
Provenance
Marian Goodman Gallery, New York
Private Collection, Mexico City
Private Collection, Mexico City
Exhibited
London, Artangel at The Devonshire Club, Gabriel Orozco: Empty Club, June - July 1996, p. 33, illustrated (another example exhibited)
Los Angeles Museum of Contemporary Art; Mexico City, Museo internacional Rufino amayo; Monterrey, Museo de arte contemporáneo, Gabriel Orozco, April 2000 - May 2001, p. 149, illustrated in color (another example exhibited)
London, Serpentine Gallery, Gabriel Orozco, July - August 2004, p. 100, illustrated in color (another example exhibited)
Mexico City, Museo del palacio de bellas artes, Gabriel Orozco, November 2006 - February 2007, pp. 72-73, illustrated in color (another example exhibited)
New York, Museum of Modern Art, Gabriel Orozco, December 2009 - March 2010, pp. 115-116, illustrated in color (another example exhibited)
Tokyo, Museum of Contemporary Art, Gabriel Orozco - Inner Cycles, January - May 2015 (another example exhibited)
Los Angeles Museum of Contemporary Art; Mexico City, Museo internacional Rufino amayo; Monterrey, Museo de arte contemporáneo, Gabriel Orozco, April 2000 - May 2001, p. 149, illustrated in color (another example exhibited)
London, Serpentine Gallery, Gabriel Orozco, July - August 2004, p. 100, illustrated in color (another example exhibited)
Mexico City, Museo del palacio de bellas artes, Gabriel Orozco, November 2006 - February 2007, pp. 72-73, illustrated in color (another example exhibited)
New York, Museum of Modern Art, Gabriel Orozco, December 2009 - March 2010, pp. 115-116, illustrated in color (another example exhibited)
Tokyo, Museum of Contemporary Art, Gabriel Orozco - Inner Cycles, January - May 2015 (another example exhibited)
Literature
Jessica Morgan, Gabriel Orozco, London, 2011, p. 97, illustrated in color
Condition
This work is in very good condition overall. There are scattered fingerprints on the surface of the upper right quadrant, which are visible under raking light. The colors remain rich and saturated, with no apparent fading. Close inspection reveals a very thin and minor diagonal scratch along the upper left edge and another soft thin horizontal rub-mark on the red quadrant of the right oval. Framed.
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 most important issue, however, is perhaps not the battle between organic growth and inorganic geometry, but Orozco's stance against the vanishing point, which he sees as the anchor of a painterly way of thinking, a pictorial code, remnant of the past, from which he is intent, if not wholly cut loose his painting, at least to give it some slack." (Yve-Alain Bois, "The Tree and the Knight," Gabriel Orozco, Cambridge, 2006, p. 282)