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THE HISTORY OF NOW: THE COLLECTION OF DAVID TEIGER SOLD TO BENEFIT TEIGER FOUNDATION FOR THE SUPPORT OF CONTEMPORARY ART

Dana Schutz
HER ARMS
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LOT SOLD. 795,000 USD
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1T

THE HISTORY OF NOW: THE COLLECTION OF DAVID TEIGER SOLD TO BENEFIT TEIGER FOUNDATION FOR THE SUPPORT OF CONTEMPORARY ART

Dana Schutz
HER ARMS
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.
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.
150,000200,000
LOT SOLD. 795,000 USD
JUMP TO LOT

Details & Cataloguing

The History of Now: The Collection of David Teiger | Sold to Benefit Teiger Foundation for the Support of Contemporary Art

|
New York

Dana Schutz
B.1976
HER ARMS
signed, titled, and dated 2003 on the reverse 
oil on canvas
96 by 66 in. 243.8 by 167.6 cm.
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Provenance

LFL Gallery, New York
Acquired from the above by David Teiger in December 2003

Exhibited

Paris, Galerie Emmanuel Perrotin, Self Eaters and the People Who Love Them, January - February 2004
Overland Park, Kansas, Johnson County Community College Gallery of Art, Dana Schutz, April - June 2004, p. 35, illustrated in color, p. 53, illustrated in color (in installation at Johnson County Community College Gallery of Art, 2004)
Purchase, New York, Neuberger Museum of Art, Purchase College, State University of New York; Miami, Miami Art Museum; and Denver, Denver Art Museum, Dana Schutz: If the Face Had Wheels, September 2011 - January 2013, p. 32, illustrated in color, p. 118 (text)

Literature

Peter Halley, "Dana Schutz, Paints Like You Wanted to in High School," Index Magazine, January 2004, p. 34, illustrated in color 
Exh. Cat., Waltham, Massachusetts, The Rose Art Museum, Brandeis University, Dana Schutz: Paintings 2002 - 2005, 2006, p. 85 (text)
Joe Fig, Inside the Painter's Studio, New York, 2009, p. 177, illustrated in color (in the artist's studio)
Jonathan Safran Foer and Barry Schwabsky, Dana Schutz, New York, 2010, p. 45, illustrated in color
Karen Rosenberg, "The Fantastic and Grisly, Envisioned," The New York Times, October 6, 2011 (text)
Daniel Belasco, "Transformer: Dana Schutz," Art in America, November 1, 2011, p. 143 (text)
David Salle, "Dana Schutz," Artforum, December 2011, p. 246, illustrated in color (in installation at the Neuberger Museum of Art, 2011)
Heike Wollenweber, "Simultaneous Shock; Awe, Dana Schutz: If the Face Had Wheels, Miami Art Museum," Aesthetica, February 9, 2012 (text)

Catalogue Note

Dana Schutz’s larger than life, emotive and highly expressionistic paintings spring from uncanny scenes from her imagination. Rendered in a wild array of colors and textures, employing broad brushstrokes with thickly impastoed strokes of the palette knife, Her Arms, 2003 is a monumental and larger than life-sized portrait of Kim Gordon, the front woman to the legendary punk rock band Sonic Youth. Gordon is readily identified by her signature platinum blond cropped hair-do, her imposing stance and long, strong arms and hands that clutch a guitar. Never a stranger to whimsy and humor, as well as the macabre and obscene, Schutz continually pushes the bounds of subject matter within her oeuvre. Her Arms is a seminal work, painted when Schutz was only 27 years old, one year after completing her MFA at Columbia. Following her first exhibition in 2002 at Zach Feuer Gallery, Schutz burst onto the New York art scene—even receiving international acclaim when she was included in the 2003 Venice Biennale. Schutz explained of her early body of work, met with wide praise in her now historic show Self-Eaters and the People Who Love Them: “I don’t like the idea of painting from a theme, but I like the idea of a framework that could provide information and a fictional space. I was thinking about making paintings about a group of people who eat themselves. But they don’t eat each other…they are self-eaters. They would never eat each other. They eat themselves to survive because it’s their diet. But then they digest themselves too. They regenerate because they can make sculptures out of their digested material…they could make themselves another arm. And eventually they can reinvent themselves. Ultimately, I thought of the title for the show, and it could change. But I was thinking the show could be called self-eaters and the people who love them. It started off being like therapeutic drawings I was doing...so there’s a self-help element to it. But then I thought this painting sort of related to the one of P.J. Harvey, I wanted to make a big portrait of a woman who was strong and a musician...sort of like a god...goddess. That one is supposed to be Kim Gordon...She doesn’t look as robotic and cool as Kim Gordon. She could sort of fit with them, because I thought the whole situation of the self-eating people could exist in the minds of other people. I wanted to paint Kim Gordon initially because she has these amazing, powerful arms.” (Dana Schutz, quoted in Inside the Painters Studio, pp. 179-180). A star of her most recent 2011-2013 traveling retrospective, Her Arms embodies the artist’s fascination with narrative and figuration transformed by her entirely distinct way of painting.

The History of Now: The Collection of David Teiger | Sold to Benefit Teiger Foundation for the Support of Contemporary Art

|
New York