DENNIS CLIVE | ZEPPELIN TERMINAL
signed on the reverse of the lower left tire and stamped with the number and date 028 76 on the reverse of the lower right tire
9¼ by 29½ by 10½ in. (23.5 by 74.9 by 26.7 cm)
Executed in 1978. This work is unique.
The work is in excellent condition overall. All elements are present and stable.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.
New York, Allan Stone Gallery, Locomotion, 1979
New York, Allan Stone Projects, DIS-FUNCTIONAL, July - September 2014
Dennis Clive mixes Pop and Funk sensibilities with European portrait miniatures. His brightly colored ceramic cars and planes and other paraphernalia recall a child's fascination with build-it-yourself models while at the same time referencing the cultural memory of a product of the baby boom generation: the specter of WWII and the promise of the automobile. Yet the scale in which he works, his sensitivity to his craft, and the attention to detail, can't help but remind the viewer of portraits by the 17th-century miniaturists such as Alexander and Samuel Cooper. Clive seems to present these machines to us so as to evoke and experience the magic of the real thing even in its absence. Clive first exhibited at Allan Stone Gallery in 1976, where he was the subject of six solo shows and numerous group exhibitions. His work has been featured at the Los Angeles Museum of Contemporary Art, the Detroit Institute of Art, the Berkeley Art Center, the Contemporary Arts Center of Cincinnati, and Rochester’s Memorial Art Gallery. Clive’s work has been profiled in numerous publications including Artnews and The New Yorker, and The New York Times.