DOUBLE 2.24 A AND 2.24 B
Part A: signed, titled and dated 1989
Part B: signed, titled and dated 1989 on the reverse
powdered pigment and varnish on 2 sheets of conjoined paper, in 2 parts
Each sheet: 24½ by 27½ in. (62.3 by 69.9 cm.)
Each framed: 27⅝ by 30⅝ in. (70.2 by 77.8 cm.)
This work is in excellent condition overall. Each sheet is hinged along the edges of the reverse to the backing board, There is a slight undulation to each sheet due to the artist's chosen media. Each framed under Plexiglas.
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.
Paula Cooper Gallery, New York
Acquired from the above by the present owner in December 1989
“[Horn’s] works on paper from the 1980s… tend to contain uneven, enclosed shapes in glowing color… When two very similar shapes are combined it would be reasonable to think they might be in a symmetrical relation with each other. It is all the more striking, then, that a pair of shapes… fail to have the effect of symmetry… Instead one functions as the double of the other and has the reverse effect: disequilibrium. Two drawings may be in some respects nearly identical, but the drift of the colored vertical further to the right in the right-hand work becomes all the more dramatic as a consequence. As the poet Paul Celan succinctly lamented: ‘Unreadable this/world. All doubles’…The effect is cumulative and greater than its parts.”
(Briony Fer, “Complete with Missing Parts,” Roni Horn aka Roni Horn, p.28, catalogue for exhibition at the Whitney Museum of American Art)