UNTITLED (PROPOSED PROJECT FOR NOW-CLOSED NORTH GENERAL HOSPITAL, HARLEM, NY)
each signed with the artist's initials and dated 92
oil and stitched fabric collage on wood, in three parts
Each: 30 by 15 in. (76.2 by 38.1 cm.)
This work is in very good condition overall. There are tonal and textural shifts due to the artists working method and chosen media. There is light soiling and dust in the crevices of the textured elements on each. There is minor wear and soiling to the edges of each, visible upon close inspection. Unframed.
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.
Acquired directly from the artist by the present owner in 1992
“My work consists of solids and veils: the union of solids, or metal forms, seen as volumes against a raked and grooved paint surface. It is constructed painting, in that it crosses the void between object and viewer, to be part of the space in front of the picture plane. It represents an act of pure passage. The surface is no longer the final plane of the work. It is instead the beginning of an advance into the theater of life.”
– Sam Gilliam, with Annie Gawlak, “Solids and Veils,” Art Journal, 50:1, Spring 1991, pp. 10
Sam Gilliam is an innovative colorist who, by cutting and rearranging geometric shapes from thickly painted canvases, expanded his experiments in color and improvisation. Gilliam’s solo exhibition last year at the Kunstmuseum Basel, Switzerland and his current exhibition at Dia Beacon is an indication of the recent surge in appreciation of the artist’s oeuvre.