View full screen - View 1 of Lot 6. Smentire il bianco [To Deny White].
6

Carol Rama

Smentire il bianco [To Deny White]

Estimate:

25,000 to - 35,000 USD

Carol Rama

Carol Rama

Smentire il bianco [To Deny White]

Smentire il bianco [To Deny White]

Estimate:

25,000 to - 35,000 USD

Lot sold:

35,280

USD

Carol Rama

1918 - 2015

Smentire il bianco [To Deny White]


signed and dated 1977 on the stretcher

tire collage and oil on canvas

Canvas: 31¼ by 23¾ in.  (79.4 by 60.3 cm.)

Framed: 38 by 30 in.  (96.5 by 76.2 cm.)

Executed in 1977.


This work is registered in the Associazione Archivio Carol Rama, Turin, under registration no. 1098.

This work is in excellent condition overall. There are tonal and textural variations to the tire collage elements, inherent to the application of this element to the canvas and the flattening of a rounded tire element. The tire collage elements have been irregularly cut by the artist. There is some adhesive residue bordering the collage elements, inherent to the artist's working method. Under ultraviolet light, there is no evidence of restoration. 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. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color 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. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Private Collection, Turin

Carlina Galleria d'Arte, Turin

Galerie Haas, Zurich

Acquired from the above by the present owner

Turin, Carlina Galleria d'Arte, Carol Rama: Il Rosso e il Nero, May - July 2003, illustrated, p. 57

Milan, Galleria Santamarta Arte Moderna e Contemporanea, L’anima di carne, October - December 2004, illustrated, p. 31

Turin, Carlina Galleria d'Arte, Carol Rama: Di Quadro in Quadro - opere 1937-2003, November 2012 - January 2013, illustrated, p. 61

Zurich, Galerie Haas, Carol Rama, 2016, illustrated, p. 31

“All her life, Carol Rama stuck her tongue out. To the bigots, the fascists (from Mussolini to Berlusconi), the petit bourgeois patriarchs, the art world—to convention in general. Sticking out your tongue is childish, provocative; but it is also the physical reflex of a body under real pressure. Rama had trouble fitting in to the society in which she lived. Yet she did not invent or take refuge in another fictive one. Instead, in an undeniable resistance, she kept questioning, disturbing, and shocking the social order through her life and her art.


She has perpetually confounded historians and created persistent misunderstandings mixed with fantasies. Her work blurred practical historical categories and linearity, borrowing aspects of (and sometimes foreshadowing) late Surrealism, Expressionism, proto-Pop, Concrete art, Arte Povera, and soft sculpture. Stepping away from the hypermasculine artistic milieu of her time, she chose her crowd in literature (Edoardo Sanguineti), music (Massimo Mila), and architectural design (Carlo Mollino). In a way, she built up her own “failure” and obscurity, which in turn guaranteed her vital freedom.”


Anne Dressen, “Passages: Carol Rama,” ARTFORUM, February 2016