拍品 407
  • 407

JOHN CURRIN | Poppycock

估價
80,000 - 120,000 USD
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招標截止

描述

  • John Currin
  • Poppycock
  • signed and dated 2001 on the reverse
  • acrylic and pastel on paper
  • 17 by 13 5/8 in. 43.2 by 34.6 cm.

來源

Andrea Rosen Gallery, New York 
Collection of Laura and Stafford Broumand, New York
Andrea Rosen Gallery, New York
Acquired from the above by David Teiger in December 2002

展覽

Des Moines Art Center; Aspen Art Museum, John Currin, February - September 2003

出版

Kara Vander Weg, Ed., John Currin, New York 2006, p. 286, illustrated in color

Condition

This work is in very good condition overall. The sheet is hinged verso to the mat along the top edge. The right and bottom edges of the sheet are deckled, and the edges and corners of the sheet are faintly curled. There is evidence of minor tears with associated loss to the bottom left corner, only noticeable upon close inspection. There are artist pinholes in all four corners. Framed under Plexiglas.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

拍品資料及來源

"Currin's technique involves a continuous swerve between attraction and repulsion, pleasure and guilt, joy and shame. The surface in his work is radically heterogeneous: some areas, even some strokes, move closer toward ideality; other areas, often adjacent, move away. There is no point of rest or closure to this dialectic, nothing finally redeemed or finally condemned. Rather, the goal is to show how, in figurative painting, morphology really works, how it recruits and plays with our own psychic investments as we view." Norman Bryson, "Maudit: John Currin and Morphology," in Kara Vander Weg, Ed., John Currin, New York 2006, p. 30