拍品 556
  • 556

REBECCA WARREN (B. 1965) | Pascale, 2006

估價
15,000 - 20,000 USD
招標截止

描述

  • Rebecca Warren (b. 1965)
  • Pascale, 2006
  • 19 by 12 by 12 in. (48.3 by 30.5 by 30.5 cm.)
  • Executed in 2006.
hand-painted reinforced clay

來源

Donald Young Gallery, Chicago
Acquired from the above by the present owner

Condition

This work is in very good and sound condition overall. All elements are present and stable. There is scattered pigment and media loss, as well as faint surface abrasions. There is a faint surface layer of dust to the crevices in the sculpture, visible upon close inspection.
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.

拍品資料及來源

Rebecca Warren’s representation of the female nude reflects on this traditional subject matter while also challenging its associations. Working in unfired clay and bronze, Warren produces sculptures with a rough, unfinished quality that emphasize the physicality of the clay. She addresses how the female form has been fetishized throughout history, referring to the imagery of artists such as Willem de Kooning, Helmut Newton, Degas and Picasso. These references are combined with Warren’s characteristic style and tactile process to result in a contemplation of gender, sculptural form, and the hierarchies involved with art history.