JEMIMA STEHLI | 'Chair'

mural-sized, signed, titled, dated '97/98,' and editioned '3/3' in ink on the reverse, framed, 1997-98

Richard Salmon Gallery, London, 1999

This mural-sized photograph is in generally excellent condition. When examined closely, scattered handling creases and some edge-wear are visible. The print is hinged to board along the upper edge on the reverse and, as a result, is softly rippled overall.
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.

When British Pop artist Allen Jones first showed a trio of sculptures, Table, Chair, and Hat Stand in 1970, he sparked a wave of public outrage.  The realistic sculptures were Jones’ interpretations of forniphilia, or a form of sexual objectification in which a person  is used as an item of furniture.  Although some see the sculptures as emblematic of the spirit of the 1960s, they continue to spark heated debate today.  Jemima Stehli reworked Jones’ sculpture 18 years later, positioning herself as the mannequin.  By using her own body in her work, Stehli’s photograph speaks to complicated issues of power and control, objectification and fetishization of the female form, voyeurism, and the roles of the artist and viewer.