- 509
TOMOO GOKITA | Daughter of a Fraudster
估價
80,000 - 120,000 USD
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招標截止
描述
- Gokita Tomoo
- Daughter of a Fraudster
- signed, titled and dated 2013 on the reverse
- acrylic and gouache on linen
- 31 5/8 by 25 5/8 in. 80.3 by 65.1 cm.
來源
Mary Boone Gallery, New York
Acquired from the above by the present owner in March 2014
Acquired from the above by the present owner in March 2014
展覽
New York, Mary Boone Gallery, Tomoo Gokita, January - March 2014
Condition
This work is in excellent condition overall. Under Ultraviolet light inspection, there is no evidence of restoration. Unframed.
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.
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
"I am presuming that to deform the human face might be a reaction against my practice of depicting them like crazy when I was young. Probably, I have become tired of depicting faces. Also, I have loved the masked wrestlers of the Mexican Lucha libre and those masks in Africa all this time, and a kind of transformational desire 'to hide a face and to become a different character,' which can be symbolized in those masks, may have affected my work. I suppose there exists a certain ghoulish curiosity towards monsters and deformities, too." Tomoo Gokita