GILLIAN WEARING, Total Stranger, 2013
84 × 52,5 cm
signed, numbered
edition 100
published by AOTUEditions / Art on the Underground Editions, London, England
“The Tube is full of strangers. We acknowledge this fact, knowing that we too are strangers to others. My project is to photograph a stranger. The person came forward via an open call advertised in the Metro newspaper and on the TfL website. I chose them through a raffleticket system, which did not reveal their name, age or gender. Until we met on a train and I took her photograph, I still didn’t know her identity, and she didn’t know who I was either. For a brief moment, we were total strangers to each other.” Gillian Wearing
CHRISTIAN MARCLAY, Klak, Klak, Klak, 2012
37 x 28,1 cm / 14 9/16 x 11 1/16 inches
photogravure
edition 25
published by Graphic Studio, Tampa, USA
not available
Continuing his exploration of collage and the visualization of sound this print utilize imagery from Manga comics (originally published in Japan and translated for the US market) and onomatopoeic words. Since the late 1990s, Marclay has created “graphic” scores, non-traditional forms of notation, for improvisational interpretation by musicians and vocal performers.
History of prices:
Graphic Studio, Tampa, USA € 2.900,- / $ 4,000.- July 2013
GARY HUME, Misery, 2012
49,8 x 32 cm
silver paper, acrylic paint, collage on hand made paper
series of 25 unique collages
numbered, signed
published by Monopol – Magazin für Kunst und Leben, Berlin
not available
Gary Hume once said: ‘The surface is all you get of me’, and one can see in this collage what he means given that his applied material is not only smooth and polished, but above all very present. He is known for paintings between figuration and abstraction on aluminum panels, which often feature colour combinations made with industrial paints.
Gary Hume was one of the very first of the Young British Artists to be embraced by the art establishment – the first to win the Jerwood Prize in 1997, the first to represent Britain at the Venice Biennale in 1999, the first to be elected to the Royal Academy in 2001.
History of price:
Monopol/Magazin für Kunst und Leben, Berlin € 3.900,- December 2012
FRED TOMASELLI, July 5, 2012 (Study), 2012
13 x 17 inches
screenprint on newsprint paper
edition 108, nrs 1 – 20 are part of a complete portfolio
published by Vera List Center for Art and Politics, New York, USA
not available
This work is part of a Vera List Anniversary Print Portfolio, which includes prints by Dan Graham, Paul RamÃrez Jonas, Sarah Morris, Matt Mullican, Fred Tomaselli, and Fred Wilson.
Fred Tomaselli has often caused controversy with his use of pattern or mosaic like collages of consciousness-altering plants and pills. “I want people to get lost in the work,” says the artist. “In that way the work is pre-Modernist. I throw all of my obsessions and loves into the work, and I try not to be too embarrassed about any of it.”
History of price:
Vera List Center for Art and Politics, New York, December 2012 US$ 750.-
DAN GRAHAM, Fish Pond / Swimming Pool, 2012
22″ x 40″
digital print
signed, numbered, edition 108, of which 30 in portfolio with six prints
part of Vera List Anniversary Print Portfolio
published by Lincoln Center, MIT and Vera List Center
not available
Dan Graham’s Fish Pond/Swimming Pool reveals his fascination with reflection and perception. His plans for a partitioned fish pond-cum-swimming pool illustrate a bi-species participatory art experience, as both fish and humans move within the same environment. Guided by an interest in perspective, Dan Graham creates works that explore the activities of voyeurism and spectatorship through the artistic medium of architecture.
History of price:
Lincoln Center, MIT and Vera List Center US$ 750.- December 2012 (year of issue)
THOMAS HIRSCHHORN, Preparatory Drawings for Crystal of Resistance, 2012
35 x 51 cm
eighty-eight facsimiles in offset, three original drawings in variable sizes,
cardboard box, label, numbered by the artist, edition 29
published by Three Star Books, Paris, France
inv.ThHir?
This edition with unique preparatory drawings – not signed, though – is a follow-up to Crystal of Resistance, the artist’s large-scale work for the Swiss Pavilion at the 2011 Venice Biennial and one of the few artist’s notes which remained after the exhibition.
JIM SHAW, Hairdo, 2012
61 x 45,7 cm
lithograph, signed, numbered, edition 100
produced by Baltic, Gateshead, UK € 436,- / £ 350.- November 2012
The comic book image ‘Hairdo’ of a 1960s bouffant wig references a passage from Shaw’s proposed prog-rock opera based on his fictional religion Oism, a narrative he has been working on for more than 20 years. The image also refers to a mural ‘The Rinse Cycle’ 2012, in which a group of oversized bouffant hairdo’s hover around a desert landscape they share with the interior view of a washing machine in mid-cycle.
LATIFA ECHAKHCH, Untitled, 2012
21 x 29,7 cm
screenprint, 270 grams Zerkall paper
edition 100, here nr 178
signed, numbered on certificate
published by Portikus, Frankfurt, Germany
inv.LEch 000-pr
Reflecting on ideas of absence inherent in migration, French-Moroccan artist Latifa Echakhch – having herself a diverse cultural heritage, living in France and Switzerland – made a sculptural work that to an extent ‘repopulates’ the island over the winter months. With the expertise of the renowned Research Institute Senckenberg, the island’s biotope was mapped. Based on these findings, Echakhch developed a project centering around the transient nature of life on the island and the fluctuation of migrating birds, and fabricated a number of kites in the shape of birds to be attached to the trees. The kites are made from plastic bin-bags, echoing the paradox of a nature reserve in an urban cityscape. The screenprint Untitled, 2012 reminiscences this outdoor event.
JOHN BALDESSARI, Wrong [1966-1968], 2012
71 x 56 cm / 28 x 22 inches
digital print on archival paper
edition unknown
published by LACMA, Los Angeles, USA
mint rare
€ 340,- plus € 32,- Track & Trace EU registered mail
inv.JBal 000-pr
John Baldessari made this print as a painting between 1966 and 1968. He was intentionally questioning the conventions of photographic picture-making, among other things. He created this work after looking at an art instruction book about how to properly compose images. Baldessari had himself photographed in front of a palm tree. He comments: The person that did the book had sketches of the scene, of let’s say a landscape, but there would be two. And one would be right, according to him, and one would be wrong. And I loved the idea that somebody would just say that this is right and this is wrong. So I decided I would have a painting that was wrong, a work of art that was wrong, which seemed right to me.
Baldessari is interested in communicating his concept more than he is in creating something precious or unique. After he decided that his own handwriting was too personal and not distant enough he hired a professional sign painter to letter the word “wrong” you see on the original painting. This poster being just a mere reproduction may ‘as communicating his concept’ therefore be undeniably seen as a work of art, though unsigned.
John Baldessari says about his work: I’m very interested in both language and imagery; I don’t really know why, but I find word and image equally important. He is known for works that blend photographic materials such as film stills and applied discs in colour. He takes them out of their original context and rearranges their form, often outlining their shapes including the addition of words or short sentences.
This print is sold out at LACMA, Los Angeles, USA.
History of prices:
eBay-dynas-46, Secaucus, New Jersey, USA September 2023 US$ 450
eBay-hypegallery, Houston, USA August 2022 US$ 399
LAWRENCE WEINER, Untitled [Dem Frieden eine Form geben], 1985
85 x 60 cm
offset
edition 50, of which 30 copies numbered 1/30 – 30/30 and 20 AP copies numbered I/XX – XX/XX
signed, numbered
Edition René Block, Berlin, Germany
condition: splendid
€ 400,- plus Track & Trace registered EU mail
inv.LWein 000-pr
