18 PROPERTY FROM A PRIVATE AMERICAN COLLECTION Fred Sandback Broadway Boogie Woogie (Sculptural Study, Twenty-two part Vertical Construction) 1991/2006 red, yellow, blue acrylic yarn dimensions vary with each installation This work is unique and is accompanied by a letter of authenticity provided by the Estate, registered under Fred Sandback Estate Number 2188.1. This work is accompanied by installation instructions.
Provenance Estate of Fred Sandback, New York Zwirner & Wirth, New York Exhibited Dallas, Dallas Museum of Art, Private Universes, May 24 - August 30, 2009 Luxembourg, Musée d’Art Moderne Grand-Duc Jean, Mudam Luxembourg, Solides Fragiles, October 4, 2014 - February 8, 2015 Catalogue Essay “I am interested in a strong, immediate, and beautiful situation.” Fred Sandback, 1975 The present lot, Broadway Boogie Woogie (Sculptural Study, Twenty-two Part Vertical Construction), 1991/2006, one of the most important works ever realized, represents the subtle refinement with which Fred Sandback commands his chosen medium. Creating his first simple string sculpture out of colored string and wire, Sandback embarked on the lifelong pursuit to construct form by overcoming the sculptural challenges of negative and positive space and the articulation of volume and mass. He explains, “I did have a strong gut feeling from the beginning…. And that was wanting to be able to make sculpture that didn’t have an inside.”(Fred Sandback in Remarks on My Sculpture, 1966–86 in Fred Sandback: Sculpture, 1966–1986, Munich: Fred Jahn, 1986, pp. 12–19) Sandback’s “line constructions” intersect at multiple conceptual levels, touching upon Sandback’s fascination with philosophical formulations in connection to the geometric properties of the material world. His strong, colorful lines vibrate with the immediacy of their execution. Comparing his lines to the point of a number-two pencil, Sandback began using acrylic yarn in 1971 after his disappointment with elastic cords and their inherent loss of tension. Describing acrylic yarn as “fortuitous,” it would become the medium that defined his artistic career; he admired the durability of acrylic yarn, noting humorously that it just “goes ping and stays there.” (Fred Sandback in conversation, October 6, 2001, Chinati Foundation published in Fred Sandback: Sculpture, Chinati Foundation Newsletter, Marfa, Texas, October 7, 2002, pp. 26–32) Sandback was intent on embracing space as that element between form and mass. Expressing the idea that “space is made,” Sandback continued with the artistic pursuit begun by his minimalist predecessors such as Carl André and Donald Judd Sandback believed that tactile surfaces and sensual solid forms aim to seduce the viewer and therefore eradicate any perception of the space in which the sculpture resides. By removing the materialist aspects of sculpture Sandback was able to fuse form and space, therefore equalizing what once was considered to be the inside and the outside of sculpture. Sandback explains, “One way to act is to define a boundary and to move toward the center implied by it. I’m doing the opposite, defining a center and moving outward toward the boundaries.”(Fred Sandback in 1975 Statements, Fred Sandback, (New York: Zwirner & Wirth, Lawrence Markey, 2004) By isolating the boundaries of his forms with precise, pinpoint lines, Sandback forces the viewer to acknowledge the space they inhabit. The incorporeal sculptures have no form without a space to cut through; within each installation the dimensions vary and the light conditions change. Without space as displaced mass, the acrylic yarn cannot contend with the history of sculpture and instead goes slack. The present lot, Broadway Boogie Woogie (Sculptural Study, Twenty-two Part Vertical Construction) recognizes not only the tradition of minimalism in form but draws its delicate color scheme and title from Piet Mondrian’s acclaimed masterpiece Broadway Boogie-Woogie, 1942-43. As the last work Mondrian completed before his death Broadway Boogie-Woogie combines, within its form and title, the vivacious nature of city life with the pulse of musicality. Compositionally, the colorfully gridded rows of primary colors run up and down and horizontally across the two dimensional canvas and carving the flat surfaces into segmental blocks. Mondrian has composed a work of visual intensity by representing the gridded streets of Ne
18 PROPERTY FROM A PRIVATE AMERICAN COLLECTION Fred Sandback Broadway Boogie Woogie (Sculptural Study, Twenty-two part Vertical Construction) 1991/2006 red, yellow, blue acrylic yarn dimensions vary with each installation This work is unique and is accompanied by a letter of authenticity provided by the Estate, registered under Fred Sandback Estate Number 2188.1. This work is accompanied by installation instructions.
Provenance Estate of Fred Sandback, New York Zwirner & Wirth, New York Exhibited Dallas, Dallas Museum of Art, Private Universes, May 24 - August 30, 2009 Luxembourg, Musée d’Art Moderne Grand-Duc Jean, Mudam Luxembourg, Solides Fragiles, October 4, 2014 - February 8, 2015 Catalogue Essay “I am interested in a strong, immediate, and beautiful situation.” Fred Sandback, 1975 The present lot, Broadway Boogie Woogie (Sculptural Study, Twenty-two Part Vertical Construction), 1991/2006, one of the most important works ever realized, represents the subtle refinement with which Fred Sandback commands his chosen medium. Creating his first simple string sculpture out of colored string and wire, Sandback embarked on the lifelong pursuit to construct form by overcoming the sculptural challenges of negative and positive space and the articulation of volume and mass. He explains, “I did have a strong gut feeling from the beginning…. And that was wanting to be able to make sculpture that didn’t have an inside.”(Fred Sandback in Remarks on My Sculpture, 1966–86 in Fred Sandback: Sculpture, 1966–1986, Munich: Fred Jahn, 1986, pp. 12–19) Sandback’s “line constructions” intersect at multiple conceptual levels, touching upon Sandback’s fascination with philosophical formulations in connection to the geometric properties of the material world. His strong, colorful lines vibrate with the immediacy of their execution. Comparing his lines to the point of a number-two pencil, Sandback began using acrylic yarn in 1971 after his disappointment with elastic cords and their inherent loss of tension. Describing acrylic yarn as “fortuitous,” it would become the medium that defined his artistic career; he admired the durability of acrylic yarn, noting humorously that it just “goes ping and stays there.” (Fred Sandback in conversation, October 6, 2001, Chinati Foundation published in Fred Sandback: Sculpture, Chinati Foundation Newsletter, Marfa, Texas, October 7, 2002, pp. 26–32) Sandback was intent on embracing space as that element between form and mass. Expressing the idea that “space is made,” Sandback continued with the artistic pursuit begun by his minimalist predecessors such as Carl André and Donald Judd Sandback believed that tactile surfaces and sensual solid forms aim to seduce the viewer and therefore eradicate any perception of the space in which the sculpture resides. By removing the materialist aspects of sculpture Sandback was able to fuse form and space, therefore equalizing what once was considered to be the inside and the outside of sculpture. Sandback explains, “One way to act is to define a boundary and to move toward the center implied by it. I’m doing the opposite, defining a center and moving outward toward the boundaries.”(Fred Sandback in 1975 Statements, Fred Sandback, (New York: Zwirner & Wirth, Lawrence Markey, 2004) By isolating the boundaries of his forms with precise, pinpoint lines, Sandback forces the viewer to acknowledge the space they inhabit. The incorporeal sculptures have no form without a space to cut through; within each installation the dimensions vary and the light conditions change. Without space as displaced mass, the acrylic yarn cannot contend with the history of sculpture and instead goes slack. The present lot, Broadway Boogie Woogie (Sculptural Study, Twenty-two Part Vertical Construction) recognizes not only the tradition of minimalism in form but draws its delicate color scheme and title from Piet Mondrian’s acclaimed masterpiece Broadway Boogie-Woogie, 1942-43. As the last work Mondrian completed before his death Broadway Boogie-Woogie combines, within its form and title, the vivacious nature of city life with the pulse of musicality. Compositionally, the colorfully gridded rows of primary colors run up and down and horizontally across the two dimensional canvas and carving the flat surfaces into segmental blocks. Mondrian has composed a work of visual intensity by representing the gridded streets of Ne
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.jpg "Quelle: Christie's")
.jpg "Quelle: Christie's")
