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Auktionsarchiv: Los-Nr. 29

David Hammons

Schätzpreis
120.000 £ - 180.000 £
ca. 156.782 $ - 235.174 $
Zuschlagspreis:
175.000 £
ca. 228.641 $
Auktionsarchiv: Los-Nr. 29

David Hammons

Schätzpreis
120.000 £ - 180.000 £
ca. 156.782 $ - 235.174 $
Zuschlagspreis:
175.000 £
ca. 228.641 $
Beschreibung:

◆ 29 David Hammons Follow Moving to the Other Side signed and dated 'David Hammons '69' lower right silkscreen on wove paper 75.9 x 89.5 cm (29 7/8 x 35 1/4 in.) Executed in 1969, this work is unique.
Provenance The Golden State Mutual Life Insurance Company African-American Art Collection, Los Angeles Their Sale, Swann Galleries, New York, 4 October 2007, lot 35 Private Collection Phillips, New York, 16 September 2014, lot 48 Acquired at the above sale by the present owner Catalogue Essay Moving to the Other Side, a unique work executed in 1969, belongs to David Hammons’ series of celebrated body prints, a progressive and visually arresting body of work which led to the artist’s increased notoriety and international recognition in the 1970s. Erudite in his formalisation of tension and inequality, Hammons’ work is synonymous with the encapsulation of a particular experience, namely that of the black community in the United States of America. In Moving to the Other Side, Hammons presents his body as the subject, pressing his unyielding form into direct view. Reacting to the lack of public representation for black artists in 1960s America, as well as his personal experience of growing up in a divided society, Hammons’ distinct approach to societal injustice culminates in his direct presentation of the black body, which, in the present work, attempts to break through the bonds of two-dimensional representation in protest. A seminal example of his pioneering technique, Moving to the Other Side is evocative in its deeply personal bond with its creator, allowing the viewer a glimpse into the artist’s very essence. Hammons’ distinct conceptual technique, combined with his selected monochromatic colour palette and exploration of movement culminate in an intriguing crescendo in Moving to the Other Side, a unique example from his revered series. To create his infamous body print series, Hammons covered parts of his body and clothing in a greasy substance, such as margarine or baby oil and physically pressed himself against the paper. Subsequently, he would dust this impression with powdered pigment, which would adhere to the greased areas, revealing minute details and textures of the artist’s hair, clothing, and skin. The present work is unique in its creation, as Hammons chose to make the initial body print against a silkscreen stratum, using a screen to create the monoprint that is Moving to the Other Side. Conveying feelings of a community ostracised, segregated and alienated, Hammons corporeality pushes into the paper, trying to break through the paper surface. Toying with the idea of opposites, light and dark, mortality and the afterlife, black and white, Hammons’ work presents a complex reflexive reading, challenging the very nature of the human condition. Appearing both fleeting and tangible in the present work, Hammons’ body creates a gradient in colour moving from right to left through consecutive imprints. This dynamism conveys vitality on the two-dimensional plane, a concern explored by some of Hammons’ artistic predecessors such as Marcel Duchamp and Yves Klein Using his body as a tool, Hammons transports his physical presence to the forefront of his artistic practice. Re-examining the self-portrait, in the present work the mythic artist is un-romaticised, becoming the central subject matter which steals our gaze. The outlines of Hammons’ nostrils, hands, ears and torso form a characteristic imprint of the artist who has laid himself bare, his body and art unified as a joint statement, which inform and consolidate each other as one. Created the year after the assassination of Martin Luther King, Moving to the Other Side is multi-layered in meaning. The 1960s were a hot bed of civil rights activity, where the events in Little Rock, Arkansas, in 1957 and Rosa Park’s infamous arrest in 1955, as well as daily incidents of injustice, had given rise to both peaceful and violent protest, as groups campaigned for better integration and recognition of the black community. The Black Power movement, anti-Vietnam War sentiments in 1964 and international student protests created a swell of mobilised and political youths and adults, a

Auktionsarchiv: Los-Nr. 29
Auktion:
Datum:
06.10.2017
Auktionshaus:
Phillips
London
Beschreibung:

◆ 29 David Hammons Follow Moving to the Other Side signed and dated 'David Hammons '69' lower right silkscreen on wove paper 75.9 x 89.5 cm (29 7/8 x 35 1/4 in.) Executed in 1969, this work is unique.
Provenance The Golden State Mutual Life Insurance Company African-American Art Collection, Los Angeles Their Sale, Swann Galleries, New York, 4 October 2007, lot 35 Private Collection Phillips, New York, 16 September 2014, lot 48 Acquired at the above sale by the present owner Catalogue Essay Moving to the Other Side, a unique work executed in 1969, belongs to David Hammons’ series of celebrated body prints, a progressive and visually arresting body of work which led to the artist’s increased notoriety and international recognition in the 1970s. Erudite in his formalisation of tension and inequality, Hammons’ work is synonymous with the encapsulation of a particular experience, namely that of the black community in the United States of America. In Moving to the Other Side, Hammons presents his body as the subject, pressing his unyielding form into direct view. Reacting to the lack of public representation for black artists in 1960s America, as well as his personal experience of growing up in a divided society, Hammons’ distinct approach to societal injustice culminates in his direct presentation of the black body, which, in the present work, attempts to break through the bonds of two-dimensional representation in protest. A seminal example of his pioneering technique, Moving to the Other Side is evocative in its deeply personal bond with its creator, allowing the viewer a glimpse into the artist’s very essence. Hammons’ distinct conceptual technique, combined with his selected monochromatic colour palette and exploration of movement culminate in an intriguing crescendo in Moving to the Other Side, a unique example from his revered series. To create his infamous body print series, Hammons covered parts of his body and clothing in a greasy substance, such as margarine or baby oil and physically pressed himself against the paper. Subsequently, he would dust this impression with powdered pigment, which would adhere to the greased areas, revealing minute details and textures of the artist’s hair, clothing, and skin. The present work is unique in its creation, as Hammons chose to make the initial body print against a silkscreen stratum, using a screen to create the monoprint that is Moving to the Other Side. Conveying feelings of a community ostracised, segregated and alienated, Hammons corporeality pushes into the paper, trying to break through the paper surface. Toying with the idea of opposites, light and dark, mortality and the afterlife, black and white, Hammons’ work presents a complex reflexive reading, challenging the very nature of the human condition. Appearing both fleeting and tangible in the present work, Hammons’ body creates a gradient in colour moving from right to left through consecutive imprints. This dynamism conveys vitality on the two-dimensional plane, a concern explored by some of Hammons’ artistic predecessors such as Marcel Duchamp and Yves Klein Using his body as a tool, Hammons transports his physical presence to the forefront of his artistic practice. Re-examining the self-portrait, in the present work the mythic artist is un-romaticised, becoming the central subject matter which steals our gaze. The outlines of Hammons’ nostrils, hands, ears and torso form a characteristic imprint of the artist who has laid himself bare, his body and art unified as a joint statement, which inform and consolidate each other as one. Created the year after the assassination of Martin Luther King, Moving to the Other Side is multi-layered in meaning. The 1960s were a hot bed of civil rights activity, where the events in Little Rock, Arkansas, in 1957 and Rosa Park’s infamous arrest in 1955, as well as daily incidents of injustice, had given rise to both peaceful and violent protest, as groups campaigned for better integration and recognition of the black community. The Black Power movement, anti-Vietnam War sentiments in 1964 and international student protests created a swell of mobilised and political youths and adults, a

Auktionsarchiv: Los-Nr. 29
Auktion:
Datum:
06.10.2017
Auktionshaus:
Phillips
London
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