Beschreibung:

Dana Schutz Chris's Rubber Soul 2001 Oil on canvas. 42 1/8 x 47 1/4 in. (107 x 120 cm). Signed and dated "Dana Schutz 2001" on the reverse.
Provenance Zach Feuer Gallery (LFL), New York Exhibited New York, Zach Feuer Gallery (LFL), Holly Coulis and Dana Schutz January 11 - February 16, 2002 Literature R. Smith "Art in Review: Holly Coulis/Dana Schutz," The New York Times, February 8, 2002; M. Dailey, "Laying it on Thick," Artforum International, April 2004; J. Lenhart, "Dana Schutz," Tampa Bay and Beyond (online content), November 15, 2007; A. Field, Rubber Soul, Ungovernable Press, 2008 (detail illustrated as cover) Catalogue Essay "I decided against it [fictionalizing] because I felt it was more interesting and more uncomfortable for me to have to stand behind these paintings and my decision to paint them in the way that I chose to. I also started painting objects that would wash up from the world: things that would no longer have a clear function if they were broken, like a record player. What then does that object become? Does it acquire another function? I usually want a starting point to make a painting. Whether it’s an invented framework, or a situation in the world." D. Schutz, from an interview with M. Chin, "Bomb," issue 95, Spring 2006 A painting of a sculpture, Chris’s Rubber Soul ably encapsulates Dana Schutz’s amalgamation of stylistic techniques, and provides a window onto her subject-selection process.The image has the artist recalling a period from her graduate work at Columbia University, as with another 2001 oil on canvas, Project at Kensington: a sculpture graveyard, where students put failed projects out to pasture. Schutz’s work has been compared to late-period Guston, and their shared qualities lie not just in bold, expressive brushwork but also with a tendency to anthropomorphize inanimate objects. The crab-like shape perched atop an elongated record spindle in the present lot seems angled as if caught in mid-leap, a bounding prairie arthropod. Read More