David Hammons Untitled 2000 crystal, brass, frosted glass, light fixtures, hardware and steel 77 x 87 x 25 in. (195.6 x 221 x 63.5 cm.) Executed in 2000. This work is unique from a series of 3.
Provenance Acquired directly from the artist Exhibited Venice, Punta della Dogana, François Pinault Foundation, In Praise of Doubt, April 10, 2011 – December 31, 2012 (another example exhibited) Video DAVID HAMMONS 'Untitled', 2000 Hammons isn't just creating a light source, he's also referencing the fragility of a culture which really places, as its highest pinnacle, the athletic performance of certain individuals. From his racially charged work of the 1970s up until his modern work, Hammons has refused to stay within a chosen medium, opting instead for a startling evolution of form. Though his recurring themes of Duchampian readymades and collage may represent a large part of his oeuvre, it is far from defining his much larger artistic project. Zach Miner, head of the Contemporary Art evening sale in New York, presents his incredible untitled basketball backboard sculpture from 2000. Catalogue Essay “I'll play with the street audience. That audience is much more human and their opinion is from the heart. They don't have any reason to play games, there's nothing gained or lost.” –David Hammons, 1986 David Hammons has brought into question the majority of the tenets of contemporary art. From the gallery system to the concept of the observer himself, Hammons has rebelled against the prevailing model of an artist, eschewing conventional methods of business partnership and humbleness in favor of radical self-ownership, both economically and intellectually. From his racially charged work of the 1970s up until his modern work, Hammons has refused to stay within a chosen medium, opting instead for a startling evolution of form. Though his recurring themes of Duchampian ready-mades and collage may represent a large part of his oeuvre, it is far from defining his much larger, much greater, and much more mysterious artistic project. The most ornate, voluptuous and substantive of Hammons’s three chandelier works, Untitled, 2000 enhances and embellishes Hammons first sculptural usage of the form of a basketball hoop in the 1980s with spectacular flare, comprising an intricate and impressive work that fans the flame of his continuing blaze through decades of epoch-defining creation. In one of Hammons many unconventional methods of living in the world of contemporary art, his refusal to fully engage with the representative gallery system has given birth to an idiosyncratic form of production—one that does not rely on the approval of a specific business model. Because of this wonderful independence, Hammons has been able to produce work that is singular in it’s clarity of voice. He has achieved a rare kind of artistic autonomy. This sense of liberation stretches back to his early work. Born in 1943, and raised in Illinois, Hammons lived through the gross intolerance of the pre-civil rights era in all its abhorrence. Receiving his education both at Cal Arts and later at Otis College of Art and Design, he became entrenched in both the civil rights movement and the Black Power movement, which would both become vital and recurrent themes in his works. Hammons’ first body of work to receive attention stemmed from a marriage of text and visual: his Spade series of the 1970s paired derogatory terms literal counterparts, inviting a wealth of commentary. Though the series was Hammons first high-profile investigation into Duchampian readymades, it would hardly be his greatest achievement in the genre. As he entered the 1980s, and as he gained a higher profile due to his participation in the now legendary Times Square Show of 1980 (which featured some of the first works of Jean-Michael Basquiat, Keith Haring and others), Hammons began to employ strategies that made use of objects that were specifically related to Black Americans: “While Duchamp changed ways of seeing art by turning everyday objects into “readymades,” recontextualizing material and the meaning of an object, Hammon’s use of the materials of everyday existence goes further in its connec
David Hammons Untitled 2000 crystal, brass, frosted glass, light fixtures, hardware and steel 77 x 87 x 25 in. (195.6 x 221 x 63.5 cm.) Executed in 2000. This work is unique from a series of 3.
Provenance Acquired directly from the artist Exhibited Venice, Punta della Dogana, François Pinault Foundation, In Praise of Doubt, April 10, 2011 – December 31, 2012 (another example exhibited) Video DAVID HAMMONS 'Untitled', 2000 Hammons isn't just creating a light source, he's also referencing the fragility of a culture which really places, as its highest pinnacle, the athletic performance of certain individuals. From his racially charged work of the 1970s up until his modern work, Hammons has refused to stay within a chosen medium, opting instead for a startling evolution of form. Though his recurring themes of Duchampian readymades and collage may represent a large part of his oeuvre, it is far from defining his much larger artistic project. Zach Miner, head of the Contemporary Art evening sale in New York, presents his incredible untitled basketball backboard sculpture from 2000. Catalogue Essay “I'll play with the street audience. That audience is much more human and their opinion is from the heart. They don't have any reason to play games, there's nothing gained or lost.” –David Hammons, 1986 David Hammons has brought into question the majority of the tenets of contemporary art. From the gallery system to the concept of the observer himself, Hammons has rebelled against the prevailing model of an artist, eschewing conventional methods of business partnership and humbleness in favor of radical self-ownership, both economically and intellectually. From his racially charged work of the 1970s up until his modern work, Hammons has refused to stay within a chosen medium, opting instead for a startling evolution of form. Though his recurring themes of Duchampian ready-mades and collage may represent a large part of his oeuvre, it is far from defining his much larger, much greater, and much more mysterious artistic project. The most ornate, voluptuous and substantive of Hammons’s three chandelier works, Untitled, 2000 enhances and embellishes Hammons first sculptural usage of the form of a basketball hoop in the 1980s with spectacular flare, comprising an intricate and impressive work that fans the flame of his continuing blaze through decades of epoch-defining creation. In one of Hammons many unconventional methods of living in the world of contemporary art, his refusal to fully engage with the representative gallery system has given birth to an idiosyncratic form of production—one that does not rely on the approval of a specific business model. Because of this wonderful independence, Hammons has been able to produce work that is singular in it’s clarity of voice. He has achieved a rare kind of artistic autonomy. This sense of liberation stretches back to his early work. Born in 1943, and raised in Illinois, Hammons lived through the gross intolerance of the pre-civil rights era in all its abhorrence. Receiving his education both at Cal Arts and later at Otis College of Art and Design, he became entrenched in both the civil rights movement and the Black Power movement, which would both become vital and recurrent themes in his works. Hammons’ first body of work to receive attention stemmed from a marriage of text and visual: his Spade series of the 1970s paired derogatory terms literal counterparts, inviting a wealth of commentary. Though the series was Hammons first high-profile investigation into Duchampian readymades, it would hardly be his greatest achievement in the genre. As he entered the 1980s, and as he gained a higher profile due to his participation in the now legendary Times Square Show of 1980 (which featured some of the first works of Jean-Michael Basquiat, Keith Haring and others), Hammons began to employ strategies that made use of objects that were specifically related to Black Americans: “While Duchamp changed ways of seeing art by turning everyday objects into “readymades,” recontextualizing material and the meaning of an object, Hammon’s use of the materials of everyday existence goes further in its connec
Testen Sie LotSearch und seine Premium-Features 7 Tage - ohne Kosten!
Lassen Sie sich automatisch über neue Objekte in kommenden Auktionen benachrichtigen.
Suchauftrag anlegen
.jpg "Quelle: Christie's")
.jpg "Quelle: Christie's")
.jpg "Quelle: Christie's")
