Franz West Sculpture: Meeting Point 2, 2000; Painting: Plakatentwürf (Poster design) (Meeting Points), 2001 Sculpture: enamel on aluminium, wooden plinth. Painting: digital print, lacquer, acrylic and collage on foamboard mounted to aluminium. Sculpture: 126 x 372 x 296 cm. (49 1/2 x 146 1/2 x 116 1/2 in). Painting: 172 x 231 cm. (67 3/4 x 91 in).
Provenance Sculpture: Galerie Elisabeth & Klaus Thoman, Innsbruck; Painting: Gagosian Gallery, London; Galerie Elisabeth & Klaus Thoman, Innsbruck Exhibited Innsbruck, Schlosspark Ambras, Franz West die Aluskulptur, 4 June - 15 October, 2000; Royal Botanic Garden Edinburgh, Franz West Meeting Points, 12 August - 14 October, 2001(sculpture); Royal Botanic Garden Edinburgh, Franz West Meeting Points, 12 August - 14 October, 2001; Innsbruck, Galerie Elisabeth & Klaus Thoman, Franz West 2002 (painting) Literature Exhibition catalogue, Schlosspark Ambras, Franz West die Aluskulptur, Cologne, 2000, p. 28 (sculpture illustrated) Catalogue Essay West’s sculptures are intrinsically amorphous, apparently formless in their appearance, and may be observed and/or used. Their dignified presentation and staging induces the viewer’s contemplation, otherwise reserved for more solemn art forms, but which here in fact allows the anti-sculpture to come properly into its own. Similarly the plinth –which modern art has been at such paints to overcome –does not constitute a contradiction in West’s work. Nor does it represent a sudden introduction of conservatism. The plinths are just as non-formalist as the other elements of the sculptures, and are incorporated into these, creating small environments: Gesamtkunstwerk –synthesized artforms. All of this goes into making up West’s concept of his art: turning his back on traditions of the sublime and the monumental in twentieth century sculpture, he breathes new life into the concept of a sculpture as a three-dimensional object with which once can have a personal, physical encounter. Consequently, West occupies a major role in contemporary sculpture.’ (R. Fleck, Sex and the Modern Sculptor, Franz West London, Phaidon Press Limited, 1999) Read More
Franz West Sculpture: Meeting Point 2, 2000; Painting: Plakatentwürf (Poster design) (Meeting Points), 2001 Sculpture: enamel on aluminium, wooden plinth. Painting: digital print, lacquer, acrylic and collage on foamboard mounted to aluminium. Sculpture: 126 x 372 x 296 cm. (49 1/2 x 146 1/2 x 116 1/2 in). Painting: 172 x 231 cm. (67 3/4 x 91 in).
Provenance Sculpture: Galerie Elisabeth & Klaus Thoman, Innsbruck; Painting: Gagosian Gallery, London; Galerie Elisabeth & Klaus Thoman, Innsbruck Exhibited Innsbruck, Schlosspark Ambras, Franz West die Aluskulptur, 4 June - 15 October, 2000; Royal Botanic Garden Edinburgh, Franz West Meeting Points, 12 August - 14 October, 2001(sculpture); Royal Botanic Garden Edinburgh, Franz West Meeting Points, 12 August - 14 October, 2001; Innsbruck, Galerie Elisabeth & Klaus Thoman, Franz West 2002 (painting) Literature Exhibition catalogue, Schlosspark Ambras, Franz West die Aluskulptur, Cologne, 2000, p. 28 (sculpture illustrated) Catalogue Essay West’s sculptures are intrinsically amorphous, apparently formless in their appearance, and may be observed and/or used. Their dignified presentation and staging induces the viewer’s contemplation, otherwise reserved for more solemn art forms, but which here in fact allows the anti-sculpture to come properly into its own. Similarly the plinth –which modern art has been at such paints to overcome –does not constitute a contradiction in West’s work. Nor does it represent a sudden introduction of conservatism. The plinths are just as non-formalist as the other elements of the sculptures, and are incorporated into these, creating small environments: Gesamtkunstwerk –synthesized artforms. All of this goes into making up West’s concept of his art: turning his back on traditions of the sublime and the monumental in twentieth century sculpture, he breathes new life into the concept of a sculpture as a three-dimensional object with which once can have a personal, physical encounter. Consequently, West occupies a major role in contemporary sculpture.’ (R. Fleck, Sex and the Modern Sculptor, Franz West London, Phaidon Press Limited, 1999) Read More
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