John Armleder Untitled (Roto - Tom Drums) 1989 Two sets of three drums, metal brackets and black vinyl. 100 × 75 cm (39 3/8 × 29 1/2 in). This work is accompanied by a certificate of authenticity signed by the artist.
Provenance John Gibson Gallery, New York Catalogue Essay 'I guess the Furniture Sculptures were first a take on Erik Satie's Furniture Music, compositions that were to be heard rather than listened to. It was early ambient music, elevator music, and also early repetitive or minimal music. For Satie, it was sort of a disappointment that people took it as concert work when it was featured as background entertainment at a vernissage. The entertainment issue is something that I address in my own work. To use a dry, almost academic approach, the object quality of the painting is associated with the piece of furniture. The happy or not-so-happy fate of many paintings is to be integrated into a domestic environment, more often than not close to the odd sofa, armchair, or chest. As Olivier Mosset once observed, I simply anticipate that, and provide the furniture together with the painting.' (John Armleder in conversation with Raphaela Platow, October 2006, in R. Platow and Stefan Berg, eds., John M. Armleder: Too Much Is Not Enough, exh. cat., Heidelberg: Kehrer, 2006, p. 99) Read More
John Armleder Untitled (Roto - Tom Drums) 1989 Two sets of three drums, metal brackets and black vinyl. 100 × 75 cm (39 3/8 × 29 1/2 in). This work is accompanied by a certificate of authenticity signed by the artist.
Provenance John Gibson Gallery, New York Catalogue Essay 'I guess the Furniture Sculptures were first a take on Erik Satie's Furniture Music, compositions that were to be heard rather than listened to. It was early ambient music, elevator music, and also early repetitive or minimal music. For Satie, it was sort of a disappointment that people took it as concert work when it was featured as background entertainment at a vernissage. The entertainment issue is something that I address in my own work. To use a dry, almost academic approach, the object quality of the painting is associated with the piece of furniture. The happy or not-so-happy fate of many paintings is to be integrated into a domestic environment, more often than not close to the odd sofa, armchair, or chest. As Olivier Mosset once observed, I simply anticipate that, and provide the furniture together with the painting.' (John Armleder in conversation with Raphaela Platow, October 2006, in R. Platow and Stefan Berg, eds., John M. Armleder: Too Much Is Not Enough, exh. cat., Heidelberg: Kehrer, 2006, p. 99) Read More
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