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Auktionsarchiv: Los-Nr. 37

Rashid Johnson

Schätzpreis
60.000 £ - 80.000 £
ca. 96.566 $ - 128.754 $
Zuschlagspreis:
122.500 £
ca. 197.156 $
Auktionsarchiv: Los-Nr. 37

Rashid Johnson

Schätzpreis
60.000 £ - 80.000 £
ca. 96.566 $ - 128.754 $
Zuschlagspreis:
122.500 £
ca. 197.156 $
Beschreibung:

Rashid Johnson Sun Goddess 2009 black soap, wax, gold paint, rocks, VHS casettes, shea butter, LP sleeve 246.4 x 309.9 x 17.8 cm. (97 x 122 x 7 in.) Signed 'Rashid Johnson' on the reverse of panels 1 and 3.
Provenance David Kordansky Gallery, Los Angeles Exhibited Los Angeles, David Kordansky Gallery, Other Aspects, 30 October 2009 — 16 January 2010 London, Modern Collections, AMERICAS, 11 September – 8 November 2012 Catalogue Essay “Some people have this expectation that black artists have an obligation to speak to more of the negative aspects of our history. I don’t want to live someone else’s history, necessarily; I can only live and suggest my own experiences, and a lot of what my work deals with are my own experiences.” RASHID JOHNSON Skillfully incorporating commonplace objects from his childhood, Sun Goddess, 2009, is testament to Rashid Johnson’s desire to both confront ingrained ways of thinking about black experience, and accentuate its plurality. He transforms ordinary materials such as shea butter, wax, and record albums into conceptually and visually stimulating works of art, exploiting these resources precisely for their myriad of cultural signifiers and metaphorical representations. The present lot is characteristic of this practice– a process which the artist describes as “hijacking the domestic”– as it successfully epitomises Johnson’s exploration of the physicality of his materials in order to investigate the complexities and contradictions that comprise black identity. Though drawn upon from the artist’s own individual experience, the piece simultaneously evokes shared references that are significant to the mass of African-American culture – the use of shea butter, for example, derived from the African Shea tree, hints at the lapsed Afro-centrism of his parents, which in doing so, humorously questions the concept of applying “Africanism” to one’s body. Exemplifying Johnson’s deep interest in redefining intricate notions of blackness, Sun Goddess is a complicated visual composition of the beliefs and motifs that shape the artist’s personal relationship to a larger collective memory. He combines images of alchemy and divination that are synonymous with African American history, employing these materials in a way that suggests an indefinite form of mysticism and a role as devotional objects. Assuming a role akin to that of an Afro-futurist storyteller, Johnson envisions the future of blackness by reimagining its history – an approach which informs the entire creative process of his oeuvre, and establishes his work as central to the “post-black” movement. As a post-black artist, Johnson attempts to both undermine the importance of race and represent the black experience in pieces such as Sun Goddess, making use of references to black culture as a way to explore how social norms are created and deconstructed. Indeed, despite the largely conceptual nature of Johnson’s aesthetic, the authentic autobiographical perspective that he asserts in the present lot is provocative, urging the viewer to join the artist on his metaphysical journey as he contemplates the creation of the universe, art, and the self. Read More

Auktionsarchiv: Los-Nr. 37
Auktion:
Datum:
16.10.2013
Auktionshaus:
Phillips
London
Beschreibung:

Rashid Johnson Sun Goddess 2009 black soap, wax, gold paint, rocks, VHS casettes, shea butter, LP sleeve 246.4 x 309.9 x 17.8 cm. (97 x 122 x 7 in.) Signed 'Rashid Johnson' on the reverse of panels 1 and 3.
Provenance David Kordansky Gallery, Los Angeles Exhibited Los Angeles, David Kordansky Gallery, Other Aspects, 30 October 2009 — 16 January 2010 London, Modern Collections, AMERICAS, 11 September – 8 November 2012 Catalogue Essay “Some people have this expectation that black artists have an obligation to speak to more of the negative aspects of our history. I don’t want to live someone else’s history, necessarily; I can only live and suggest my own experiences, and a lot of what my work deals with are my own experiences.” RASHID JOHNSON Skillfully incorporating commonplace objects from his childhood, Sun Goddess, 2009, is testament to Rashid Johnson’s desire to both confront ingrained ways of thinking about black experience, and accentuate its plurality. He transforms ordinary materials such as shea butter, wax, and record albums into conceptually and visually stimulating works of art, exploiting these resources precisely for their myriad of cultural signifiers and metaphorical representations. The present lot is characteristic of this practice– a process which the artist describes as “hijacking the domestic”– as it successfully epitomises Johnson’s exploration of the physicality of his materials in order to investigate the complexities and contradictions that comprise black identity. Though drawn upon from the artist’s own individual experience, the piece simultaneously evokes shared references that are significant to the mass of African-American culture – the use of shea butter, for example, derived from the African Shea tree, hints at the lapsed Afro-centrism of his parents, which in doing so, humorously questions the concept of applying “Africanism” to one’s body. Exemplifying Johnson’s deep interest in redefining intricate notions of blackness, Sun Goddess is a complicated visual composition of the beliefs and motifs that shape the artist’s personal relationship to a larger collective memory. He combines images of alchemy and divination that are synonymous with African American history, employing these materials in a way that suggests an indefinite form of mysticism and a role as devotional objects. Assuming a role akin to that of an Afro-futurist storyteller, Johnson envisions the future of blackness by reimagining its history – an approach which informs the entire creative process of his oeuvre, and establishes his work as central to the “post-black” movement. As a post-black artist, Johnson attempts to both undermine the importance of race and represent the black experience in pieces such as Sun Goddess, making use of references to black culture as a way to explore how social norms are created and deconstructed. Indeed, despite the largely conceptual nature of Johnson’s aesthetic, the authentic autobiographical perspective that he asserts in the present lot is provocative, urging the viewer to join the artist on his metaphysical journey as he contemplates the creation of the universe, art, and the self. Read More

Auktionsarchiv: Los-Nr. 37
Auktion:
Datum:
16.10.2013
Auktionshaus:
Phillips
London
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