Sam Taylor-Johnson Soliloquy V 1998 C-Print in two parts in the artist's original wooden frame. 226.1 x 256.6 cm. (89 x 101 in). This work is from an edition of six.
Provenance White Cube, London Exhibited London, White Cube, New York, The Hudson Valley Centre for Contemporary Art, Symbolic Space, June 2004 – April 2005; Pittsburgh, Carnegie Museum of Art, Carnegie International 1999/2000, 6 November, 1999-26 March, 2000; New York, Guggenheim Museum, Moving Pictures: Contemporary Photography and Video from the Guggenheim Collection, 28 June, 2002-12 January, 2003 Literature Exhibition Catalogue, Carnegie Museum of Art, Carnegie International 1999/2000, Pittsburgh, 2002, n.p.; Exhibition Catalogue, Guggenheim Museum, Moving Pictures: Contemporary Photography and Video from the Guggenheim Collection, New York, 2 October 2003, n.p. Catalogue Essay "[Soliloquy V]...consists of a portrait positioned above a panoramic photo predella – an element common to Italian renaissance altar paintings in which a narrative is depicted below a central image – that relates both aesthetically and thematically to the figure seen above, perhaps representing the inner reality of the person portrayed. When an artist quotes openly from historical iconography, a dislocation from the original can be as important as the points of convergence."(A. Gargett, Representations // Recognitions // Questions: The Art of Sam Taylor-Wood in Get Underground, 2004) Taken from the ‘Soliloquy' series this lot by artist Sam Taylor-Wood presents a narrative structure presenting the viewer with a character and a panoramic view in the lower quarter of the photograph. Perhaps the first response might be to see the panorama as a representation of the interior world of the figure presented on the top, but it works the other way around as well: the upper image reflecting the self-image of the isolated figure above as they are absorbed into the cyclical scene illustrated in the scene below. Her works compulsively examines and dissects the contemporary psyche and the place of the individual, her art is charged with the setting of portraiture but the photographed figures normally demonstrate a notion, borderline solitude, contemplation, sexual desire or ultimately death. Whether in video or on photographic C-print, Ms. Taylor-Wood holds a talent for creating a close intimacy between the artist the subject and thus presenting this to the viewer. Read More
Sam Taylor-Johnson Soliloquy V 1998 C-Print in two parts in the artist's original wooden frame. 226.1 x 256.6 cm. (89 x 101 in). This work is from an edition of six.
Provenance White Cube, London Exhibited London, White Cube, New York, The Hudson Valley Centre for Contemporary Art, Symbolic Space, June 2004 – April 2005; Pittsburgh, Carnegie Museum of Art, Carnegie International 1999/2000, 6 November, 1999-26 March, 2000; New York, Guggenheim Museum, Moving Pictures: Contemporary Photography and Video from the Guggenheim Collection, 28 June, 2002-12 January, 2003 Literature Exhibition Catalogue, Carnegie Museum of Art, Carnegie International 1999/2000, Pittsburgh, 2002, n.p.; Exhibition Catalogue, Guggenheim Museum, Moving Pictures: Contemporary Photography and Video from the Guggenheim Collection, New York, 2 October 2003, n.p. Catalogue Essay "[Soliloquy V]...consists of a portrait positioned above a panoramic photo predella – an element common to Italian renaissance altar paintings in which a narrative is depicted below a central image – that relates both aesthetically and thematically to the figure seen above, perhaps representing the inner reality of the person portrayed. When an artist quotes openly from historical iconography, a dislocation from the original can be as important as the points of convergence."(A. Gargett, Representations // Recognitions // Questions: The Art of Sam Taylor-Wood in Get Underground, 2004) Taken from the ‘Soliloquy' series this lot by artist Sam Taylor-Wood presents a narrative structure presenting the viewer with a character and a panoramic view in the lower quarter of the photograph. Perhaps the first response might be to see the panorama as a representation of the interior world of the figure presented on the top, but it works the other way around as well: the upper image reflecting the self-image of the isolated figure above as they are absorbed into the cyclical scene illustrated in the scene below. Her works compulsively examines and dissects the contemporary psyche and the place of the individual, her art is charged with the setting of portraiture but the photographed figures normally demonstrate a notion, borderline solitude, contemplation, sexual desire or ultimately death. Whether in video or on photographic C-print, Ms. Taylor-Wood holds a talent for creating a close intimacy between the artist the subject and thus presenting this to the viewer. Read More
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