"Untitled" (1992)

成交價美元 68,500

估價

美元 30,000 – 美元 40,000

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FELIX GONZALEZ-TORRES (1957-1996)

成交價美元 68,500

細明拍品專文

FELIX GONZALEZ-TORRES (1957-1996)
"Untitled" (1992)
signed 'Felix Gonzalez-Torres' (on a paper label affixed to the reverse)
framed photostat
12 5/8 x 16 5/8 in. (32 x 42.2 cm.)
Executed in 1992. This work is the artist's proof from an edition of four plus one artist's proof.

Acquired from the artist

E. Dietmar, et al., ed., Felix Gonzalez-Torres: Catalogue Raisonné, Ostfildern-Ruit, 1997, p. 106 (illustrated).

Los Angeles, Margo Leavin Gallery, Felix Gonzalez-Torres, Albert Oehlen, Christopher Williams: Theatre Verite, October-November 1992 (another example exhibited).
Glenside, PA, Beaver College Art Gallery, in conjunction with The Fabric Workshop and Museum, Philadelphia, Felix Gonzalez-Torres, February-March 1994 (another example exhibited).
New York, The Solomon R. Guggenheim Museum, Felix Gonzalez-Torres, March-May 1995 (another example exhibited).
New York, Andrea Rosen Gallery and London, Sadie Coles HQ, It's Just a Matter of Time, March-May 2002 (another example exhibited).
San Francisco Museum of Modern Art, Supernova: Art of the 1990's from the Logan Collection, December 2003-May 2004, p. 52 (illustrated, another example exhibited).
New York, FLAG Art Foundation, Floating a Boulder: Works by Felix Gonzalez-Torres and Jim Hodges, October 2009-January 2010, pp. 9, 68-69 (illustrated, another example exhibited).
Mexico City, Museo Universitario Arte Contemporneo, Somewhere/Nowhere, February-May 2010, p. 57 (illustrated, another example exhibited).

Please note the provenance for this work is acquired from the artist

拍品專文

The Photostat series, 1987-1992, can be considered the most seminal to all of Gonzalez-Torres' works. As with the majority of his artwork, they are about meaning and how meaning is dependent on context. Made by a photographic process, the black backgrounds provide the perfect blank screens for the projection of our individual understanding of social and political realities named and dated yet undefined by the text. The Photostats demand audience participation in making sense of the world depicted there. They require that we identify not with the artist or artwork, but as subjects in history through our interaction with the work. The viewer's personal history is linked with the events listed thereby collapsing the private and public, personal and political, individual and collective. This is the last Photostat work made by Gonzalez-Torres.