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  • Provenance






    Modern Institute, Glasgow

  • Catalogue Essay






    Although armed with an array of gestural brushstrokes, kitschy found objects and outdatedly ‘modern’ sculptural forms, Anselm Reyle skews his pieces away from their retro beginnings by yoking them with such futuristic materials as day-glo and fluorescent paint, neon light, silver Mylar and sheets of mirror. The results are futuro-modern, perhaps, or retro-contemporary. In 1964 Clement Greenberg despairingly described how painterly abstraction had become, in the hands of a watered-down second generation, ‘by and large an assortment of ready-made effects’ where ‘the look of the accidental had become an academic, conventional look’. Forty years later these ready-made effects are willingly taken onboard by a new generation, ready to dissociate them from their original contexts without the need for the self-conscious irony of their Postmodern predecessors. The drip, the pour, the stain, the gestural brushstroke all have a role to play in Reyle’s painting.





    K. Bell, ‘Anselm Reyle’ in Frieze Magazine, Issue 86, October, 2004

111

Untitled

2006
Mixed media on canvas in artist’s metal frame.
224 x 189 cm. (88 1/8 x 74 3/8 in).

Estimate
£70,000 - 90,000 ‡ ♠

Sold for £102,500

Contemporary Art Evening Sale

28 Feb 2008, 7pm
London