Christian Marclay - New Now New York Wednesday, September 28, 2022 | Phillips

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  • Provenance

    Paula Cooper Gallery, New York
    Acquired from the above by the present owner

  • Exhibited

    Columbus, Wexner Art Center; Chicago, Museum of Contemporary Art, Hall of Mirrors: Art and Film since 1945, September 1996–January 21, 1998 (another example exhibited)
    Kunsthaus Zürich, Arranged and Conducted, 1997 (another example exhibited)
    Columbus, Wexner Art Center, Videotheque: New Television, March 1997 (another example exhibited)
    New York, Paula Cooper Gallery, Christian Marclay: Telephones, November 12, 1999–January 29, 2000 (another example exhibited)
    Heydt-Museum Wuppertal; Haus der Kunst München, TALK. Show. Die Kunst der Kommunikation in den 90er Jahren, March 28, 1999–January 9, 2000, pp. 82–83, 140 (another example exhibited and illustrated, pp. 82–83)
    48th Venice Biennale, dAPERTutto, June 13–November 7, 1999, pp. 108–109, 401, 405 (another example exhibited and illustrated, p. 109)
    Lyon, Musée d’art Contemporain, Musique en Scène, 1999 (another example exhibited)
    Berlin, Galerie Barbara Thumm; Karlsruhe, The Badischer Kunstverein; Krakow, Gallery for Contemporary Art Bunkier Sztuki; Budapest, House of Contemporary Arts Trafo; London, Lux Center, Group Video Exhibition, March 15, 2000–2001
    Paris, Centre Georges Pompidou; Rome, Palais des Expositions; Centre de Cultura Contemporania de Barcelona, Le temps, vite!, January 12, 2000–February 25, 2001 (another example exhibited)
    Boston, Barbara Krakow Gallery, Print Publishers’ Spotlight, October 21–November 29, 2000 (another example exhibited)
    Oakville Galleries, Christian Marclay: Asynchronous, December 8, 2000–February 4, 2001 (another example exhibited)
    Saratoga Springs, The Tang Teaching Museum and Art Gallery, Skidmore College, S.O.S: Scenes of Sounds, October 27, 2000–January 28, 2001 (another example exhibited)
    Berlin, Galerie Barbara Thumm; Karlsruhe, The Badischer Kunstverein; Krakow, Gallery for Contemporary Art Bunkier Sztuki; Budapest, House of Contemporary Arts Trafo; London, Lux Centre, Group Video Exhibition, March 15, 2000–2001 (another example exhibited)
    Roskilde, Museet for Samtidskunst, Christian Marclay: Video & Photography, March 24–May 14, 2000 (another example exhibited)
    Baltimore, Contemporary Museum, Making Sense: Ellen Gallagher, Christian Marclay and Liliana Porter, May 4–August 20, 2000, n.p. (another example exhibited)
    Umeå, Galleri Stefan Andersson, Umedalen Skulpture 2000, June–September 3, 2000, pp. 20–21 (another example exhibited and illustrated, p. 21)
    Vancouver, Presentation House Gallery, Christian Marclay: Telephones, September 2–October 28, 2000 (another example exhibited)
    Ontario, Oakville Galleries, Christian Marclay: Cinema, December 9, 2000–February 4, 2001, n.p. (another example exhibited)
    New York, Paula Cooper Gallery, Christian Marclay: Telephones, December 11, 1999–January 29, 2000 (another example exhibited)
    Saint Louis Art Museum, Currents 84: Christian Marclay, April 20–June 24, 2001 (another example exhibited)
    Mai, Bienal Maia, URBANLAB.BienalMaia-2001, June 8–July 15, 2001 (another example exhibited)
    Wilmington, Delaware Center for Contemporary Art; Museum of Contemporary Art Chicago, Telephones, July 1–September 20, 2001 (another example exhibited)
    Los Angeles, UCLA Hammer Museum; Annandale-on-Hudson, The Center for Curatorial Studies Museum, Bard College; The Seattle Art Museum; Bern, Kunstmuseum Thun, Christian Marclay, June 1, 2003–September 6, 2004, pp. 124, 126, 137 (another example exhibited and illustrated, p. 126)
    Geneva, MAMCO & Centre pour l’image contemporaine, 9th Biennal of the Moving Image, November 2001 (another example exhibited)
    Norwich, Sainsbury Centre for Visual Arts; Edinburgh, City Art Centre; Manchester, Cornerhouse, Incommunicado, September 30, 2003–July 4, 2004, no. 14, pp. 19, 109 (another example exhibited)
    Paris, Palais de Tokyo, site de création contemporaine, PAYLIST, February 2–April 25, 2004, pp. 175, 287 (another example exhibited and illustrated, p. 175)
    The Orange Lounge at The Orange County Museum of Art, Los Angeles, Hypermedia, July 31–September 26, 2004 (another example exhibited)
    Cultural Centre of Belgrade, Art, Life & Confusion | 47th October Salon, September 29–November 5, 2006, pp. 98–99, 263 (another example exhibited and illustrated, p. 99)
    Grimaldi Forum Monaco, New York, New York: Fifty Years of Art, Architecture, Cinema, Performance, Photography and Video, July 14–September 10, 2006, p. 546 (another example exhibited)
    São Paulo, Paço das Artes, Grau Zero, 2009, n.p. (another example exhibited and illustrated)
    Paris, musée de la musique; Melbourne, Australian Center for the Moving Images, CHRISTIAN MARCLAY: REPLAY, March 9, 2007–February 3, 2008, pp. 4–9, 103–107 (another example exhibited and illustrated, pp. 5–9)
    Cedar Rapids Museum of Art, Christian Marclay's Telephones, May 9–August 2, 2009 (another example exhibited)
    SITE Santa Fe, Talking Pictures, October 10, 2009–January 10, 2010 (another example exhibited)
    Contemporary Arts Museum Houston, Perspectives 178: CINEPLEX, April 13–July 8, 2012, n.p. (another example exhibited and illustrated)
    Munich, Haus der Kunst, Resonance and Silence. Synesthetic Aspects of Film and Video, April 13–September 9, 2012, pp. 81–85 (another example exhibited and illustrated, pp. 81, 84–85)
    Zurich, Aargauer Kunsthaus, Rhythm in it: On rhythm in contemporary art, May 18–August 11, 2013, pp. 150–152, 222 (another example exhibited and illustrated, p. 152)
    New York, Whitney Museum of American Art, America Is Hard to See, May 1–September 27, 2015 (another example exhibited)
    Zurich, Aargauer Kunsthaus, Christian Marclay: Action, August 30–November 15, 2015, p. 94 (another example exhibited)
    Vancouver Art Gallery, MashUp: The Birth of Modern Culture, February 20–June 12, 2016, pp. 212–213 (another example exhibited and illustrated)
    New York, 601Artspace, I Can’t Tell You Because I Can’t Tell You, September 16–November 12, 2017 (another example exhibited)
    New York, Paula Cooper Gallery, Christian Marclay: Phones, September 7–October 7, 2017 (another example exhibited)
    ZKM | Center for Art and Media Karlsruhe, Art in Motion. 100 Masterpieces with and through Media. An Operative Canon, July 13, 2018–February 10, 2019 (another example exhibited)
    Melbourne, National Gallery of Victoria and the Museum of Modern Art, MoMA at NGV: 130 Years of Modern and Contemporary Art, June 9, 2018–October 7, 2018 (another example exhibited)
    Düsseldorf, Sammlung Philara, On Display IV, September 6, 2019–Summer 2020 (another example exhibited)
    San Francisco, Fraenkel Gallery, I'm Not the Only One, September 8–October 24, 2020 (another example exhibited)
    Buenos Aires, Proa Foundation, La Suite, July 8–November 2021 (another example exhibited)
    New York, PS122 Gallery, National Academy of Design, Media Relay: An Exhibition in Two Parts, January 13–February 27, 2022 (another example exhibited)

  • Literature

    La Biennale di Venezia, Esposizione internazionale d'arte, vol. 48, Venice, 1999, pp. 108–109
    Art in America, September 2003, p. 90
    Christian Marclay, exh. cat., UCLA Hammer Museum, Los Angeles, 2003, p. 126
    Playlist, exh. cat., Palais de Tokyo, 2004, p. 175
    Philip Sherburne, "Christian Marclay’s Cochlear Implants," Parkett, no. 70, 2004, p. 32
    Holly Myers, "ART; An Old Mall Gets Younger," The New York Times, August 29, 2004, Section 2, p. 27
    Roger Hewson, "Orange Lounge Debuts," Orange Coast, vol. 30, no. 9, September 2004, p. 34
    CUT/Film as Found Object in Contemporary Video, exh. cat., Milwaukee Art Museum, 2004
    Matthew Higgs, Christian Marclay, London, 2005, pp. 61–65 (another example illustrated, pp. 62, 64–65)
    Randall Halle and Reinhild Steingröver, eds., After the Avant-Garde: Contemporary German and Austrian Experimental Film, Rochester, 2008, p. 246
    "SITEs to see," The Santa Fe New Mexican, October 9, 2009, p. 13 (another example illustrated)
    U. Autenrieth, et. al. eds., Dis Connecting Media, Basel, 2011, p. 209 (another example illustrated)
    Adam Bell and Charles Traub, eds., Vision Anew: The Lens and Screen Arts, Oakland, 2015, pp. 181–182, 187 (another example illustrated, p. 182)
    Paul Hegarty, Rumour and Radiation: Sound in Video Art, New York, 2015, fig. 7.2, p. 102 (another example illustrated)
    Embracing the Contemporary: The Keith L. and Katherine Sachs Collection, exh. cat., Philadelphia Museum of Art, 2016, pl. 102, p. 35 (another example illustrated)
    CCS Bard Hessel Museum, Invisible Adversaries, Annandale-on-Hudson, 2016, p. 79 (another exampled illustrated)
    Jon Knowles and Cheryl Sim, eds., DHC/ART LIBRE, p. 44 (another example illustrated)
    Alison Butler, Displacements: Reading Space and Time in Moving Image Installations, Cham, 2019, p. 61
    Wendy Haslam, From Méliès to New Media, Bristol, 2019, pp. 113–115
    Barbara Staubli and Barbara Hatebur, eds. The Julius Baer Art Collection Zurich, 2020, p. 205 (another example illustrated)
    A.L. Rees, Fields of View: Film, Art and Spectatorship, London, 2020, p. 163
    Jaimie Baron, Reuse, Misuse, Abuse: The Ethics of Audiovisual Appropriation in the Digital Era, New Brunswick, 2020, p. 63
    Jon Knowles and Cheryl Sim, eds., DHC/ART LIBRE, Montreal, 2018, p. 44 (illustrated)
    David Curtis, World of Art, London, 2021, p. 34
    Eduardo Navas, Owen Gallagher and xtine burrough, eds., The Routledge Handbook of Remix Studies and Digital Humanities, New York, 2021, p. 368



single channel video
runtime: 7:30 minutes
Executed in 1995, this work is number 30 from an edition of 250 and is accompanied by a certificate of authenticity signed by the artist.

Another example from this edition is housed in the permanent collection of the Museum of Modern Art, New York.

$20,000 - 30,000 

Sold for $22,680

Contact Specialist

Avery Semjen
Head of Sale, New Now
212 940 1207

New Now

New York Auction 28 September 2022