David Hammons - Contemporary Art Part I New York Thursday, May 15, 2008 | Phillips

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  • Provenance


    Jack Tilton Gallery, New York

  • Catalogue Essay


    African American folk construction and Outsider art is fascinating for Hammons because it points to an aesthetic, a way of using and doing things, of creating something beautiful from the nothing that is given, from the leftovers. By making art from detritus and found materials, Hammons attempts to put himself on the same plane as the historically marginal and opens himself up to their canons of beauty and perseverance that sometimes translated as transformational magic. K. Jones, David Hammons: Rousing the Rubble, NewYork, 1991, p. 24

  • Artist Biography

    David Hammons

    American • 1943

    Few artists are afforded the liberty to dictate exhibition schedules and public appearances, but David Hammons eschews the spotlight and rebels against the conventions of the art world. Whether intentionally or not, Hammons creates works so laden with spell-binding metaphor that they have become symbols for movements both in the art world as well as in the public domain. (His now-iconic In the Hood sculpture has been used by Black Lives Matter activist group.)

    Hammons doesn't work in mediums or any formal or academic theory—he famously has said, "I can't stand art actually." Still, with controversial works including his PETA-paint-splashed Fur Coat sculpture, Hammons remains one of contemporary art's most watched artists. Hammons also doesn't frequently exhibit, and his last major gallery show, 2016's "Five Decades," only featured 34 works. With a controlled market, Hammons saw Untitled, a basketball hoop with dangling candelabra, achieve $8 million at Phillips in 2013. 

    View More Works

129

Untitled

1989 - 1990

Rubber inner tube, frying pan, and gold paint.

66 x 39 1/2 x 13 in. (167.6 x 100.3 x 33 cm).

Estimate
$800,000 - 1,200,000 

Contemporary Art Part I

15 May 2008, 7pm
New York