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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

    David Hammons eschews the spotlight and rebels against the conventions of the art world. Hammons’s diverse body of work, spanning conceptual, performance, and installation art, is 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. 

    Hammons doesn't work in any consistent medium or using any formal or academic theory—he famously has said, "I can't stand art actually." Still, with his Duchamp-ian readymades re-envisioned for a contemporary political context, Hammons remains one of contemporary art's most watched artists. Untitleda basketball hoop with dangling candelabra, achieved $8 million at Phillips in 2013, the world auction record for the artist. 

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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