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  • Provenance

    Sonnabend Gallery, New York

  • Exhibited

    Cincinatti, The Contemporary Arts Center, 1996; Peoria, Lakeview Museum of
    Arts and Sciences, 1996; Virginia Beach Center for the Arts, 1996; Tacoma Art Museum, 1996; Jacksonville Museum of Contemporary Art, 1996; Walnut Creek (California), Bedford Gallery / Dean Lesher Regional Center for the Arts, 1997; Phoenix Art Museum, 1997; Coral Cables (Florida), Lowe Art Museum, 1998; Milwaukee Art Museum, 1998; and Little Rock, Arkansas Art Center, 1998, It''''s Only Rock and Roll: Rock and Roll Currents in Contemporary Art (another example exhibited); Museum Moderner Kunst Stiftung Ludwig Wien, 20er Haus, November 22, 1997-January 11, 1998; and University of Southhampton (Great Britain), John Hansard Gallery, March 17-April 25, 1998, Haim Steinbach (another example exhibited); Bolgna, Carisbo San Paolo, Palazzodi Residenza, Tra Artee Scienza, October, 2006; Tokyo, The National Art Center, Living in the Material World: “Things” in Art of the 20th Century and Beyond, January 21-March 19, 2007(another example exhibited)

  • Literature

    D. S. Rubin, It''''s Only Rock and Roll: Rock and Roll Currents in Contemporary Art, Munich / New York, 1995, p. 133 (illustrated); E. Badura-Triska and H. Steinbach, Haim Steinbach, Vienna, 1997, p. 230 (illustrated); National Art Center, ed., Living in the Material World- “Things” in Art of the 20th Century and Beyond, Tokyo, 2007, p. 233 (illustrated)

  • Catalogue Essay

    “The status of art is objects in context; it transcends specific objects which
    means that any kind of object may be a vehicle for art. It is an awareness, an
    understanding that something is happening on a more complex level than
    “art” objects or “kitsch” objects.The more complex level has to do with the
    fact that when we look with our own eyes we can see remarkable things
    happening in any group of objects just as in a high status work of art made
    by an artist.What it boils down to is that when looking at an arrangement of
    objects a visual language may be discerned if the group is seen openly
    without hierarchical prejudices.

    There is precedence to this practice: Robert Smithson’s idea of “site” and
    “non-site.” He went to a salt mine and brought salt rocks from their original
    habitat to the museum, placing them on mirror plates. His idea was a
    reflection on the natural in opposition to the unnatural context; the
    geographical and the non-geographical. He invented a dialectic between
    the space of the museum of art and the space of nature. My work is a shift
    from the geographical “site/non-site” to the social; the movement is from
    one type of social space to another. Furthermore both social spaces are
    location in which analogous activities take place, people select and arrange
    objects in both contexts.They produce linguistic textures with the objects,
    constructing meaning through methods (conscious or unconscious) of
    organization and ritual. My work is an attempt to connect the relations of
    these activities, to establish a channel of continuity, to resist the separation
    in the flow of meaning of object relations.” (Haim Steinbach in an interview
    with A.Tolnay, North South East West, Ostfildern-Ruit, 2000, pp 54 – 58)

1

boot hill I-2

1991

Plastic laminated wooden shelf with custom-designed electric guitar and metal stand, and eight ceramic musical note coffee mugs.


75 3/4 x 54 1/4 x 29 in. (192.4 x 137.8 x 73.7 cm) as installed.
This work is unique from a series of three similar works and is accompanied by a photograph signed by the artist.

Estimate
£15,000 - 20,000 

Sold for £43,200

The Marino Golinelli Collection

Collection
13 October 2007, 1pm
London