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  • Provenance

    Regen Projects, Los Angeles

  • Exhibited

    Chicago, Museum of Contemporary Art Chicago, Liz Larner, May 1 - September 8, 2002 (another example exhibited)
    Los Angeles, Museum of Contemporary Art, Liz Larner, December 2, 2001 - April 7, 2002 (another example exhibited)
    Graz, Austria, Kunsthaus Graz, The Perception in Art, October 25, 2003 - January 18, 2004 (another example exhibited)
    Buffalo, The Albright-Knox Art Gallery, Extreme Abstraction, July 15 - October 2, 2005 (another example exhibited)
    New York, Public Art Fund, Doris C. Freedman Plaza in Central Park, Liz Larner, '2001,' November 29, 2006 - May 1, 2007 (another example exhibited)
    San Francisco, University of California San Francisco, Arthur and Toni Rembe Rock Hall, Liz Larner 2001, permanent installation (another example exhibited)

  • Literature

    J. Dickson, "Liz Larner, BOMB --- Artists in Conversation," BOMB Magazine, no. 96, Summer, 2006 (illustrated)

  • Catalogue Essay

    Liz Larner’s monumental magnum opus, 2001, from 2001 superbly elucidates and illuminates many of the technical and theoretical challenges that she has confronted throughout her sculptural practice. Having worked with the “cubic” form for some time prior to 2001, Larner was well versed in its literal-physical and also poetic-interpretive connotations and readings. The balance, solidity, symmetricality and stability are all elements of the form to which Larner has felt immeasurably drawn. Here, however, she subverts and manipulates these exact components to such a degree that the work is no longer cubic but rather more spherical. Her aim is not to represent the cube but to use the cube as an inflection point from which she can then posit new, shifting realities. Larner achieves this with the coupled aids of technology and color. Larner developed the hybrid sphere-cube form with advanced animation technology, blending the two geometries to create a highly original and complex amalgamation of the two. The pearlescent chameleon auto-body paint, which is actually a layering of five different colors and reads differently depending on the view-point of the observer, serves to reinforce her aim of subverting and challenging the preconceived notions of what the cube represents and how it is understood in our current reality. Masterfully destabilizing a foundational form, 2001 is not only a crowning work of the artist’s within her own oeuvre, but certainly also within that of three-dimensional work throughout time.

PROPERTY FROM A PRIVATE AMERICAN COLLECTION

Ο ◆60

2001

2001
fiberglass, paint, stainless steel
144 x 144 x 144 in. (365.8 x 365.8 x 365.8 cm)
This work is number 3 from an edition of 3 plus 1 artist's proof, each unique in color.
This work may be installed inside or out of doors.

Estimate
$80,000 - 120,000 

Sold for $87,500

Contact Specialist
Rebekah Bowling
Head of Sale
New York
+ 1 212 940 1250

New Now

New York Auction 17 September 2015