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  • Provenance

    Galleria Emi Fontana, Milan

  • Catalogue Essay

    “These individual photographs usually function as part of a larger ensemble, being grouped according to
    subject types and displayed in an overall, non-hierarchical grid pattern. Looked at one at a time, each of them
    displays in rich detail the idiosyncratic features of a particular aspect of nature. When they are configured as
    a group, becoming co-dependent, their more formal aspects come to the fore, such as their equality of scale,
    their generally similar forms and shapes, the overall consistent horizon line that turns the ensemble into a
    lateral composition of alternating sky-white and earth colors. They thus engage in a continual back-and-forth
    between individuality and uniformity, expressive subjectivity and purported objectivity. While Eliasson’s
    systematic approach to and serial presentation of his subject matter find clear precedents in the photographs
    of German Bernd and Hilla Becher, there are differences: where the Bechers work in black and white, Eliasson
    uses the inherently less austere medium of color photography, and his subject matter welcomes more
    eccentric topographic anatomies than the Bechers’ industrial series.”
    M. Grynsztejn “Attention Universe: The Work of Olafur Eliasson”, D. Birnbaum, M. Grynsztejn; M. Speaks,
    Olafur Eliasson, New York, 2002, p. 60

  • Artist Biography

    Olafur Eliasson

    Danish-Icelandic • 1967

    Conceptual artist Olafur Eliasson was born in Copenhagen, Denmark to parents who had emigrated from Iceland. Characterized by a lack of traditional materiality, Eliasson’s work is typically quite simple and clean in appearance. Known for engaging with environmental issues, the artist often creates immersive works that activate the senses beyond just sight. Due to his consistent interest in light, Eliasson’s practice has been compared to both James Turrell and Dan Flavin. 

    One of his most popular installations, The Weather Project, 2003, saw Eliasson fill the entirety of Turbine Hall at the Tate Modern with light from an artificial Sun. Another project, New York City Waterfalls, 2008, became one of the most expensive public art installations ever, with a cost exceeding $15 million. The artist has been collected by institutions like the Guggenheim, the Kunstmuseum Basel and the National Gallery of Art, among others.

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Nine Works: Landscapes

Color photographs.
8 x 11 1/2 in. (20.3 x 29.2 cm) each.
This work is from an edition of two and each photograph is signed, dated "Olfaur Eliasson 1995" and numbered of two on the reverse.

$30,000 - 40,000 

NOW: Art of the 21st Century Theme Sale

6 March 2010
New York