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  • Provenance

    The Project, New York

  • Exhibited

    New York, Whitney Museum of American Art, The Contemporary Series: Paul Pfeiffer, December 13, 2001 – February 24, 2002 (another example exhibited)
    Cambridge, MIT List Visual Arts Center, Paul Pfeiffer Turns ‘Pop’ into ‘Art’, February 6 – April 6, 2003 (another example exhibited)
    Chicago, Museum of Contemporary Art, Paul Pfeiffer, May 3 - September 3, 2003
    Honolulu, The Contemporary Museum, Paul Pfeiffer: Video, Photographs and Sculpture, January 2004 (another example exhibited)
    Chicago, Museum of Contemporary Art, Strange Days, September 20, 2003 - July, 2004
    Torino, Galleria Maze, Amazeing Friends, February 16 – July 7, 2006 (another example exhibited)

  • Literature

    L. Yablonsky, “Making Microart That Can Suggest Macrotruths”, The New York Times, December 9, 2001
    H. Cotter, “Art in Review: Paul Pfeiffer”, The New York Times, January 18, 2002
    U. Grosenick and B. Riemschneider, eds., Art Now, Cologne and Berlin, 2002, p. 394 (illustrated)

  • Catalogue Essay

    “There are interesting moments when the player happens to be faced away from the camera. They zoom in on the back of the head, and it seems like a very interesting contradiction—that in a way this is the money shot. It’s the shot that the players are waiting for when they take center stage after they’ve done something good or something bad. But the contradiction is the extreme close-up on the personality of somebody who happens to be turned away from the camera.” (Paul Pfeiffer quoted in the PBS interview, Art 21)

    In Race Riot, Paul Pfeiffer memorializes the 1996 NBA Championship in which the Chicago Bulls win the tournament. The basic image is a clip from the final victory—the moment in which Michael Jordan falls to the floor, back to the camera, hugging the ball as his teammates gather around him. After winning three straight NBA titles from the 1991 to 1993, Michael Jordan retired. After he returned to the Bulls in 1995, the team won three more NBA Championships in 1996, 1997, and 1998. In Race Riot, Pfeiffer is celebrating this momentous event. The artist manipulates the original footage captured through ardent editing. Subjecting the viewer to his selected clips, Pfeiffer draws upon the real meaning behind the championship itself: the victory cup, the camaraderie, and the final release of expression the athletes convey. By placing the entire object in a glass vitrine lined with cloth, Pfeiffer further suggests this act of veneration to the championship itself.

65

Race Riot

2001
Video installation including: DVD, digital camcorder, DVD player, and wooden and glass vitrine with linen on wooden pedestal.
Image size: 1 ½ x 2 in. (3.8 x 5.1 cm.); Vitrine dimensions: 20 x 20 x 22 in. (50.8 x 50.8 x 55.9 cm.); Overall dimensions including base: 64 x 19 ¾ x 19 ¾ in. (162.6 x 50.2 x 50.2 cm).

Signed “Paul Pfeiffer” on DVD. This work is from an edition of six plus one artist’s proof.

Estimate
$80,000 - 120,000 

Sold for $144,000

Contemporary Art Part I

16 Nov 2006, 7pm
New York