Paul Pfeiffer - Contemporary Art London Friday, October 13, 2006 | Phillips

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  • Provenance

    Gagosian Gallery, New York

  • Exhibited

    New York, The Project, November 19 - January 7, 2004; New York, Gagosian Gallery, November 6 – December 18, 2004, Paul Pfeiffer: Pirate Jenny (another example exhibited); Tempe, Arizona State University Art Museum, Museum Selections, May 3- September 3, 2005

  • Catalogue Essay

    “I think of the spectacle of forgetting with computers, history actually can be erased. The limits of historical memory shrink. The spectacle, what Guy DeBord called ‘relationship between people that is mediated by images’ propels itself by its own visual effect.” (P. Pfeiffer quoted in J. Gonzalez, “Paul Pfeiffer”, Bomb, n.p.)

    In the present lot, Four Horsemen of the Apocalypse (11)- as in many of Pfeiffer’s most famous works- the artist utilizes a reductive take on appropriation, meticulously editing found images of basketball players until a central figure is left isolated against the backdrop of the audience, frozen in a sublime moment of ambiguity. Pfeiffer’s work often employs digital editing to address the question of the real, and of historical visibility or invisibility within the image. Pfeiffer merges mediums and approaches, assimilating found footage and images from pop culture to create something decidedly twenty-first century. Much of Pfeiffer’s work explores the relations between race, religion, commerce, art and philosophy.


Four Horsemen of the Apocalypse (11)

Fujiflex digital c-print.
48 x 60 in. (121.9 x 152.4 cm).
This work is from an edition of six and is accompanied by a certificate of authenticity signed by the artist.

£15,000 - 20,000 

Sold for £16,800

Contemporary Art

14 Oct 2006, 7pm