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  • Provenance

    Donald Young Gallery, Chicago

  • Literature


    Österreichisches Museum für Angewandte Kunst, ed., Richard Artschwager: The Hydraulic Door Check, Vienna, 2002, p. 197 (illustrated)

  • Catalogue Essay


    For over forty years, Richard Artschwager has been breaking with the conventions of art. His body of work adopts a multiplicity of forms and adheres to no rules. It can be categorized as Pop Art, because of its incorporation of commercial and industrial materials; as Minimal Art, because of its solid presence; and as Conceptual Art, because of its clever and intellectual detachment. But none of these classifications adequately defines the aims of an artist who specializes in categorical confusion and works to reveal the levels of deception involved in pictorial illusionism. Artschwager’s work provokes in order to make the structures of perception and reality immediately understandable.     R. Armstrong, Richard Artschwager, NewYork/London, 1988.
    Richard Artschwager tried to find a way to add sculptural and dimensional aspects to his paintings. In 1953, the artist started to make furniture commercially, producing simple, modern and well-constructed forms. Artschwager was strongly attracted to the notion of space and could furnish an environment and create images in space. His main idea is to use art to improve the context of viewing while making dimensional paintings and furniture like sculptures. His viewers are challenged to navigate his complicated space, representing the second and third dimension simultaneously.

27

Untitled (Splatter Desk, Chair, Typewriter)

1997
Formica, aluminum and acrylic on wooden panel.
89 x 40 1/2 x 1 in. (226.1 x 102.9 x 2.5 cm)
left panel; 66 1/2 x 58 1/2 x 1 in. (168.9 x 148.6 x 2.5 cm) right panel.

Estimate
$200,000 - 300,000 

Contemporary Art Part I

13 Nov 2008, 7pm
New York