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  • Provenance

    Hauser & Wirth, Zurich

  • Exhibited

    Munich, Galerie Rüdiger Schöttle, Ponderosa Pines, 1991; Tokyo, Hara Museum of Contemporary Art; Hanover, Kestner-Gesellschaft; Paris, Centre National de la Photgraphie; Berlin, Akademie der Künst; Frankfurt, Schirn Kunsthalle Frankfurt, New York, P.S. 1: The Promise of Photography: Selected Works From the DG Bank Collection, October 1998 - March 2001 (other examples exhibited)

  • Literature

    J. Gilbert, The Promise of Photography: The DG Bank Collection, Munich/New York, 1988, pp. 148-149 (illustrated); É. Van Balberghe & Y. Gevaert, ed.s., Rodney Graham: Works from 1976 to 1994, Toronto, 1994, p. 75, no. 21.6; R. Smith, "Gazing in a Mirror: the Omniprescent camera," The New York Times, September 10, 1999; D. Roelstraete & S. Watson, ed.s, Intertidal, Vancouver, 2005  

  • Artist Bio

    Rodney Graham

    Canadian • 1949

    Rodney Graham pulls from cultural and intellectual history through photography, film, music, performance and painting. He presents narratives with puns and references to literature and philosophy, including Sigmund Freud and Kurt Cobain, with a sense of humor that contradicts his residence in the post-punk scene of late 1970s Vancouver.

    In his film trilogy Vexation Island (1999), How I Became a Ramblin' Man (1999) and City Self/Country Self (2001), the artist plays characters like a castaway and a cowboy caught in repetitive cycles of actions and gestures. Such unconscious dream states are further explored in Graham's series of upside-down photographs of oak trees, which are hung to mimic camera obscura.

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235

Ponderosa Pine IV

1991
C-print in the artist's pinewood frame.
84 3/8 x 72 1/2 in. (214.3 x 184.2 cm) overall.
This work is from an edition of two. 

Estimate
$70,000 - 90,000 

sold for $86,500

Contemporary Art Part II

15 May 2009, 10am
New York