Rosemarie Trockel - Contemporary Art Part I New York Thursday, May 13, 2010 | Phillips

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  • Provenance

    Private collection, Vienna

  • Exhibited


    Cologne, Museum Ludwig, October 29, 2005 – February 12, 2006; and Rome, MAXXI-Museu nazionale delle arti del XXI secolo, May 19 – August 6, 2006, Rosemarie Trockel: Postmenopause

  • Literature


    Ludwig Museum, ed., Rosemarie Trockel: Postmenopause, Cologne 2005, pp. 131,164 (illustrated)

  • Catalogue Essay


    While the knit format accentuates the feminine, it also offers a telling departure from the prototypic representation of woman as idealized goddess, mother, saintly virgin, and sex object. Rather than signifying woman as someone to be looked at and desired, or as someone who possesses an eternal feminine essence that keeps her close to nature, outside and subordinate to the actualities of life, Trockel establishes an identity for woman as a worker.
    S. Stich, “The Affirmation of Difference in the Art of Rosemarie Trockel,” Rosemarie Trockel, Boston, 1991, p. 13
     
    Rosemarie Trockel’s expansive oeuvre was born of her upbringing in West Germany in the shadows of such artists as Joseph Beuys and Andy Warhol. Their influence drove Trockel’s art toward use of unconventional materials and ideas of consumerism and mass-production. Her sculptural works, often composed of found or appropriated objects, challenge traditions of authority and gender structures, and interact with feminist criticism. The present lot is exemplary of Trockel’s series of knitted works: manufactured textiles and clothing that reference Russian Constructivism, the Bauhaus, and feministoriented Marxism. A patterned knitted rectangle stretched over a canvas, the piece parodies contemporary art practice—reflecting a Warholian factorylike process—and comments on histories of women’s work.

106

Untitled

1986

Wool on canvas.

86 1/2 x 55 1/4 in. (219.7 x 140.3 cm).

 

Estimate
$150,000 - 200,000 

Sold for $206,500

Contemporary Art Part I

13 May 2010
New York