Rosemarie Trockel - Contemporary Art Part I New York Wednesday, May 13, 2009 | Phillips

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  • Provenance

    Galerie Monika Spruth, Cologne; Donald Young Gallery, Chicago; First Bank of Minneapolis Collection, Minneapolis; Private collection, Essen; Schönewald Fine Art, Fürstenberg

  • Exhibited


    NewYork, Gagosian Gallery, Prefab, February 26 – May 17, 2008

  • Catalogue Essay

    Trockel’s knitting pictures, produced since the middle of the 80s, consist of lengths of machine-knitted, woolen material stretched over canvas. In her large scale knitting images,Trockel incorporates culture and political symbols or logos, like the hammer and sickle or swastika, which appear as adornments in her compositions.These knitted artworks represent an ironic remark on traditional feminine work in a context of mechanization and mass production.
    "With Trockel’s geometric motifs, she deconstructs the meanings that everyday things hold for us and delves into things and thoughts until they form loosely connected series demonstrating its being as a matter of contingency. Serial nature disperses the authority of fixed thought patterns, and show the infiniteness in which the individual components can be reconnected with each other and ever creating new ways of thinking. Her process is going in various directions and is not a linear one; it crosses, intersects and forms Trockel’s own dynamic." (U.M. Schneede, Rosemarie Trockel Werkgruppen 1986-1998, Cologne, 1998, p 18-23).
    The tactile and sensual medium of wool and the technique of knitting, is different than traditional materials and techniques in Art revealing a connotation to Feminism.Trockel tries to explore whether the negative female cliché still exists when removing the craft from the process. Patterns are not painted on the canvas but are rather elements of the works. Contrary to Sigmar Polke, who uses printed fabric as support structure,Trockel transfers and elevates the self designed carrier directly into a painting on canvas.
    The repetitiveness in the present work, Ohne Titel, is continuing eternally so that it seems this painting is a cutout from something much bigger and infinite. Her work is not just commenting on the female production of art but can also be interpreted as an examination of Pop and Minimal Art.

5

Ohne Titel

1987

Wool stretched over canvas.

86 1/2 x 55 1/8 in. (219.7 x 140 cm).

This work is from an edition of two.

Estimate
$100,000 - 150,000 

Sold for $206,500

Contemporary Art Part I

14 May 2009, 7pm
New York