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  • Provenance

    Private collection, New York

  • Exhibited

    New York, 303 Gallery, Sue Williams, December 7, 1996 - January 12, 1997

  • Literature

    J. Goodman, "Sue Williams at 303 Gallery," Art in America, May 1997

  • Catalogue Essay

    That all ends are up is perfectly clear upon inspection.  Butt ends seem to dominate.  But there will be no single end and no conclusion drawn.  The ends leave their nasty bits dangling before the business of voyeurism, penetration, late frisson or slap.  Cause is as gone as effect.  Yet it is the painting that sets all this up, with its beautifully illogical lines that make fingers and smirk.  Its lines are the ones that show and do not tell.  They are Sue Williams’ genuine contribution to painting.  With them she makes an overall pattern carry the authority to create ends and destroy them, requiring us to see something in the movement of and toward human extremity.  But all the things one believes one sees are really only lines en route.
    M. Nesbit, “Touched,” Parkett no. 50/51, 1997, p. 176
     

12

Darklight

1996
Oil on canvas. 
72 x 84 in. (182.9 x 213.4 cm).
Signed, titled and dated "Sue Williams Darklight 1996" on the reverse. 

Estimate
$40,000 - 60,000 

Under the Influence

9 Mar 2009, 10am
New York