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  • Provenance

    Sperone Westwater, New York

  • Catalogue Essay

    “His is a strange poetry, a disparaging paean that reveals our high-culture selves as being at once disgusting and beautiful,” (S. Valdez, “Tom Sachs at Mary Boone,” Art In America, December 1999). For an artist whose work over the past decade consists primarily of fabricating scale models of consumer items,Tom Sachs has managed to ruffle quite a few feathers: his entrée into public consciousness, the “Hello Kitty Nativity Scene” window display for Barney’s in 1995, earned him death threats, while his first solo show for Mary Boone in 1999 landed his gallerist in jail for a day. What is it about Sachs’ technique of postmodern bricolage—his deconstruction of status-symbol consumer detritus and subsequent D.I.Y. creation of slyly subversive simulacra—that provokes a reaction so strong it has quickly earned him a space on the roster of contemporary art’s most notorious bad boy iconoclasts?

    Most likely Sachs’ recontextualization of commercial objects and iconography touch a nerve for those of us who can see something of ourselves in them; they flaunt our recognition of the insidious falsehoods of the luxe life while reminding us of our complicity in and addiction to the more-is-more lifestyle. Here, the cut-and-paste ethos of Postmodernity is given its due by his recreation of one of the premier tools of that trade inTechnics Quartz direct DriveTurntable System SL-1200MK2 (2000), in which the DJ’s turntable set-up is coated in the super-white seriousness of Modernism and at the same time recast as the ornamentation for the world’s most elaborate and expensive mini-fridge beer dispenser.


Technics Quartz direct Drive Turntable System SL-1200MK2

Mixology station installation comprised of: speakers, discman, tape player, amplifier, two turntables, sharpie marker, homemade handgun with bullets, crowbar, RUN DMC Slater CD, cassette tape, five mirrors, flourescent lights, resin, two locks, metal and electrical parts, headphones, and refrigerator with six tall boy Budweiser cans.
33 x 48 1/2 x 17 3/4 in. (83.8 x 123.2 x 45.1 cm).
This work is accompanied by a certificate of authenticity and a photograph signed by the artist.

£40,000 - 60,000 

Sold for £66,000

The Marino Golinelli Collection

13 October 2007, 1pm