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  • Provenance


    Zabriskie Gallery, New York

  • Catalogue Essay


    Sawada is a photographer without a camera. All her works are taken by photographic procedures and cameras that are subject to cultural mechanisms from the photo-booth to the high-street photographer's studio. Therefore, her images deal with conventions of the photographic image, but manipulate the given photographic devices for the sake of inversion and creation of her own identity. We are not facing a series of portraits for the sake of self-documentation or self-expression. Neither is this a personal gaze, as are those of the great painters reflecting on the passage of time, ageing and personal history as embodied in the human face and expression. Quite the contrary: Sawada's series is looking at the cruel aspect of documentation, by self-archiving and self-sorting. In this series, Sawada turns into a ‘manufacturer’ of portrait, presenting here a series of portraits from the production line, made by the rough mechanism of the photo-booth, which is lacking in nuances and sensitivity.
    Ayelet Zohar PostGender: Gender, Sexuality and Performativity in Contemporary Japanese Art, Tikotin Museum of Japanese Art, Haifa, Israel September, 2005 - January, 2006

PROPERTY FROM A PRIVATE COLLECTION, NEW YORK

207

ID 400 #301-400, 1998

1998
One hundred gelatin silver prints, mounted.
Each 11.1 x 8.9 cm. (4 3/8 x 3 1/2 in); 119.4 x 94.6 cm (47 x 37 1/4 in) overall.

One from an edition of 15.

Estimate
£5,000 - 7,000 

Sold for £16,100

KYOBAI, Japanese Art and Culture

3 Apr 2008, 6pm
London