Wim Delvoye - Contemporary Art Part I New York Thursday, November 15, 2007 | Phillips

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  • Provenance

    Sonnabend Gallery, New York

  • Exhibited

    Pully/Lausanne (Switzerland), FAE Musée d’Art Contemporain, Post Human, June 14 - September 13; Castello di Rivoli, Museo d’arte Contemporanea, Wim Delvoye, October 1 - November 22, 1992; Athens, Deste Foundation for Contemporary Art, Wim Delvoye, December 3 - February 12, 1993; Deichtorhallen Hamburg, Wim Delvoye, March 12 - May 9, 1993; Jerusalem, The Israel Museum, Wim Delvoye, June 21 - October 10, 1993

  • Literature

    W. Delvoye, L. Grisebach, and C. Hopfengart, Wim Delvoye Fünf Arbeiten,Germany, 1992, p. 27 (illustrated in black and white);W. Delvoye, J.H. Martin, T. Prat, andM. Visser, Wim Delvoye Scatalogue, Ghent, 2001, p. 29 (illustrated in black and white); Manchester City Art Gallery and Sperone Westwater, eds., Wim Delvoye: Gothic Works,Manchester, 2002, p. 92 (illustrated)

  • Catalogue Essay

    With sardonic humor, Wim Delvoye’s early work of the late 1990s constructs soccer goals out of stained glass that clearly reveals the influence of Pop Art including artists such as Jeff Koons. The ironic use of glass undermines the overall purpose of the object. The iconography further expresses the notion of opposites; a Saint is not integrated with a cathedral, but with sport paraphernalia. Blatant ideas of cultural identity are interwoven with Pop’s ambivalence. “They [sculptures]...conveyed a desire to abandon presuppositions regarding identity as a cultural given and to treat it as a partly mythic construct based on clichés and half-remembered histories,” (D. Cameron, The Thick of It, Wim Delvoye, New and Improved, NewYork, 2001, p. 278).

62

St. Stephanus I

1990
Stained glass, metal, and enamel spray paint on steel.
82 3/4 x 124 x 43 1/4 in. (210.2 x 315 x 109.9 cm).

Estimate
$100,000 - 150,000 

Sold for $319,000

Contemporary Art Part I

15 Nov 2007, 7pm
New York