LOT DETAILS

Materials:

gelatin silver print and letterpress on paper

Size Notes:

smaller element; larger element: (97.8 x 100.6 cm.)

Edition:

6 of 16 + 3 AP

Description:

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Condition:

in artist's frames

Exhibited:

Oxford, Museum of Modern Art; Edinburgh, Fruitmarket Gallery; Dublin, Irish Museum of Modern Art; Odense, Kunsthallen Brandts Klaedefabrik; Munich, Villa Stuck; Ghent, Museum van Hedendaagse Kunst and Lyon, Musée d’Art Contemporain, Marina Abramovic: objects, performance, video, sound, April 1995-February 1997, p. 49 (another example exhibited and performance illustrated). Athens School of Fine Art, Everything That’s Interesting is New: The Dakis Joannou Collection, January-April 1996, p. 27 (another example exhibited and performance illustrated). Kunsthaus Zurich and Hamburg Kunsthalle, Hypermental: Rampant Reality 1950-2000 from Salvador Dali to Jeff Koons, November 2000-May 2001 (another example exhibited). Oslo, The National Museum of Contemporary Art, Marina Abramovic: Cleaning the Mirror: Art in Context, March-June 2001 (another example exhibited). Athens, Kappatos Gallery, Autobiographies: Marina Abramovic, Lynda Benglis, Louise Bourgeois, Kara Walker, May-September 2001 (another example exhibited). Long Island City, Dorsky Gallery Curatorial Programs, Witness: Theories of Seduction, February-April 2003 (another example exhibited). Long Island City, P.S. 1 Contemporary Art Center, Video Acts: Single Channel Works from the Collections of Pamela and Richard Kramlich and New Art Trust, November 2002-April 2003 (another example exhibited). Hagen, Karl Ernst Osthaus-Museum, East Art Museum – A (Re) Construction of the History of Contemporary Art (1945-1985) in Eastern Europe, September-November 2005 (another example exhibited). Los Angeles, Museum of Contemporary Art; Washington, National Women in the Arts; Long Island City, P.S. 1 Contemporary Art Center; Vancouver Art Center; WACK! Art and the Feminist Revolution, March 2007-January 2009 (another example exhibited). New York, The Museum of Modern Art, Marina Abramovic: The Artist Is Present, March-May 2010, pp. 74-80 (another example exhibited and performance illustrated). New York, Sean Kelly Gallery, Marina Abramovic: Personal Archaeology, May-June 2010 (another example exhibited). Los Angeles, Prism Gallery, Misericordia, September-December 2010, p. 40 (another example exhibited and performance illustrated). Atlanta, SCAD, Marina Abramovic, October-November 2011 (another example exhibited). Stockholm, Moderna Museet; Humlebaek, Louisiana Museum of Modern Art; Sandvika, Henle Onstad Kunstenter; Bonn, Bundeskunsthalle; Florence, Palazzo Strozzi, Marina Abramovic: The Cleaner, February 2017-January 2019, pp. 86-91 (performance illustrated).

Literature:

M. Dawes, “Spectacle of the Body,” Circa, 1996, pp. 26-29 (performance illustrated). K. Henderson and A. Woods, “Marina Abramovic: Objects Performance Video Sound,” Transcript 3, 1997, pp. 6-26 (performance illustrated). D. Joselit, “Between Objects and Actions,” Art in America, November 1998, pp. 86-91 (performance illustrated). M. Abramovic, Artist Body: Performances 1969 - 1998, Milan, 1998. p. 89 (illustrated). M. Abramovic, Marina Abramovic, Artist Body, exh. cat. 1998, pp. 81 - 93 (performance illustrated) A. Balfour and P. Sudbanthad, “Marina Abramovic,” Museo, spring 1999, vol.2, pp. 18-22 (performance illustrated). M. Gayford, “Suffering for the Sake of their Art,” The Daily Telegraph, March 2002, p. A7 (performance illustrated). C. Grant, “Private Performances: Editing Performance Photography,” Performance Research, 2002, p. 36 (performance illustrated). A. Brooks, ed., Subjective Realities: The Refco Collection of Contemporary Photography, New York, 2004, p. 49 (performance illustrated). J. Saltz, “The Artists Who Still Matter,” New York Magazine, October 2007, p. 41 (performance illustrated). A. Midgette, “Peak Performances,” Art + Auction, October 2007, p. 191 (performance illustrated). U. Eco, Storia Della Brutezza / A Cura di Umberto Eco, Italy, 2007, p. 423 (performance illustrated). M. Abramovic, N. Spector, E. Fischer-Lichte and S. Umathum, eds., Marina Abramovic: 7 Easy Pieces, Milan, 2007, p. 201 (performance illustrated). I. Millar, “Abramovic’s historic performances on film,” The Art Newspaper, December 2007, p. 41 (performance illustrated). M. Widrich, “Repreformances: Da Capo Oder Zugabe.” Blind Date, 2008, p. 137 K. Stiles, Marina Abramovic, London, 2008, p. 62 (performance illustrated). S. Pirras, A Pocketful of Contemporary Artists, Mulgrave, 2008, p. 17 (performance illustrated). G. Amadasi, “Marina Abramovic: L’ottimista che fa a progetti sul suo funerale,” Marie Claire.it, October 2009 (illustrated). "l'Art contemporain, ça ne me parlepas,” Dada Magazine, no. 150, October 2009, pp. 38-39. L. Yablonsky, “Taking it to the Limits,” ARTnews, December 2009, p. 94 (performance illustrated). K. De Jongh and S. Gold, "The Artist is Present: A Conversation with Marina Abramovic," Art Monthly Australia, June 2010 (illustrated).

Provenance:

Sean Kelly Gallery, New York Acquired from the above by the present owner