- 524
Ellen Gallagher
Description
- Ellen Gallagher
- DeLuxe
Each signed on the reverse, in 60 parts
A portfolio of 60 printed objects with aquatint, dry-point, photogravure, spite-bite, lithography, silkscreen, embossing, tattoo machine engraving, laser-cutting, collage, crystals, cut paper, enamel, glitter, gold leaf, gouache, graphite, oil, plasticine, polymer paint, toy eyeballs, watercolor and velvet
- Each: 13 by 10 1/2 in. 33 by 26.7 cm.
- Overall: 84 3/4 by 176 in. 215.3 by 447 cm.
- Executed in 2004-2005, this work is number 16 from a set of 20 unique variations.
Provenance
Two Palms Press, New York
Private Collection, New York
Exhibited
New York, The Whitney Museum of American Art, January – May 2006 (another example exhibited)
North Miami, The Museum of Contemporary Art, February – March 2005 (another example exhibited)
New York, The Museum of Modern Art, July – September 2005 (another example exhibited)
St. Louis, The Contemporary Art Museum, April – June 2006 (another example exhibited)
Condition
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Catalogue Note
The present work is contained in many prestigious collections including the Tate Modern, London; The Museum of Modern Art, New York; The Whitney Museum of American Art, New York; The Studio Museum of Harlem, New York; The Walker Art Center, Minneapolis and The Eli Broad Foundation, Santa Monica among many others.
"But as I began looking through them, the wig ads themselves had such a language to them—so worldly—that referred to other countries, La Sheba...this sort of lost past. I started collecting the wig ads themselves. And then I realized that I also had a kind of longing for the other stories, the narratives, wanting to bring them back into the paintings and wanting the paintings to function through the characters of the ads—to function as a kind of chart or a map of this lost world...And I find that really moving." - Ellen Gallagher (Art Intelligence, June 6, 2007)