Chinatsu Ban

both pieces signed in English and dated 2005

Marianne Boesky Gallery, New York
Acquired directly from the above by the current owner

There is loss of paint on the tail of the elephant. Both pieces can benefit from a professional cleaning. Otherwise, the work is in good condition overall.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This work is one of eight unique works in the same form.

Soooooo cute!  Such an exclamation was reportedly heard over and over again coming from unknowing passers-by who halted to admire as well as purposeful aficionados who deliberately made a pilgrimage, ogling at a set of Chinatsu Ban sculptures that were being exhibited at Central Park, New York City in 2005.   Comprising of a large elephant, a small elephant and a small pile of poop, V W X Yellow Elephant Underwear/ H I J Kiddy Elephant Underwear was a public art project made possible by New York's Public Art Fund.  Having occurred in conjunction with arguably the most important exhibition of Japanese contemporary art abroad to date, Takashi Murakami's Little Boy: The Arts of Japan's Exploding Subculture presented by Japan Society, the installation was also timely sequel to Chinatsu Ban's first solo exhibition in New York at Marianne Boesky Gallery.  The works glowed in their brilliant yellow and attracted tremendous attention throughout the four and some months they were on display, even receiving front page coverage in the New York Times at the time.   My Favorite Things—Eighth of Ten Brothers was created in the same illustrious year of the artist's career.  Both in dimensions and in medium, it adopts an identical format as the kid elephant and poop from its Central Park cousin.  This piece, however, is one of a kind and among eight different unique pieces ever made by the artist.

 

"Elephants are like my talismans.  It's scary to imagine that someday I won't exist in this world anymore.  I am troubled by the urge to run away from this fear.  Elephants make me feel safe.  They have saved me many times."

Chinatsu Ban

 

Elephants are an inescapably dominant theme in the artist's oeuvre, featuring in almost all of her works.  Conceived in a manner not too divergent from the decorations that populate a nursery, My Favorite Things—Eighth of Ten Brothers flaunts a spectrum of delightful colours.  A pink snout, yellow ears and pink underpants with techni-colour patterns—the elephant stands adorable as ever with a rotund torso and stout little legs.  White, yellow, orange and pink with polka dots—the mound of poop sits comically behind.  Chinatsu Ban wholly indulges in the cult of kawaii that has infiltrated all strata of contemporary Japanese culture and living.  Previously the executive assistant to Japanese artist Takashi Murakami and now one of the most established, senior figures in the Kaikai Kiki coterie, she is no stranger to the visual inundation of cuteness in art.  This lovable work represents Chinatsu Ban's earliest foray into sculpture and marks the very first time that a three-dimensional work of hers has ever appeared at auction.