- 88
Yehudit Sasportas
Estimate
30,000 - 40,000 USD
bidding is closed
Description
- Yehudit Sasportas
- Untitled III
- acrylic and marker on board
- 45 1/2 by 98 1/2 in.
- 115.57 by 250.2 cm
- Executed in 2001.
Provenance
Barbara Davis Gallery, Houston
Acquired from the above by the present owner
Acquired from the above by the present owner
Literature
MATRIX 200: Yehudit Sasportas By the River (exhibition catalogue), University of California, Berkeley Art Museum and Pacific Film Archive, Berkeley, 2002-03, illustrated in color p. 94
Condition
Acrylic and marker on board. Surface in generally good condition, sheet appears clean with no visible darkening due to the light. Some minor scattered marker smudges, likely the artist's. One paper fault visible in lower left quadrant, inherent to the medium. This work is in excellent 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.
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
Yehudit Sasportas, born in Israel in 1969, received both her BFA and MFA from the Bezalel Academy of Art and Design and attended the Cooper Union School of Art in New York in 1993. She has since been awarded multiple prizes and fellowships, including the Nathan Gottesdiener Foundation prize in 1999. In 2007 Sasportas represented Israel at the 52nd Venice Biennale, and most recently, in 2013, the Israel Museum in Jerusalem held a critically acclaimed one-person show of her work, Seven Winters. She currently works and resides in Berlin and Tel Aviv.
Untitled III, 2001, offered here, is a characteristically large-scaled ink drawing combining the dichotomies that are often present in Sasportas’ work: chaos and order, timeless nature and contemporary manipulation, wild gestures and obsessive detail, the realistic and the imagined. In these early landscapes, Sasportas’ pages are split, in this case almost evenly, between dense, natural landscapes, and compulsively organized vertical lines. The tangle of trees in this work is a dense forest, drawn with such a light touch it becomes weightless when compared with the dark, heavy, deeply-rooted lower half of the page. The forest, a theme born from German romanticism provides the environment for self-reflection, mystic storytelling and connection to nature. Sasportas thick, but fragile, forest is challenged from below by an overpowering spread of the human digital touch. Compared with her more contemporary works, the orientation and symmetry in Untitled III are clear and clean, this more organized technique concealing a powerful underlying energy.
Untitled III, 2001, offered here, is a characteristically large-scaled ink drawing combining the dichotomies that are often present in Sasportas’ work: chaos and order, timeless nature and contemporary manipulation, wild gestures and obsessive detail, the realistic and the imagined. In these early landscapes, Sasportas’ pages are split, in this case almost evenly, between dense, natural landscapes, and compulsively organized vertical lines. The tangle of trees in this work is a dense forest, drawn with such a light touch it becomes weightless when compared with the dark, heavy, deeply-rooted lower half of the page. The forest, a theme born from German romanticism provides the environment for self-reflection, mystic storytelling and connection to nature. Sasportas thick, but fragile, forest is challenged from below by an overpowering spread of the human digital touch. Compared with her more contemporary works, the orientation and symmetry in Untitled III are clear and clean, this more organized technique concealing a powerful underlying energy.