- 14
Farhad Moshiri
Estimate
120,000 - 180,000 USD
Log in to view results
bidding is closed
Description
- Farhad Moshiri
- I Got Sunshine
- signed, titled and dated 2011 twice on the reverse
- steel and wooden knives on canvas
- 171 by 250cm.; 67 3/8 by 98 3/8 in.
Provenance
Galerie Perrotin, Paris
Acquired directly from the above by the present owner in 2011
Acquired directly from the above by the present owner in 2011
Condition
This work is in very good condition. There is a 8cm rub mark on the left outer edge of the canvas and another rub mark on the lower right corner tip. All irregularities are inherent to the artist's choice of medium and creative process.
The colours in the catalogue illustration are accurate, with the overall tonality being brighter and more vivid in the original work.
"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."
"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."
Catalogue Note
Whilst established artists of his generation were revered for abstract and calligraphic paintings, Moshiri and his peers were associated with Tehran's breeze of Dadaism. Endeavoring into a subtle yet subversive socio-political narrative that positioned him at the forefront of Contemporary Iranian art, Moshiri draws inspiration from anything and everything, including comic books, billboards, classical portraiture, religious iconography and music to produce a body of work that is consistently rooted in a neo-pop aesthetic, and immersed in consumerist and branding culture.
Dozens of found knives dug into a thick and creamy canary canvas blast the cursive script of blockbuster hit by The Temptations released in 1964. I Got Sunshine is a striking example of the artist's interest in the Baroque and Mannerist movement, which often owed him comparisons to Jeff Koons, and the attraction to the ornamental visual lexicon of excess.
All is super sized, loud and bright, living up to the duality between Iranian and western cultures: the extreme fascination, rejection, and all the ambivalence that rhythm Iran's obsession for the West, a theme that is at the core of the artist's practice. "Irony" as the artist puts it "allows you to be playful without being too militant about your opinions." At first playful then decorative, but beneath the banal lies a sardonic desire for a bright and glitzy fantasy, a nostalgia for a forevernever land far removed from Iran's current sociopolitical reality.
Dozens of found knives dug into a thick and creamy canary canvas blast the cursive script of blockbuster hit by The Temptations released in 1964. I Got Sunshine is a striking example of the artist's interest in the Baroque and Mannerist movement, which often owed him comparisons to Jeff Koons, and the attraction to the ornamental visual lexicon of excess.
All is super sized, loud and bright, living up to the duality between Iranian and western cultures: the extreme fascination, rejection, and all the ambivalence that rhythm Iran's obsession for the West, a theme that is at the core of the artist's practice. "Irony" as the artist puts it "allows you to be playful without being too militant about your opinions." At first playful then decorative, but beneath the banal lies a sardonic desire for a bright and glitzy fantasy, a nostalgia for a forevernever land far removed from Iran's current sociopolitical reality.