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Group Show II

January 27, 2007 – March 14, 2007
Exhibiton View

Exhibition View

Featuring works by Eleanor Antin, Richard Artschwager, Mel Bochner, Sophie Calle, Peter Downsbrough, Vik Muniz, Ed Ruscha, Julian Opie, and Lawrence Weiner

Works In Exhibition

Exhibition View

Exhibition View

Works by Peter Downsbrough, Julian Opie, and Richard Artschwager

Dice

Peter Downsbrough Dice 1984, published 2002 Set of eleven gelatin silver prints in a black linen covered box

Image size: 9 7/8 x 13 3/4 inches each (25.1 x 35 cm each)
Mat size: 20 1/2 x 20 1/2 inches (52.1 x 52.1 cm)
Overall size: 65 1/2 x 87 1/2 inches (166.4 x 222.3 cm)
Edition of 11
Stamped with edition size in back of box
(Inventory #17125)

Exclamation Point

Richard Artschwager Exclamation Point 2006 Rubberized horsehair, paint, and masonite in two parts

Overall size: 28 x 7 1/2 inches  (71.1 x 19.1 cm)
Edition of 12
(Inventory #18401)

Exquisite Pain (Day 16)

Sophie Calle Exquisite Pain (Day 16) 2000 Two embroidery text panels, two photo panels

Edition 2/3 Embroidery panels, each: 50 3/4 x 22 1/2 inches;
each framed: 53 x 24 3/8 inches
Photo panels, each: 18 1/2 x 23 1/4 inches,
each framed: 19 3/4 x 24 3/8 inches
Overall size: 75 1/2 x 51 1/2 inches (191.8 x 130.8 cm)
(Inventory #18505)

 

Text:
Sixteen days ago, the man I love left me.
January 25, 1985, at two in the morning. Room 261. Imperial Hotel. New Delhi. I loved him and yet I accepted the study grant in Japan even though he had warned me that he wouldn’t wait that long for me. I knew his ways: he claimed he wasn’t really serious about me, but he stayed and made jealous scenes. Anyway, I ignored his reminders. Perhaps, by leaving, I meant to test his feelings. That day, I thought I’d won: we were going to be together again after a separation of three months. He had decided the place and the date: New Delhi, January 24. At the airport I received a telegram urging me to call my father because M. was in hospital. We had only just spoken: surely, there had been a crash on the road to the airport. It was my fault. It took me more than ten hours to get hold of my father, who had no idea what was going on. Yes, M. had indeed been to hospital, but for ten minutes, to have a finger abscess removed. So I called him at home. He picked up the phone and said something like “I wanted to come and explain a few things to you.” I knew at once that he’d met another woman. I hung up. I sat there on the bed for hours, staring at the telephone. I was wearing black silk trousers and two shirts, a gray one and a blue one, by Yamamoto, one over the other. I had spent hours choosing my outfit: at last, I was going to see the man I loved.
English text (anonymous):
It was in front of a mailbox that I suffered the most. In Cannes. It was August 1963. In a huge lobby with black and white tiles. There was a marble staircase lit through a glass roof, and a glass street door framed in wrought iron. There were rows of mailboxes along the wall, down on the left. They were made of plain wood and had a little opening through which you could see if there was mail inside. There were two rows. In one of these boxes, there was supposed to be a letter for me. It was never there, it never came. This went on for ten days. My whole life revolved around this mailbox. I stopped sleeping. I couldn’t eat. I remember that the mailman came twice a day. At 11:15 and at 15:15.

Farmyard Animals

Julian Opie Farmyard Animals 2006 A set of seven sculptures made out of maple wood (Sheep, Cow, Deer, Dog, Chicken, Cat, Goat)

A series of seven wooden sculptures sealed, stained, polished and semi-matt lacquered using American Hard Rock Maple Wood
Sheep: 9 x 6 1/4 x 2 3/4 inches; Cow: 10 1/2 x 6 1/2 x 2 3/4 inches
Deer: 9 x 9 1/4 x 2 3/4 inches; Dog: 10 3/4 x 7 1/2 x 2 3/4 inches
Chicken: 9 3/4 x 6 3/4 x 2 3/4 inches; Cat: 10 x 6 1/2 x 2 3/4 inches
Goat: 10 1/2 x 7 1/2 x 2 3/4 inches
Edition of 25
Signed and numbered on underside on each sculpture
(Inventory #18129)

100 Boots

Eleanor Antin 100 Boots 1971-1973 A complete set of fifty-one postcards

Postcard size: 4 1/2 x 7 inches each (11.4 x 17.8 cm)
Framed size: 5 1/2 x 8 1/16 inches each (14 x 20.5 cm)
(Inventory #BK.17921)

100 Boots

Eleanor Antin 100 Boots 1971-1973 Detail view from the complete set of fifty-one postcards

Postcard size: 4 1/2 x 7 inches each (11.4 x 17.8 cm)
Framed size: 5 1/2 x 8 1/16 inches each (14 x 20.5 cm)
(Inventory #BK.17921)

100 Boots

Eleanor Antin 100 Boots 1971-1973 Detail view from the complete set of fifty-one postcards

Postcard size: 4 1/2 x 7 inches each (11.4 x 17.8 cm)
Framed size: 5 1/2 x 8 1/16 inches each (14 x 20.5 cm)
(Inventory #BK.17921)

Flat Topped Pyramid

Sol LeWitt Flat Topped Pyramid 2005 Shaped from solid slabs of syntactic polyurethane and painted in lacquer

Sculpture is 6 x 6 x 6 inches on a base measuring 12 x 12 x 1 inches
Edition of 6
(Inventory #18321)

Under the Bed

Vik Muniz Under the Bed 2005 Ambrotype and letterpress backed by black velvet in handmade stained walnut boxes

Fully open size: 5 7/8 x 10 1/4 x 3/4 inches (14.9 x 26 x 1.9 cm)
Fully closed size: 5 7/8 x 5 1/4 x 1 1/2 inches (14.9 x 13.3 x 3.8 cm)
Edition of 40
Signed and numbered on letterpress page
(Inventory #18057)

“Give and Get” and “Have and Take”

Lawrence Weiner “Give and Get” and “Have and Take” 2006 Paint on wall from a set of brass stencils

Give & Get: 2 x 6 1/2 inches (5.1 x 16.5 cm)
Have & Take: 2 1/8 x 7 1/4 inches (5.4 x 18.4 cm)
Overall dimensions variable
Edition of 1000
(Inventory #18527)

Useless

Mel Bochner Useless 2007 Oil on velvet

35 1/2 x 46 1/2 inches  (90.2 x 118.1 cm)
Signed on reverse
(Inventory #18610)

OK, State I (Blue)

Ed Ruscha OK, State I (Blue) 1990 Lithograph

27 x 36 inches (68.6 x 91.4 cm)
Edition of 35
Signed and dated lower right “Ed Ruscha 1990”, numbered lower left
(Inventory #17969)