LAWRENCE WEINER, Water finds its own level, 2011

LAWRENCE WEINER, Water finds its own level, 2011
29,9 x 35,5 cm / 11 x 14 inches
archival print
edition 500
signed with initials, numbered on certificate, here nr. 6/500
published by Jen Bekman Projects, New York, USA
mint
€ 150,- plus € 18,- Track & Trace registered EU mail
for purchase first visit: https://20×200.com/products/lawrence-weiner-water-finds-its-own-level

LAWRENCE WEINER - certificate

LAWRENCE WEINER – certificate of Water finds its own level, 2011

In December 2009, the New York City Council voted to require business owners to replace garage-style security gates with ones that allow views into the stores behind them by July 2026. Art Production Fund united 18 artists to make murals on security gate doors of shop in the Bowery. These were on view for two months, after which they were painted over, embodying the upcoming legislated disappearance of the gates across the city of New York.

This edition was published in 5 sizes: 8 x 10 inch, 11 x 124 inch, 16 x 20 inch, 24 x 30 inch and 30 x 40 inch.

LAWRENCE WEINER, Water finds its own level, 2010
paint on metal shop security gate, New York City, USA

History of price:
D.R. Fine Arts, New York, USA, December 2022 US$ 400.- (8 x 10 inches)
20 x 200, New York, USA October 2022 US$ 150.-
20 x 200, New York, USA December 2021 US$ 75.-
!–The Archive is Limited, Amsterdam December 2022 € 125,–>

JCJ VANDERHEYDEN, Chinese Window, 2011

JCJ VANDERHEYDEN, Chinese Window, 2011
21 x 29,7 cm
digital print on Hahnemühle Photo, 310 g/m2
includes a publication, 16 pp.
25 + 10 AP
signed, numbered edition
published by Helix, Posterholt, Netherlands

 

History of price:
Helix, Posterholt, Netherlands € 350,- February 2012

JOHN BALDESSARI, Stairway, Coat and Person, 2011

JOHN BALDESSARI, Stairway, Coat and Person, 2011
50,8 x 40,6 cm / 20 x 16 inches
archival inkjet print
edition 120
published by CCA Wattis Institute for Contemporary Arts, San Francisco, USA

 

John Baldessari is intentionally questioning the conventions of picture-making, among other things. He says: ‘I am interested in conceptual leaps people can make from one bit of information to another and how they can fill the space.’

FRANÇOIS DEY, Benjamin’s house, 2011

FD2011benjaminshouseA206 FD2011benjaminshouseB206 FD2011benjaminshouseC206

FD2011benjaminshouseD206 FD2011benjaminshouseE206 FD2011benjaminshouseF206

FRANÇOIS DEY, Benjamin’s house, 2011
each ca 31 x 22 cm (installation size: 66 x 122 cm)
6 photo prints
signed, dated, numbered
edition 3

Swiss artist François Dey (1981) is attracted by the continuous flux of life in which nothing is basically fixed. Therefore improvisation and unexpected contexts make as much sense as well prepared plans and thought over constructions, whether in the physical reality or our mind. Also language is used breaking the laws of idiom and spelling which makes his written texts look peculiar and even shabby. For him it is a way to get out of the prison of too much treaded roads we already know of.

JONATHAN MONK, Grey / Gray, 2012

JONATHAN MONK, Grey/Gray, 2012
two 7” vinyl records, sleeves,
numbered on certificate with finger prints of grey paint
edition 100
signed
mint
published by CCA Wattis Institute, San Francisco, USA
€ 360,- plus € 20,- Track & Trace registered EU mail
inv.JMon 206

Within each edition copy Grey/Gray one of the two records is visually unique.

Side A is the sound of black paint being mixed with white. Side B is the sound of white paint being mixed with black.

One is in a black sleeve and the other one in a white sleeve, housed within a clear plastic sleeve with a printed sticker and a small offset printed certificate signed in pencil and painted with grey (English spelling) or gray (USA spelling) finger prints.