VANESSA SAFAVI, After the Monument Comes the People, 2012
100 x 70 cm
digital print
signed, numbered
edition 10 + 2 AP
published by Kunsthalle, Basel, Switzerland
Vanessa Safavi explores the meaning of monuments in various cultures. In the title ‘After the Monument Comes the People’ she calls attention to monuments that are commonly thought to embody “the ideals and goals” of a people. Instead, they mainly support the political goals of the state — a state that has monuments built by the people supposedly for the people. After the monument, a dictation by ideology comes the people, the community, which articulates its own goals.
In her wall sculpture ‘After the Monument Comes the People’, shown in the Kunsthalle Basel, Vanessa Safavi makes use of abstract, slim and upright forms that reflect the individual in a geometric abstract way. Curves or incomplete rings in these vertical figures represent ‘faces’. They become self-made symbols when they function as a reference to the individuality of each of the figures, which assembled together form a kind of ‘community’. Here two of them are shown in the print with the same title ‘After the Monument Comes the People’.
MARTIN CREED Work No. 1370 – ‘Chicago’, 2012
vinyl LP, watercolour painted cover
signed, numbered
edition 200
published by The Vinyl Factory and MCA/Museum of Contemporary Art, Chicago, USA
not available
Each cover features a unique aquarel by Martin Creed, hand painted at Museum of Contemporary Art in Chicago earlier in 2012. Four new songs were recorded all analogue at John McEntire’s Soma Studios.
History of prices:
The Vinyl Factory and MCA/Museum of Contemporary Art, Chicago 2012 year of issue GBP 200.-
RICHARD ARTSCHWAGER, Quotation Mark, 2013
handmade pair of earrings, cardboard clip and leporello in box
edition 25
published by Whitney Museum, New York, USA extremely rare
€ 420,- plus € 18,- Track & Trace registered mail
Two texts on leporello read: “These earrings are based on Richard Artschwager’s 1980 Quotation Mark originally fabricated in Formica on painted wood in an edition of 25. Made exclusively for the Whitney Museum in a limited quantity.”
“RICHARD ARTSCHWAGER! [this is the title of the solo exhibition in the Whitney Museum] is a comprehensive review of the artist’s remarkable creative explorations of the mediums of sculpture, painting, and drawing and the first U.S. retrospective exhibition of Artschwager’s work since one organised at the Whitney in 1988.”
On the site of the Whitney Museum the following text announces this limited edition: “Product Description:
Frame your face with our exclusive, whimsical Quotation Mark Earrings, adapted from Richard Artschwager’s Quotation Mark, 1980. Taken out of context, the quotation mark as an object becomes an ornamental form, adorning and enhancing the shape of your ear. Size: 3/4 inch at longest point. Made of black acrylic painted white to imitate the original, which is white formica on painted wood. Sterling silver post.”
RICHARD PRINCE, It’s a Free Concert Now, 2015
31,3 x 31,5 cm
screen print on vinyl, 12 inch LP, black sleeve in plastic bag
A-side: It’s a Free Concert Now / B-side: Record House, 2012
limited edition
unsigned
published by Brigade Commerz, Pforzheim, Germany
mint condition
€ 340,- plus € 18,- Track & Trace registered mail
inv.RPri 201-pr
Richard Prince says about the vinyl covered house depicted on the label: “Record House is located on Righter Rd. right down from my studio in upstate NY. It once was a hunting cabin. After I bought it, I removed the porch that surrounded it. I bought a lot of records on e-bay and cut them into shapes of shingles and nailed them up all over the structure. Vinyl and wax siding.”
JONATHAN MONK, Bin ich immer noch lustig?, 2012
21 x 14,6 cm
colour stencil print, metal archive staples
36 pages, hand numbered
edition 250
published by Quick Magazine, Berlin, Germany
Jonathan Monk is known for appropriating artworks of others. Here on 36 pages he has translated several Joke Paintings of Richard Prince in an apparently linguistically twisted German translation. The first joke ‘I never had a penny to my name, so I changed my name’ on page one of this publication is translated by Monk into: ‘Ich hatte nie einen Pfennig, so dass ich meinen Namen geändert.’
History of prices:
The Land of Nod, Ostend, Belgium July 2023 € 35,-
Motto, Berlin, Germany, July 2018 € 15,-
Quick Magazine, Berlin, Germany, November 2012 € 7,- (year of issue)
RICHARD ARTSCHWAGER, Blp, 2012
20 x 15 x 5 inches
print on cotton canvas bag, zipper
edition unknown
published by Whitney Museum, New York, USA
mint condition
€ 535,- plus € 24,- Track & Trace registered mail
inv.RArt Tassen-pr
Richard Artschwager (1923 – 2013) first created his blps (pronounced as “blips”) in the late 1960s. These installed black pill shaped forms or marks were meant to inspire focused looking and draw our attention to places and things around us that often go unnoticed.
Artschwager’s blp began in 1963, in one of his notebooks is written that he was looking for a ‘very hard, dense, heavy after-image’ (notebook 12/23/1963). From 1968 and for years afterwards, the blp would appear on power plants and museum walls. Tamed to paper, the blp continued to have a life of its own. It was occasionally fuzzy and often rubbery.
This remarkable canvas Blp-bag was produced during the artist’s life time. For its production it was being taken care of to give the black mark a matte rubberlike thickening layer giving the bag a sculptural outlook.
WILLEM DE RIDDER, Papieren Konstellatie, 2012
6,2 x 14,5 x 10,3 cm
metal box, plastic window, white paper
edition ca 30, various sizes of which only two large boxes (9,5 x 22,4 x 16,4 cm) were produced
published by the artist, Wiesbaden, 2012
p.o.r.
During the 50th anniversary of Fluxus Willem de Ridder produced ‘Papieren Konstellaties’ in metal boxes of various sizes. The paper crumplings are either in white or grey. Several boxes carry a word or love symbol (heart).
WILLEM DE RIDDER, Papieren Konstellatie, 2012
6,5 cm with diameter 11 cm
metal box, plastic window, white paper
p.o.r.
JEFF KOONS, Split Rocker, 2012
diameter 31 cm
screen print on ceramics
signed and numbered in the print
edition 2500
published by Fondation Beyeler, Riehen, Switzerland
out of stock
‘Split Rocker’ is a colossal floral sculpture by Jeff Koons, comprising thousands and thousands of real plants, and was on view in the Fondation Beyeler park in 2012. The flower sculpture was first installed in 2000, in the cloister of the Palais des Papes in Avignon, then again a few years later in the gardens of Versailles in 2008.
