MIKE KELLEY, Street Sign, 2004
39,5 x 61 cm / 15.5″ x 24″
silkscreen on metal plate
edition of 100
LACE Edition, Los Angeles, USA
not available
“When Mike Kelley moved to Los Angeles in the mid 1970’s to attend the California Institute of the Arts in Valencia, several of his first public performances and exhibitions occurred at LACE including “The Little Girls Room” where Kelley exhibited props, drawings, photographs, writings and an environmental audio work. Building his reputation as a provocateur, many of his pieces critique American culture and consumerism and are intended to make the viewer uncomfortable.”
History of prices:
LACE Edition, Los Angeles, USA $1,500 December 2004
EDWARD RUSCHA, Open Book with Worm Holes, 2012
43,2 x 58,4 cm
printed lithograph (7 colors) on Magnani Pescia gray paper
edition 80 + 10 AP
not available
History of prices:
Kunsthaus Bregenz, Austria € 1300,- August 2012
RICHARD SERRA, Afangar (SKIII), 1991
lithograph, 27,3 x 24 cm / 10.75 x 9.45 inch
numbered, signed, edition 40
Situation Kunst, Bochum, Germany
not available
A sculpture called Áfangar has been installed by Richard Serra on a small island in Iceland. The Icelandic title refers to ‘Stand still’, ‘stop’, ‘stop in between’ and ‘vice versa’. The lithographs depict in the view of the artist’s outdoor sculpture.
History of prices:
Situation Kunst, Bochum, Germany € 2.500,- July 2012
Circle Jerk, 16 posters, 2009
posters being part of portfolio Circle Jerk, Toronto, 2009
each 33 x 48 cm / 48 x 33 cm
16 posters, full colour offset on MC paper
hand ink stamped cardboard folder all signed, numbered
limited edition of 50 extremely rare as set
complete set € 4.800,- plus € 24,- Track & Trace registered mail
inv.Circ 213
This is one of the 16 signed and numbered posters named “Barber shop” (2009) by Glenn Ligon.
Glenn Ligon is at the forefront of a generation of artists who came to prominence in the late 1980s with conceptually based work that investigates the social, linguistic, and political constructions of race, gender, and sexuality. Originally, the posters were clandestinely distributed on the streets. The posters found audiences by chance, provoking questions or reactions, with no didactic component to the street campaign.
LIMITED EDITION
CIRCLE JERK: 16 artists, 16 posters
As the name implies Circle Jerk is an ad hoc group of queer artists lending each other a hand. What began in 2007 with an original group of 13 artists has grown to 16 participants. Each artist has contributed a work from their current production. There is no specific curatorial premise; nonetheless the works connect with a shared attitude.Participating artists include Andy Fabo, Brendan Fernandes, Bruce LaBruce,
John Greyson, Daryl Vocat, Glenn Ligon, Stephen Andrews, Luis Jacob,
David Altmejd, Chris Curreri, John McLachlin, Micah Lexier, Peter Kingstone,
Will Munro, Ed Pien, and David Grenier.The posters were clandestinely distributed on the streets to coincide with
Art Toronto 2009 in late October. There is no didactic component to the street campaign. The posters found an audience by chance, provoking questions or reactions. A signed, limited edition was a fundraiser for Art Metropole. The set is packaged in a custom-made portfolio carrying case printed with artists’ names and the title “Circle Jerk 2009” displayed in pink text. The edition has been produced in a very limited quantity of 50 sets of all 16 posters, full colour offset printed, signed and numbered.
42,4 x 29 cm / 16.72″ x 11.44″
colour print
edition 20
numbered
certificate of authenticity
not available
Breuning possesses a vivid imagination with little, if any, reserve. Breuning takes us considerably further into the contradictions of his own position within the Western contemporary art world: problems of human existence are seemingly addressed, but, one often wonders, on the basis of what lived experience? With an undeniably self-ironic undertone Breuning confronts us with the consequences of a media-modelled, Pop-culture society. For this work, Olaf Breuning employs his signature technique of juxtaposing photographic imagery to create a fantastical composition of human and animal hybrids arranged around the planet Earth.
History of prices
Benefit Edition, Los Angeles, USA $350.- August 2012
The Archive is Limited, Amsterdam € 580,- January 2019
MATIAS FALDBAKKEN, Untitled (Plastic Bag), 2010
42,4 x 29 cm / 16.7″ x 11.44″
archival ink-jet print, numbered, certificate of authenticity
edition 20
Benefit Edition, Los Angeles, USA € 280,- / $ 350.- July 2012
Intervention #21 – Matias Faldbakken
September 1 2012 – January 27 2013
“A small selection of the work of Matias Faldbakken (Denmark, 1973) will be showing in the museum’s Klaverblad spaces. Faldbakken is known for his radical, provocative attacks on existing traditional structures and value systems. You could call him a conceptual saboteur, who expresses his ideas through literature and visual art forms, such as sculpture, installations, photography and film. With works like Untitled (Locker Sculpture #2) and Untitled (Garbage Bag #21) his presentation combines a convincing aesthetic with provocation and vandalism.” Museum Boijmans van Beuningen, Rotterdam, Netherlands.
GLENN LIGON,’2000-2009′, 2011
Epson Ultra Chrome K3 print on Museo Max 365 GSM paper
76,2 x 56 cm / 22 x 30 inch
edition of 30 + 5 AP + 5 PP
not available
History of prices offered and determined by:
LACMA, Los Angeles € 3200,- / US$ 4000.- (members US$ 3600.-) June 2012
Over the last three decades, Glenn Ligon has produced a substantial body of work engaged, as one critic has succinctly noted, with the “presence of the past in the present.” In this print Glenn Ligon has layered the figures of the years ten on top of each other.
Ligon draws from the aesthetic language and formalism of minimalism and the textual and philosophical modes of conceptual art, and enriches this all through his formative engagement with the modes of cultural studies and critical theory that have gained prominence since the 1980s.
Untitled, n.d. [ca 1980-1990]
27 x 21 cm
offset, book page, signed in black ink
Collection Kees van Gelder, Amsterdam
€ 1.200,- + € 12,- Track & Trace registered mail
In 1980-1990’s an Autographengruppe in Bonn started to collect signatures of people well-known in sports, literature and the arts. Not only postcards but also pages of books were cut out of art catalogues that were signed on the spot during openings or more often requested by the club members through mail. In the early beginning of this century the collector’s group decided to sell little by little a part of their collection on Internet through eArt.de and eBay.
“This work is part of an extensive unique collection of catalogue pages and various printed matter signed by Gerhard Richter. The way the signatures are placed on the reproductions create a distance and deconstruction of the illusion of the image. A phenomenon that is very similar to the signed Goslar Kerze poster of 1988. His signature positioned straight on top of the image as an ultra short painter’s gesture – opposite to the hard labour of his elaborate swept paintings – high lightens the gap between the reproduced and the uniqueness of each handwriting apparently integrated in the image.
One of the most important characteristics is the way the artist creates a distance between emotions possibly aroused by an image and the way a painting is blurr painted. Or in this case is reproduced and then disturbed by the gesture of a hand writing. The question about what the reproduced represents is put aside or at least put on hold by showing us two separate moments of two different ‘images’. This is opposite to what Roland Barthes called “punktum”. The depicted arouses direct emotions of recognition or disgust, caused by a meaning that pops up before we realize this. Nothing is in the way and these meanings suddenly appear to come out of the photo, id est here out of the abstract picture. This is in contrast to what Barthes calls the ‘studium’, which refers to the longing of a search of meanings in a picture. In fact it is ajourning the pass of a judgement on what is seen until the addition sum is made. In his catalogue pages, each signed on loose prints, the two never seem to come together due to the different levels and meaning of each ‘image’. The abstract painting here reproduced in print never reconciles with the image of authorization a signiture stands for. The viewer has to look to the dimension of the reproduced being confronted again and again with the un-pictorial “standard sweep curtain” of Richter’s signature.”
Kees van Gelder, October 2006
