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拍品 26 |Property from the George Hartman and Arlene Goldman Collection
MARINA ABRAMOVIC (B. 1946)
Thomas Lips
已结束2014年9月23日
成交价
USD 112,500
更多信息
MARINA ABRAMOVIC (B. 1946)
Thomas Lips
Chromogenic print
overall: 64 3/8 x 51 in. (163.5 x 129.5 cm.)
Executed in 1975-2005. This work is number one from an edition of seven plus three artist's proofs and is based on the original 1975 performance Lips of Thomas, which was re-performed during Seven Easy Pieces at the Solomon R. Guggenheim Museum, New York in 2005. This work is the only photo-based artwork of this 2005 performance.
Thomas Lips
Chromogenic print
overall: 64 3/8 x 51 in. (163.5 x 129.5 cm.)
Executed in 1975-2005. This work is number one from an edition of seven plus three artist's proofs and is based on the original 1975 performance Lips of Thomas, which was re-performed during Seven Easy Pieces at the Solomon R. Guggenheim Museum, New York in 2005. This work is the only photo-based artwork of this 2005 performance.
MARINA ABRAMOVIC (B. 1946)
Thomas Lips
Chromogenic print
overall: 64 3/8 x 51 in. (163.5 x 129.5 cm.)
Executed in 1975-2005. This work is number one from an edition of seven plus three artist's proofs and is based on the original 1975 performance Lips of Thomas, which was re-performed during Seven Easy Pieces at the Solomon R. Guggenheim Museum, New York in 2005. This work is the only photo-based artwork of this 2005 performance.
Thomas Lips
Chromogenic print
overall: 64 3/8 x 51 in. (163.5 x 129.5 cm.)
Executed in 1975-2005. This work is number one from an edition of seven plus three artist's proofs and is based on the original 1975 performance Lips of Thomas, which was re-performed during Seven Easy Pieces at the Solomon R. Guggenheim Museum, New York in 2005. This work is the only photo-based artwork of this 2005 performance.
Sean Kelly Gallery, New York
Acquired from the above by the present owner, 2006
Acquired from the above by the present owner, 2006
M. Abramovic, N. Spector, E. Fischer-Lichter, and S. Umathum, Marina Abramovic: 7 Easy Pieces, Milan, 2007, p. 201 (another example illustrated in color).
U. Eco, Storia Della Brutezza / A Cura di Umberto Eco, 2007, p. 423 (another example illustrated in color).
A. Midgette, “Peak Performances,” Art + Auction, October, 2007. p. 191 (another example illustrated in color).
I. Millar, "Abramovic’s historic performances on film,” The Art Newspaper, December 2007, p. 41 (another example illustrated in color).
J. Saltz, “The Artists Who Still Matter,” New York Magazine, October 2007. p. 41 (another example illustrated in color).
S. Pirras, A Pocketful of Contemporary Artists, Victoria, 2008, p 17 (another example illustrated in color).
M. Widrich, “Reperformances: Da Capo Order Zugabe. In Blind Date", 2008, p. 137 (another example illustrated in color).
L. Yablonsky, “Taking it to the Limits,” ARTnews, December 2009, p. 94 (another example illustrated in color).
K. De Jongh and S. Gold, “The Artist is Present: A conversation with Marina Abramovic,” Art Monthly Australia, June 2010, (another example illustrated in color).
K. Biesenbach, Marina Abramovic: The Artist is Present, New York, 2010, p. 199 (another example illustrated in color).
P. Orrell, Marina Abramovic + The Future of Performance Art, New York, 2011, p. 18 (another example illustrated in color).
U. Eco, Storia Della Brutezza / A Cura di Umberto Eco, 2007, p. 423 (another example illustrated in color).
A. Midgette, “Peak Performances,” Art + Auction, October, 2007. p. 191 (another example illustrated in color).
I. Millar, "Abramovic’s historic performances on film,” The Art Newspaper, December 2007, p. 41 (another example illustrated in color).
J. Saltz, “The Artists Who Still Matter,” New York Magazine, October 2007. p. 41 (another example illustrated in color).
S. Pirras, A Pocketful of Contemporary Artists, Victoria, 2008, p 17 (another example illustrated in color).
M. Widrich, “Reperformances: Da Capo Order Zugabe. In Blind Date", 2008, p. 137 (another example illustrated in color).
L. Yablonsky, “Taking it to the Limits,” ARTnews, December 2009, p. 94 (another example illustrated in color).
K. De Jongh and S. Gold, “The Artist is Present: A conversation with Marina Abramovic,” Art Monthly Australia, June 2010, (another example illustrated in color).
K. Biesenbach, Marina Abramovic: The Artist is Present, New York, 2010, p. 199 (another example illustrated in color).
P. Orrell, Marina Abramovic + The Future of Performance Art, New York, 2011, p. 18 (another example illustrated in color).
Norway, Kistefos Museet, Jevnaker, Marina Abramovic- Entering the Other Side, May 25- October 5, 2014, exh. cat., p. 49 (another example exhibited and illustrated in color).
New York, Sean Kelly, Personal Archeology, May 8- June 29, 2010 (another example exhibited).
London, Barbican Art Gallery, Martian Museum of Terrestrial Art, March 6- May 18, 2008 (another example exhibited).
Toronto, The Power Plant, Auto Emotion: Autobiography, Emotion and Self-Fashioning, May 17- August 19, 2007 (another example exhibited).
New York, Sean Kelly, Personal Archeology, May 8- June 29, 2010 (another example exhibited).
London, Barbican Art Gallery, Martian Museum of Terrestrial Art, March 6- May 18, 2008 (another example exhibited).
Toronto, The Power Plant, Auto Emotion: Autobiography, Emotion and Self-Fashioning, May 17- August 19, 2007 (another example exhibited).
Please note the correct title of the work is Thomas Lips. This work was executed in 1975-2005. This work is based on the original 1975 performance Lips of Thomas, which was re-performed during Seven Easy Pieces at the Solomon R. Guggenheim Museum, New York in 2005. This work is the only photo-based artwork of this 2005 performance.
专家说明
Please note that this work is accompanied by a certificate of authenticity signed by the artist.