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拍品 29 |Works from the Peter Norton Collection
Charles Long (b. 1958)
3 to 1 in Groovy Green
已結束2012年3月7日
成交價
USD 18,750
更多資訊
Charles Long (b. 1958)
3 to 1 in Groovy Green
signed, titled and numbered 'Charles Long 3 to 1 in Groovy Green 3 of 3' (on the underside of the green element)
lacquer on fiberglass, wood furniture, fabric cushions, headphones, Stereolab CD, electronic hardware and metal
27 5/8 x 53 x 21¾ in. (70.2 x 134.6 x 55.2 cm.)
Executed in 1995. This work is number three from an edition of three plus one artist's proof.
Another example from this edition is in the permanent Collection of the Walker Art Center, Minneapolis.
3 to 1 in Groovy Green
signed, titled and numbered 'Charles Long 3 to 1 in Groovy Green 3 of 3' (on the underside of the green element)
lacquer on fiberglass, wood furniture, fabric cushions, headphones, Stereolab CD, electronic hardware and metal
27 5/8 x 53 x 21¾ in. (70.2 x 134.6 x 55.2 cm.)
Executed in 1995. This work is number three from an edition of three plus one artist's proof.
Another example from this edition is in the permanent Collection of the Walker Art Center, Minneapolis.
Charles Long (b. 1958)
3 to 1 in Groovy Green
signed, titled and numbered 'Charles Long 3 to 1 in Groovy Green 3 of 3' (on the underside of the green element)
lacquer on fiberglass, wood furniture, fabric cushions, headphones, Stereolab CD, electronic hardware and metal
27 5/8 x 53 x 21¾ in. (70.2 x 134.6 x 55.2 cm.)
Executed in 1995. This work is number three from an edition of three plus one artist's proof.
Another example from this edition is in the permanent Collection of the Walker Art Center, Minneapolis.
3 to 1 in Groovy Green
signed, titled and numbered 'Charles Long 3 to 1 in Groovy Green 3 of 3' (on the underside of the green element)
lacquer on fiberglass, wood furniture, fabric cushions, headphones, Stereolab CD, electronic hardware and metal
27 5/8 x 53 x 21¾ in. (70.2 x 134.6 x 55.2 cm.)
Executed in 1995. This work is number three from an edition of three plus one artist's proof.
Another example from this edition is in the permanent Collection of the Walker Art Center, Minneapolis.
Tanya Bonakdar Gallery, New York
Clyde and Karen Beswick, Los Angeles
Acquired from the above by the present owner, 1998
Clyde and Karen Beswick, Los Angeles
Acquired from the above by the present owner, 1998
S. Reynolds, "Plasticine and Heard," Artforum, vol. 23, no. 9, May 1995, p. 15 (illustrated).
M. Bell, "Art and Beyond: Museums Delight and Disturb in Miami," Orlando Sentinel, 24 March 1996.
B. Schwabsky, "The Sculpture of Charles Long," Art Text, issue 55, 1996, p. 45 (illustrated).
M. Van de Walle, "Back to the Future: Charles Long & Stereo Lab," Parkett, no. 48, 1996, pp. 7 and 10 (illustrated in color).
D. D'Arcy, "Going, Going, Gone!," Los Angeles, vol. 43, no. 11, November 1998, p. 50 (illustrated in color).
J. Mendelssohn, "Art>Music: Rock, Pop Techno," Tema Celeste, Summer 2001, p. 110 (illustrated).
Charles Long: More Like a Dream than a Scheme, exh. cat., Providence, 2005, p. 14 (illustrated).
M. Bell, "Art and Beyond: Museums Delight and Disturb in Miami," Orlando Sentinel, 24 March 1996.
B. Schwabsky, "The Sculpture of Charles Long," Art Text, issue 55, 1996, p. 45 (illustrated).
M. Van de Walle, "Back to the Future: Charles Long & Stereo Lab," Parkett, no. 48, 1996, pp. 7 and 10 (illustrated in color).
D. D'Arcy, "Going, Going, Gone!," Los Angeles, vol. 43, no. 11, November 1998, p. 50 (illustrated in color).
J. Mendelssohn, "Art>Music: Rock, Pop Techno," Tema Celeste, Summer 2001, p. 110 (illustrated).
Charles Long: More Like a Dream than a Scheme, exh. cat., Providence, 2005, p. 14 (illustrated).
New York, Tanya Bonakdar Gallery, Charles Long and Stereolab: Amorphous Body Study Center, February-March 1995.
Miami, Museum of Contemporary Art, Defining the Nineties: Consensus-Making in New York, Miami and Los Angeles, February-April 1996, pp. 103 and 114, pl. 15, no. 47 (illustrated in color).
Humlebaek, Louisiana Museum of Modern Art, Now Here, May-September 1996, pp. 67 and 122 (illustrated in color, another example exhibited).
Rome, Gian Enzo Sperone, Peculiar Anatomy: Works by Charles Long, April 1998, no. 20 (illustrated in color, another example exhibited).
Sheboygan, John Michael Kohler Art Center and Virginia Beach, Contemporary Art Center of Virginia, Threshold: Invoking the Domestic in Contemporary Art, April 1999-November 2000.
Miami, Museum of Contemporary Art, Defining the Nineties: Consensus-Making in New York, Miami and Los Angeles, February-April 1996, pp. 103 and 114, pl. 15, no. 47 (illustrated in color).
Humlebaek, Louisiana Museum of Modern Art, Now Here, May-September 1996, pp. 67 and 122 (illustrated in color, another example exhibited).
Rome, Gian Enzo Sperone, Peculiar Anatomy: Works by Charles Long, April 1998, no. 20 (illustrated in color, another example exhibited).
Sheboygan, John Michael Kohler Art Center and Virginia Beach, Contemporary Art Center of Virginia, Threshold: Invoking the Domestic in Contemporary Art, April 1999-November 2000.