7 Tauba Auerbach Untitled (Fold) 2010 acrylic on canvas 60 1/8 x 48 1/8 in. (152.7 x 122.2 cm) Signed and dated "Tauba Auerbach 2010" along the overlap.
Provenance Private Collection Catalogue Essay "The record of that topological moment is carried forward after the material is stretched. Each point on the surface contains a record of itself in that previous state." Tauba Auerbach 2012 Exploring the traditional distinctions between content, dimension and image, Tauba Auerbach's cerebral compositions challenge our conventional expectations. Elegant and intriguing, Untitled (Fold) emanates a distinctive luminosity, capturing the gentle rays of warm light across what appears at first to be a richly textured and gently colored crumple of cloth. Upon closer inspection, however, Untitled (Fold) reveals itself to be a masterful, modern example of trompe l'oeil. One of Auerbach's celebrated Folds series, the work is illusory; this canvas is in fact a perfectly flat surface. From afar, it is voluminous, furrowed and tactile. Auerbach's skillful application of paint renders the shadows of an undulating surface of folded fabric, perfectly sumptuous and tangible. Drawing in close, however, the viewer realizes that these voluminous folds are a farce and don’t so much vanish as transmogrify into a flattened facsimile of their former selves, immediately revealing the even surface of the painted canvas. This even surface is but only the second layer of this ever evolving and complex painting. Auerbach’s practice and methodology is tantamount to a cyclical question whereby the answer to one element serves to open up an entirely new “problem” for the viewer and critic. Indeed, she herself has stated that “Confusion and clarity—and then confusion again.” are the reactions she hopes to elicit in someone viewing her work. “I think the ideas behind the work are not right on the surface and you have to spend a little time with it to get at the underlying concepts and recognize the patterns. Hopefully the pieces are visually stimulating enough to draw people in and cultivate curiosity in the viewer. I guess I just want people to contemplate how communication happens and how complicated it is.” (T. Auerbach in conversation with D.A. Beatty, “Speak Easy,” anthem, No. 24, September/October, 2006, p. 80) Communication and visual perception are inextricably linked – while we use the written word to express ourselves, then it follows that it must also first be digested and processed by the eyes. However, just as reading comprehension is dependent upon the vagaries of syntax and style, so too is visual comprehension dependent upon the physical limitations of the eyes and light. Auerbach’s Untitled (Fold) seeks to directly address the complexities in our own understanding of these faculties and the manner in which they affect each individual’s experience in the physical realm. The choice of depicting folded fabric is paramount to this questioning and could not be substituted then for any other object. The painted canvas acts as both a reflective and reflexive document, at once of and about its own creation and existence. Auerbach creates these visually stunning canvases by folding, creasing, rolling, and even occasionally ironing her canvases until the desired textural effect is created and then utilizes an industrial house paint sprayer to apply varying degrees of acrylic paint in layers derived from the digital RGB color-creation spectrum. As she puts it best, “I think you could make as good an argument for my ‘Fold’ paintings being representational, realistic or even trompe l’oeil, as you could for them being abstract. There is a direct, 1:1 relationship between every point on the surface of the image and that same exact point on the surface in the image. Because I spray the creased canvas directionally, the pigment acts like raking light and freezes a likeness of the contoured material onto itself. It develops like a photo as I paint. The record of that topological moment is carried forward after the material is stretched flat. Each point on the surface contains a record of itself in that previous state
7 Tauba Auerbach Untitled (Fold) 2010 acrylic on canvas 60 1/8 x 48 1/8 in. (152.7 x 122.2 cm) Signed and dated "Tauba Auerbach 2010" along the overlap.
Provenance Private Collection Catalogue Essay "The record of that topological moment is carried forward after the material is stretched. Each point on the surface contains a record of itself in that previous state." Tauba Auerbach 2012 Exploring the traditional distinctions between content, dimension and image, Tauba Auerbach's cerebral compositions challenge our conventional expectations. Elegant and intriguing, Untitled (Fold) emanates a distinctive luminosity, capturing the gentle rays of warm light across what appears at first to be a richly textured and gently colored crumple of cloth. Upon closer inspection, however, Untitled (Fold) reveals itself to be a masterful, modern example of trompe l'oeil. One of Auerbach's celebrated Folds series, the work is illusory; this canvas is in fact a perfectly flat surface. From afar, it is voluminous, furrowed and tactile. Auerbach's skillful application of paint renders the shadows of an undulating surface of folded fabric, perfectly sumptuous and tangible. Drawing in close, however, the viewer realizes that these voluminous folds are a farce and don’t so much vanish as transmogrify into a flattened facsimile of their former selves, immediately revealing the even surface of the painted canvas. This even surface is but only the second layer of this ever evolving and complex painting. Auerbach’s practice and methodology is tantamount to a cyclical question whereby the answer to one element serves to open up an entirely new “problem” for the viewer and critic. Indeed, she herself has stated that “Confusion and clarity—and then confusion again.” are the reactions she hopes to elicit in someone viewing her work. “I think the ideas behind the work are not right on the surface and you have to spend a little time with it to get at the underlying concepts and recognize the patterns. Hopefully the pieces are visually stimulating enough to draw people in and cultivate curiosity in the viewer. I guess I just want people to contemplate how communication happens and how complicated it is.” (T. Auerbach in conversation with D.A. Beatty, “Speak Easy,” anthem, No. 24, September/October, 2006, p. 80) Communication and visual perception are inextricably linked – while we use the written word to express ourselves, then it follows that it must also first be digested and processed by the eyes. However, just as reading comprehension is dependent upon the vagaries of syntax and style, so too is visual comprehension dependent upon the physical limitations of the eyes and light. Auerbach’s Untitled (Fold) seeks to directly address the complexities in our own understanding of these faculties and the manner in which they affect each individual’s experience in the physical realm. The choice of depicting folded fabric is paramount to this questioning and could not be substituted then for any other object. The painted canvas acts as both a reflective and reflexive document, at once of and about its own creation and existence. Auerbach creates these visually stunning canvases by folding, creasing, rolling, and even occasionally ironing her canvases until the desired textural effect is created and then utilizes an industrial house paint sprayer to apply varying degrees of acrylic paint in layers derived from the digital RGB color-creation spectrum. As she puts it best, “I think you could make as good an argument for my ‘Fold’ paintings being representational, realistic or even trompe l’oeil, as you could for them being abstract. There is a direct, 1:1 relationship between every point on the surface of the image and that same exact point on the surface in the image. Because I spray the creased canvas directionally, the pigment acts like raking light and freezes a likeness of the contoured material onto itself. It develops like a photo as I paint. The record of that topological moment is carried forward after the material is stretched flat. Each point on the surface contains a record of itself in that previous state
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.jpg "Quelle: Christie's")
.jpg "Quelle: Christie's")
