Cady Noland Untitled 1989 Screenprint on aluminium panel. 183 x 122 cm (72 x 48 in). This work is accompanied by a certificate of authenticity.
Provenance Galleria Massimo de Carlo, Milan Catalogue Essay Unlike her late father, Kenneth Noland who worked exclusively as an abstract painter, Cady Noland’s figurative work is executed across a range of different media. Highly conceptual in nature, Noland’s appropriation-based political work deals with the failed promise of the American Dream and other similar sociological and ideological ideas found in contemporary society. Currently in self-imposed exile, having rarely exhibited or been seen in the last ten years, Noland invented a new artistic vocabulary in the 1980s and 90s with her raw, visceral, brutally honest depictions of the darkest corners of American life, an underbelly replete with celebrity, violence, and psychopathological behaviour. In the present lot, Noland has silkscreened in jigsaw arrangement three appropriated press clippings including the famed image of the abducted and brainwashed heiress Patty Hearst in her urban guerilla drab and wielding an assault rifle after she decided to join her Symbionese Liberation Army captors. With such imagery, Noland delves into the disturbed American psyche to focus on how the media transforms criminals into celebrities. Read More
Cady Noland Untitled 1989 Screenprint on aluminium panel. 183 x 122 cm (72 x 48 in). This work is accompanied by a certificate of authenticity.
Provenance Galleria Massimo de Carlo, Milan Catalogue Essay Unlike her late father, Kenneth Noland who worked exclusively as an abstract painter, Cady Noland’s figurative work is executed across a range of different media. Highly conceptual in nature, Noland’s appropriation-based political work deals with the failed promise of the American Dream and other similar sociological and ideological ideas found in contemporary society. Currently in self-imposed exile, having rarely exhibited or been seen in the last ten years, Noland invented a new artistic vocabulary in the 1980s and 90s with her raw, visceral, brutally honest depictions of the darkest corners of American life, an underbelly replete with celebrity, violence, and psychopathological behaviour. In the present lot, Noland has silkscreened in jigsaw arrangement three appropriated press clippings including the famed image of the abducted and brainwashed heiress Patty Hearst in her urban guerilla drab and wielding an assault rifle after she decided to join her Symbionese Liberation Army captors. With such imagery, Noland delves into the disturbed American psyche to focus on how the media transforms criminals into celebrities. Read More
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