Details
Franz West (1947-2012)
Untitled
acrylic, newspaper and photo collage on paper, in artist's frame
sheet: 78 x 95.5cm.
overall: 92.5 x 122.5cm.
Executed in 1995
Provenance
Galerie Bärbel Grässlin, Frankfurt.
Acquired from the above by the present owner.
Exhibited
Vienna, Museum moderner Kunst Stiftung Ludwig, Franz West, Proforma, 1996.
Kassel, documenta X, 1997.
Porto, Fundação de Serralves, Franz West, 1997-1998.
Takasaki, Gunma Prefecture,The Museum of Modern Art Gunma, Eight People from Europe, 1998.
Lucerne, Neues Kunstmuseum, Mixing Memory and Desire, 2000.
Braunschweig, Kunstverein Braunschweig, Sammlung - Ich sammle mich, 2001.
Frankfurt, Galerie Bärbel Grässlin, Franz West, Siesta, 2003.
Special notice
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
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Lot Essay

A vibrant concoction of acrylic, paper and photo-collage, Untitled (1995) is a unique work created by Franz West as a ‘poster’ to accompany one of his major museum projects. It has been widely exhibited, including in his 1996 retrospective Proforma at mumok, Vienna, at Documenta X in Kassel in 1997, and in his 1997-98 solo show at Porto’s Fundação de Serralves. Typical of his bold, irreverent approach to art-making, West’s ‘posters’ employ distinctive typography and inventive mixed-media techniques that sidestep the slick design often associated with storied art institutions. The present work, as its stencilled text indicates, relates to Clamp – an important installation that West debuted at the Carnegie Art Museum, Pittsburgh in 1995, and which now resides in the collection of the Netherlands’ Kröller-Müller Museum.

Playing with the language of display, Clamp formed a room-sized environment of variable dimensions, inhabited by examples of West’s furniture and papier-mâché sculptures. Its chipboard walls were papered with pages from Pittsburgh’s phonebook and included seven working telephones to reflect the setting of West’s studio, where, he said, the interruption of a phonecall was often key to him completing a sculpture. Untitled likewise incorporates small fragments of paper, and places three photo-collaged visitors in a vivid space of dynamic orange, green and pink brushstrokes, as if imagining them inside the crucible of West’s creative process.

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