Null Daniel Arsham - R2-D2: Future Artifact, 2023

White cast resin sculpture. L…

Description

Daniel Arsham - R2-D2: Future Artifact, 2023 White cast resin sculpture. Limited edition of 500. Comes in original box. New, 30.8 x 17.8 x 21 cm White cast resin sculpture. Limited edition of 500. Comes in original box. New, 30.8 x 17.8 x 21 cm

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Daniel Arsham - R2-D2: Future Artifact, 2023 White cast resin sculpture. Limited edition of 500. Comes in original box. New, 30.8 x 17.8 x 21 cm White cast resin sculpture. Limited edition of 500. Comes in original box. New, 30.8 x 17.8 x 21 cm

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Estim. 8 000 - 10 000 EUR

ALFRED EISENSTAEDT ( Dirschau, West Prussia, 1898- United States, 1995). "V-J Day in Times Square, New York," 1945. Gelatin silver print. Printed at time life photo in 1991. Signed, dated, titled in pencil on reverse and Time Warner copyright limitation in pencil (on reverse). Provenance: Alona Kagan Gallery NY. Measurements: 48 x 33 cm; 62 x 51 cm (frame). A week after Alfred Eisenstaedt captured this moment, Life magazine, in a section called Victory and dedicated to celebrating the end of World War II, published this snapshot along with many others reflecting the happiness of the end of the war. However, this photograph rose above the rest and became an icon. A nurse and a Marine, a defender of the nation and someone dedicated to preserving his life kiss, symbolizing hope for the future. He began his career in Germany before World War II, but rose to fame as a photographer for Life magazine after moving to the United States. Eisenstaedt was fascinated by photography from his youth and began taking pictures at the age of 11, when he was given his first camera, an Eastman Kodak Folding Camera with roll film. He later served in the German army artillery during World War I and was wounded in 1918. While working as a belt and button salesman in 1920s Weimar Germany, Eisenstaedt began taking freelance photographs for the Berlin office of Pacific and Atlantic Photos in 1928. Eisenstaedt became a full-time photographer in 1929, when he was hired by the Associated Press office in Germany, and within a year was described as an "extraordinary photographer." He also worked for Illustrierte Zeitung, published by Ullstein Verlag, then the world's largest publishing house. Four years later he photographed the famous first meeting between Adolf Hitler and Benito Mussolini in Italy. He photographed Adolf Hitler at St. Moritz in 1932 and Joseph Goebbels at the League of Nations in Geneva in 1933. Although initially friendly, Goebbels frowned at Eisenstaedt when he took the photograph, after learning that Eisenstaedt was Jewish. In 1935 due to the political situation he moved to New York, where Eisenstaedt became a naturalized citizen and joined fellow Associated Press émigrés Leon Daniel and Celia Kutschuk in their photographic agency PIX Publishing, founded that same year. The following year, 1936, Time founder Henry Luce bought Life magazine, and Eisenstaedt, already known for his photographs in Europe, was invited to join the new magazine as one of the four original photographers, including Margaret Bourke-White and Robert Capa[8]. He remained on staff from 1936 to 1972, noted for his news and celebrity photojournalism.

Estim. 7 000 - 7 500 EUR

FRANCESCA WOODMAN (Denver, Colorado, 1958-New York, 1981) "Self portrait", N3017.1. New York, 1979-80. Gelatin silver print. Later printed by Igor Bakht, stamp on verso. Signed by George and Betty Woodman, annotated "I B" "N3017.1" in pencil. PE/FW credit stamp on verso. Provenance: Foster Glasgow private collection. Measurements: 13.7 x 13.7 cm (image); 26 x 21 cm (paper). This photograph, in which Francesca Woodman is shown foreshortened and quartered, belongs to the last stage of the artist's short life. At the time, she was living in New York. Woodman had spent the summer of 1979 in Stanwood, Washington to visit her partner, Benjamin Moore. It was there that she created a photographic series on domestic subjects. When she returned to New York, she tried to make her work known and managed to have exhibitions at the Daniel Wolf Gallery. In the advertising and fashion industry she discovered the work of Deborah Turbeville, who was characterized by placing models in gothic-melodramatic settings, such as in desolate or dark buildings or corridors. Woodman imbibed this style, which she then reflected in her future photographs. In the summer of 1980 he experimented with his own body in order to deal with themes of something higher, according to the letter he wrote to his friend Suzanne Santoro, who lived in Rome. At this time, his artistic creation became more meticulous and he elaborated more methodically the composition, starting from previously created sketches, to work out the narrative of his images. Although she put a lot of effort into her artistic work, she was never convinced of it. What really drove her to suicide was a mediocre public response to her photography and a broken romance. Her father suggested that the reason for the suicide was a failed application for funding from the National Endowment for the Arts. She was too far ahead of her time. All this caused Francesca Woodman to fall into a depression and finally, a few days after launching her book, on January 19, 1981, she decided to take her own life at the age of only 22, jumping out of a loft window on the Lower East Side of Manhattan, New York. Francesca Woodman was an American photographer known for her intimate black and white self-portraits. She graduated from Rhode Island School of Design, the University of Fine Arts in Providence. Her photography is characterized primarily by the use of a single model, usually nude. It was usually her, but in various photographs she portrayed several of her friends. The body captured by the camera was usually in motion, due to long exposure times, or the image was not sharp. He also used other techniques, such as masking himself or trying to blend in with the objects or the environment itself. She was born into a family of artists. From an early age, together with her brother Charles Woodman, she was introduced to the art world by her parents, George Woodman and Betty Woodman, who were both visual artists. Today, they manage an archive of more than 800 images of their daughter, 120 of which have been exhibited or published. She belongs to the generation of avant-garde women of the 1970s who claimed their contribution and vision of the world, which also includes activist artists such as Cindy Sherman, Martha Rosler or Ana Mendieta.

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