Anselm Reyle Black Earth 2007 acrylic and black gesso on canvas, in artist's metal frame 95 1/4 x 75 1/4 in. (241.9 x 191.1 cm) Signed and dated "Anselm Reyle 2007" on the reverse.
Provenance Gavin Brown's enterprise, New York Private Collection Catalogue Essay Anselm Reyle has come to be considered a key figure in a new generation of Contemporary artists dealing with ideas of abstraction and formalism. In a unique way, Reyle recycles the formal achievements of modernist abstraction, and subsequently repurposes them in an entirely new pictorial language, while exploring the relationship between the mundane and the highly seductive. Additionally, working in the traditions of assemblage, Abstract Expressionism and Pop Art, the concept of gesture is central to Reyle’s practice and is exemplified in the present lot, Black Earth, 2007. Although Reyle has established his multi-media practice around the notion of superficial glamour and the "danger of being decorative," (C. Mooney, “The New King of Kitsch?”, ArtReview, December 1, 2011 p.62) the present lot classically exemplifies a subdued and earnest representation from the artist’s widely extolled oeuvre. Read More
Anselm Reyle Black Earth 2007 acrylic and black gesso on canvas, in artist's metal frame 95 1/4 x 75 1/4 in. (241.9 x 191.1 cm) Signed and dated "Anselm Reyle 2007" on the reverse.
Provenance Gavin Brown's enterprise, New York Private Collection Catalogue Essay Anselm Reyle has come to be considered a key figure in a new generation of Contemporary artists dealing with ideas of abstraction and formalism. In a unique way, Reyle recycles the formal achievements of modernist abstraction, and subsequently repurposes them in an entirely new pictorial language, while exploring the relationship between the mundane and the highly seductive. Additionally, working in the traditions of assemblage, Abstract Expressionism and Pop Art, the concept of gesture is central to Reyle’s practice and is exemplified in the present lot, Black Earth, 2007. Although Reyle has established his multi-media practice around the notion of superficial glamour and the "danger of being decorative," (C. Mooney, “The New King of Kitsch?”, ArtReview, December 1, 2011 p.62) the present lot classically exemplifies a subdued and earnest representation from the artist’s widely extolled oeuvre. Read More
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
