Cady Noland Enquirer Page with Eyes Cut Out Template 1991 plywood 72 x 60 in. (182.9 x 152.4 cm) This work is number five from an edition of five. The work is accompanied by a certificate of authenticity signed by the artist.
Provenance American Fine Arts, New York Exhibited San Francisco, SFMoMA Collection, 1990 (another example exhibited) Catalogue Essay Cady Noland's work exposes the myth behind the promise of the American Dream, addressing what she sees as America's anxiety. Combining iconic objects and images, such as flags, beer cans, celebrity photos, and the contents of tabloid newspapers, Noland's work tends toward haphazard arrangements that signify impaired social and physical behavior. Noland's work also suggests a culture of excess and waste, a place in which the media and corporate interests distort events and objectify people, as seen in the present lot, Enquirer Page with Eyes Cut Out Template, 1991. Her installations, which resemble works in progress rather than formal or finished pieces, speak of an abandoned plan and hopes discarded, like so many of the found objects in her work. Read More
Cady Noland Enquirer Page with Eyes Cut Out Template 1991 plywood 72 x 60 in. (182.9 x 152.4 cm) This work is number five from an edition of five. The work is accompanied by a certificate of authenticity signed by the artist.
Provenance American Fine Arts, New York Exhibited San Francisco, SFMoMA Collection, 1990 (another example exhibited) Catalogue Essay Cady Noland's work exposes the myth behind the promise of the American Dream, addressing what she sees as America's anxiety. Combining iconic objects and images, such as flags, beer cans, celebrity photos, and the contents of tabloid newspapers, Noland's work tends toward haphazard arrangements that signify impaired social and physical behavior. Noland's work also suggests a culture of excess and waste, a place in which the media and corporate interests distort events and objectify people, as seen in the present lot, Enquirer Page with Eyes Cut Out Template, 1991. Her installations, which resemble works in progress rather than formal or finished pieces, speak of an abandoned plan and hopes discarded, like so many of the found objects in her work. Read More
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
