James Siena (American, b. 1958) Noiseless, 1998 Incised title, year, and signature "...1998 James Siena" on the reverse, and identified on a label from Daniel Weinberg Gallery, Los Angeles, on the reverse. Enamel on aluminum, 19 1/2 x 15 1/4 in. (49.5 x 38.7 cm), unframed. Condition: Good. Provenance: A private Massachusetts collection. Literature: Robert Hobbs, James Siena 1991-2001 (Richmond, Virginia: Gorney Bravin + Lee and Daniel Weinberg Gallery, 2001), pp. 30-31 (illus.). N.B. The book James Siena 1991-2001 and exhibition catalogs for James Siena New Paintings and Gouaches, November 18, 2005 to January 28, 2006, Pace Wildenstein, New York and James Siena March 28 to April 26, 2008, Pace Wildenstein, New York, accompany the lot. Like Sol LeWitt Peter Halley and Mel Bochner Siena creates work that is constrained by a rule-based system that forms the overall design. Siena's visual algorithms are rendered in freehand, and they create optical patterns as unique as fingerprints. In the present work, Siena repeats a movement from a central point toward the perimeters, bringing the notions of infinite and finite space into tension.
James Siena (American, b. 1958) Noiseless, 1998 Incised title, year, and signature "...1998 James Siena" on the reverse, and identified on a label from Daniel Weinberg Gallery, Los Angeles, on the reverse. Enamel on aluminum, 19 1/2 x 15 1/4 in. (49.5 x 38.7 cm), unframed. Condition: Good. Provenance: A private Massachusetts collection. Literature: Robert Hobbs, James Siena 1991-2001 (Richmond, Virginia: Gorney Bravin + Lee and Daniel Weinberg Gallery, 2001), pp. 30-31 (illus.). N.B. The book James Siena 1991-2001 and exhibition catalogs for James Siena New Paintings and Gouaches, November 18, 2005 to January 28, 2006, Pace Wildenstein, New York and James Siena March 28 to April 26, 2008, Pace Wildenstein, New York, accompany the lot. Like Sol LeWitt Peter Halley and Mel Bochner Siena creates work that is constrained by a rule-based system that forms the overall design. Siena's visual algorithms are rendered in freehand, and they create optical patterns as unique as fingerprints. In the present work, Siena repeats a movement from a central point toward the perimeters, bringing the notions of infinite and finite space into tension.
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