We all knew one another. The interesting thing to me about craft was the reproduction that occurred within a family unit—a defined population that led to another generation of artists. There was a connection, as there was with two other German artists, Sigmar Polke and Martin Kippenberger. Jennifer Bartlett and I work in a similar approach, and no two artists in the history of art have spent as much time and energy dealing with the same set of issues—how to get rid of repetition. He cites a childhood in the racially turbulent Chicago of the 1970s as impetus for the exploration of African American experience in his work. This tedious, labor-intensive process, which the artist originated, relies on the tactile, dotlike forms of the cotton balls to compose a pictorial field.
Zucker, painting is somewhat unemotional and more formulated around structure, he explained. He chose art over his second passion, basketball, but now is the assistant coach for the Bridgehampton Killer Bees. Rail: laughter Well, painting is sort of an act of faith. They were about the South and the gathering of cotton—plantations, violence, and racism—and the price that one pays for the ability to buy cotton canvas. I think where my work is really different is that the days of individualism are over. Throughout his extensive career, Mr. Paying Off Old Debts, 1975.
The gypsum pieces became a sort of fresco—a dry fresco—once you remove the paper from a sheet of wallboard you can work directly with the surface of the plaster. There are maybe eight artists in each group that become historically relevant. Signed, titled, and dated on verso. It had to do with faith, that we were talking about earlier. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report.
The pitch and yaw fits the seagoing subject: pirate-ship battles, a theme not unusual, as Mr. One cotton ball missing from lower center panel. The final piece in that puzzle was the fact that I used watercolor to paint the paintings. Zucker began toying with the idea in 1981, he recalled. The Atrium at Neutrino, 2010.
Private collection purchased from the above in 2006. Zucker: That enables you to deal with the broader issue of not having the development of a quintessential style or devoting yourself to a pre-existing language. Painting has its own logic. I was also interested in work that was produced by outsider artists and in humor, which was the biggest taboo in the 1960s. Watercolor and gypsum on plywood, 48 x 48 inches.
They were finally free of the city bustle. Zucker: Well, for instance, the paintings for The Drawing Room are perfect for that space. Rail: You also have a hundred foot painting. Rail: Aspects of craft are still a bit taboo. Bottom right corner slightly soft and a few soft creases in upper margin at left. He made things out of felt. The floor is spattered with paint—black, yellow, blue, white, green, orange and pink, to name only some of the colors.
Zucker: I always encourage people who can draw not to underestimate or undermine their skills. Le Va said with a smirk. So instead of nine paintings hanging on the wall, I turned the gallery into big frames—the gallery itself frames the work. He has made paintings that include the tools that made them integrated into the works themselves and illustrate the use of those tools as part of the imagery. Neither Weschler's nor the consignor makes any express or implied warranty or representation as to the condition of any lot offered for sale, and no statement made at any time, whether oral or written, shall constitute such a warranty or representation. He would have loved Agnes Martin because of her style of painting and the fact that everything is accounted for.
As I look at the origins of how painters supported themselves, so much of it had to do with being subservient craftsmen. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion. I exhibited a painting constructed from a thousand mops that I had turned into big brushstrokes. Rail: Well, there is an element of exquisite torture in Cézanne. I did a group of paintings where individual cotton balls were turned into brush strokes. Zucker has flown under the radar of larger public awareness due to the frequent transformations in his art from one style to another, and thus his work has not been easily characterized and identified. Zucker: Well, really, the art world was made up of very tough artists who were highly competitive.
Rail: And that was groundbreaking for you. It not necessarily has to do with Heidegger—painting utilizes philosophy for its own purposes. In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. The homespun quality of his materials and processes reveals, rather than masks, a keen formal and historical sensibility, while also serving his devastating wit and cold eye for high-art academicism. And that figures in—what people do in their studio, what their ambitions are, how tough you have to be—it all figures in.