Rosemarie Trockel (b. 1952)
signed with the artist's initials and dated 'RT 86' (on the reverse)
wool on canvas
14 1/4 x 14 in. (36.1 x 35.5 cm.)
Executed in 1986. This work is accompanied by a certificate of authenticity signed by the artist.
Le Case D'Arte, Milan
Gianni Donati, Milan
Scaramouche, New York
Acquired from the above by the present owner

Brought to you by

Saara Pritchard
Saara Pritchard

Lot Essay

“This is certainly not only a question of anti-individual technique. The patterns I use are, in principle, ones I come upon in knitting books, papers’ like Brigitte, and designs for tapestries, fabrics, etc. In fact, the meaning of the concept ‘pattern’ is the model to be copied. These knitted pictures, then, differ from conventional iconography. If I knit a garment or sweater the hammer and sickle, for instance, there is a depreciation of the ideology bound up in identifying the logos for product propaganda and ideological propaganda. We must understand fashion not only as an adornment of the body, but as acting for the body of society. The business of the ‘boom’ is surely connected with the fact that people see a nearness to the ‘Neo-Geos.’ In my work, the wave-designs of Op-art (Bridget Riley certainly has had a great influence on Op-art fashion) do not only have this art-historical connection. The serial patters, just as the social conditions in which they originated, are of interest here, rather than the formalism of the right angle.”
- Rosemarie Trockel, quoted in J. Koether, “Rosemarie Trockel,” Flash Art, May 1987.

More from Post-War and Contemporary Art Day Sale Session I

View All
View All