• Christies auction house James Christie logo

    Sale 12159

    Post-War & Contemporary Art Afternoon Sale

    16 November 2016, New York, Rockefeller Plaza

  • Lot 415

    Aaron Garber-Maikovska (b. 1978)

    Untitled (Triptych)

    Price Realised  


    Aaron Garber-Maikovska (b. 1978)
    Untitled (Triptych)
    signed twice and dated 'AARON GARBER-MAIKOVSKA Aaron Garber-Maikovska 2014' (on the reverse of each element)
    triptych--UV print and ink on archival gator boards mounted on aluminum frames
    each: 95 x 47 in. (241.3 x 119.3 cm.)
    overall: 95 x 144 in. (241.3 x 365.7 cm.)
    (3)Executed in 2014.

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    Aaron Garber-Maikovska’s work represents the energetic mastery of multi-media, exemplifying the work of artists of his generation. He embodies Allan Kaprow’s famous call for young artists to simply be artists, with all of life open to them. Kaprow said, “They will discover out of ordinary things the meaning of ordinariness. They will not try to make them extraordinary but will only state their real meaning. But out of nothing they will devise the extraordinary and then maybe nothingness as well” (A. Kaprow, “The Legacy of Jackson Pollock,” Essays on the Blurring of Art and Life, Berkeley, 1993, p. 9). Garber-Maikovska’s practice, which spans across performance, sculpture and painting, encourages the viewer to consider what the ultimate purpose of such meaning is.

    Untitled (Triptych) is an example of Garber-Maikovska’s approach of collapsing painting and sculpture. Swatches of photographs are printed like windows into different dimensions onto the surface. An anime character, complete with a pocket watch, interposes himself between the images as though he were the White Rabbit in Wonderland. His upside-down position indicates his identity as an unreliable guide into an unknowable world. Black and grey streaks that spread like irrational, violent calligraphy across the surface suggest further enigmatic intervention into the space, which is filled with what seems at once familiar and strange; a retail clothing store, a brick wall, and the sky.

    Garber-Maikovska’s practice may be born from Kaprow’s reasoning, but his direction has already overtaken what Kaprow envisioned. Art critic Jan Tumlir stated, “No particular urge to make oneself understood or, conversely, to thwart understanding drives this work- rather, the point is to suspend any such readings on our part in favor of accessing language in a state of emergence,” adding that “…we witness the return of language to the body as gesture, but now via a static series of signs…” (J. Tumlir, “Aaron Garber-Maikovska: Greene Exhibitions,” Artforum, December 2012, p. 285).


    Greene Exhibitions, Los Angeles
    Acquired from the above by the present owner