Property of the Robert B. Mayer Family Collection


signed, titled and dated 'Pistoletto 1965 "ragazzo"' (on the reverse)
painted tissue paper on polished stainless steel
86 5/8 x 47¼ in. (220 x 120 cm.)
Executed in 1965.
Leo Castelli Gallery, New York, 1966
J.L. Hudson Gallery, Detroit, 1966
Kornblee Gallery, New York, 1967
Mr. and Mrs. Robert B. Mayer, Winnetka, acquired from the above in 1967 By descent to the present owner
Pistoletto, exh. cat., Florence, 1984, p. 47, no. 38 (illustrated). Michelangelo Pistoletto, exh. cat., Barcelona, Museu d'Art Contemporani, 2000, p. 38 (illustrated).
Minneapolis, Walker Art Center, Michelangelo Pistoletto: A Reflected World, April-May 1966, no. 17.
Detroit, J.L. Hudson Gallery, Recent Works: Michelangelo Pistoletto, 1967, no. 14 (illustrated).
Brussels, Palais des Beaux-Arts, Michelangelo Pistoletto, March-April 1967, p. 16, no. 27 (illustrated).
New York, Kornblee Gallery, Standing Man: Perception, April-May 1967.
Buffalo, Albright-Knox Art Gallery, Mario Ceroli/Michelangelo Pistoletto, May-June 1969, no. 6.
Milwaukee Art Museum, Robert B. Mayer Memorial Loan Collection, 1975-1995.
Venice, Palazzo Grassi, Michelangelo Pistoletto, June-July 1976, p. 16, no. 27 (illustrated).
Philadelphia Museum of Art and Rome, MAXXI - Museo nazionale delle arti del XXI secolo, Michelangelo Pistoletto: From One to Many, 1956-1974, March-June 2011, p. 217, no. 33 (illustrated).

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Sara Friedlander
Sara Friedlander

Lot Essay

"I believe that the term "time" is fundamental to the understanding of my work. There is a difference between my work and "art" in its traditional sense: my goal is not just two dimensions, not just three, but four dimensions. If my work is not read in terms of its four-dimensionality, that is, including the fourth dimension, time, then it will be misinterpreted, people will have great trouble understanding it. I feel that we have to start considering this dimension of time on the basis of fundamental works such as my mirror pictures. In traditional painting, representation and drawing cover the entire surface. This is a static aspect which has calmed down through the years as a univocal signal. It can correspond to the figure that I place on the surfaces of the mirror paintings, a fixed signal, an image "snapped" at a certain historical moment. But in my mirror paintings the image coexists with every present moment. Old paintings exist today without containing the presence of our time; their only presence is that of their own time. It is our job to make them live, make them feel at home, enjoy them, criticize them, locate them historically, according to our present day interest"
(M. Pistoletto, interviewed by Germano Celent, "Continuum," Pistoletto, Division and Multiplication of the Mirror,
exh. cat., New York and Rome, 1988, p. 31).

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