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Ron Mueck (b. 1958)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY OF A PRIVATE BELGIAN COLLECTOR
Ron Mueck (b. 1958)

Untitled

Details
Ron Mueck (b. 1958)
Untitled
signed and numbered 'Ron Mueck 5/12' (on the reverse)
dental plaster
7 x 5 x 4½in. (17.8 x 12.7 x 11.4cm.)
Executed in 2001, this work is number five from an edition of twelve
Provenance
James Cohan Gallery, New York.
Acquired from the above by the present owner in 2007.
Special Notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
Sale Room Notice
Please note that this lot is not subject to Artist Resale Right and not as stated in the printed catalogue.

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Lot Essay

Untitled is a compelling example of Ron Mueck's sculptural practice. A plaster cast of the preparatory model for Mask (1997), this work recalls one of Mueck's most celebrated works exhibited in the 1997 exhibition Sensation: Young British Artists from the Saatchi Collection at the Royal Academy of Arts, London. As noted in Mueck's National Gallery exhibition catalogue: 'Confronting a work by Ron Mueck is an uncanny experience... It is not that we actually think that they are alive, however, and there is not the momentary jolt of confusion that a sideways glimpse of a life-size dummy can deliver. Our experience of Mueck's illusion of life is more rewarding and prolonged because we are willing participants in the deception. In fact, our amazement is predicated on our awareness of deceit, and our pleasure lies in finding it out. We relish the contradictory messages of eyes and brain, the questioning of our senses. The overwhelming desire to touch that all viewers seem to feel is an urge to corroborate their eyes' impression of living warmth and softness.' (S. Greeves, 'Verisimilitude: technique and taboo', Ron Mueck, exh. cat., London, National Gallery, 2003, p. 44).

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