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Sarah Lucas (b. 1962)

Where Does It All End?

Details
Sarah Lucas (b. 1962)
Where Does It All End?
wax and cigarette
2½ x 3¾ x 2½in. (5.5 x 10.5 x 5cm.)
Executed in 1994-95, this work is number two from an edition of ten
Provenance
Barbara Gladstone Gallery, New York.
Acquired from the above by the present owner in 1995.
Literature
J. van Adrichem, 'Where Does It All End?', in: Parkett, No. 45, 1995 (another from the edition illustrated, p. 86).
Brilliant! New Art from London, exh. cat., Minneapolis, Walker Art Center, 1996 (another from the edition illustrated, p. 64).
Sarah Lucas, exh. cat., Rotterdam, Museum Boijmans Van Beuningen, 1996 (another from the edition illustrated, pp. 13, 47).
Sarah Lucas, exh. cat., Frankfurt, Portikus, 1996 (another from the edition illustrated, front cover and p. 17).
Minky Manky, exh. cat., London, South London Gallery, 1997 (another from the edition illustrated, unpaged).
Sensation: Young British Artists from the Saatchi Collection, exh. cat., London, Royal Academy of Art; Berlin, Hamburger Bahnhof; and Brooklyn Museum of Art, 1997 (another from the edition illustrated, p. 117).
B. Riemschneider and U. Grosenick (eds.), Art at the Turn of the Millennium, Cologne 1999 (another from the edition illustrated, no. 2, p. 327).
J. Barnbrook and J. Beard, Young British Art: The Saatchi Decade, London 1999 (another from the edition illustrated, p. 209).
M. Collings, Sarah Lucas, London 2002 (another from the edition illustrated, pp. 90-91).
Y. Dziewior and B. Ruf (eds.), Sarah Lucas Catalogue Raisonné 1989-2005, Ostfildern-Ruit 2005 (illustrated, pp. 94-95; another from the edition illustrated, pp. 97 and 126).
Exhibited
New York, Barbara Gladstone Gallery, Supersensible, March-April 1995.
Special notice

No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium, which is invoiced on a VAT inclusive basis.
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.

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Lot Essay

Where Does It All End? is an example of Lucas's self-portraiture where she presents herself as alternatively crude, laid-back and defiant. The work is a play on the visual and linguistic expressions of anger and aggression. The colour of the wax has a certain degree of naturalism, but it also represents hostility. It appears like a face without skin. The expression is not necessarily one of anger, but a threatening grimace that is naked and raw. The exasperated title is not a hopeful one and evokes an expression of resigned despair: 'I don't make things which are really preciously made. I don't have the patience to be whittling away at something forever. I make things how I am, in the way I'd naturally do something.' (S. Lucas, in C. Freedman, Bollocks, in: 'Parkett', no. 45, 1995, p. 109.). However, there is dexterity and control in her work. Lucas has pared down the unnecessary, to create an independent concise form. Lucas's interest in the material condition of the artwork, her use of casts and the reference to her own physique and person suggest an affinity with the work of Jasper Johns (Target with Plaster Casts, 1955), Bruce Nauman (From Hand to Mouth, 1967) and Robert Gober (Untitled Leg, 1989-90).

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