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Details
Cady Noland (b. 1956)
Chicken in a Basket
signed twice, titled and dated twice 'Cady Noland 1989 CHICKEN IN A BASKET Cady Noland 1989' (on the Michelob 6 pack)
twenty-seven elements, wire basket, rubber chicken, boxes, bottle, flags, baster, bungee and beer cans
7 1/2 x 19 x 12 in. (19.1 x 49.5 x 30.5 cm.)
Executed in 1989. This work is accompanied by a certificate of authenticity signed by the artist.
Provenance
American Fine Arts, New York
Thea Westreich, New York
Skarstedt Gallery, New York
Acquired from the above by the present owner
Exhibited
Kansas City, Kansas City Art Institute, Tierra Encantada, December 1989-February 1990.
Los Angeles, Rosamund Felsen Gallery, Just Pathetic, August 1990, p. 6.
Hallwalls, Contemporary Arts Center and New York, New Museum of Contemporary Art, FluxAttitudes, February 1991-August 1992.
Berlin, International Kunstausstellung Berlin, Metropolis , April 1991-July 1991, no 121.
New York, Skarstedt Gallery, Murdered Out, September-October 2013.
New York, Skarstedt, Cast From Life, September-October 2014.
Post Lot Text
Statement from the Artist:
In an atmosphere of rapidly trading artwork, it is not possible for Cady Noland to agree or dispute the various claims behind works attributed to her.  Her silence about published assertions regarding the provenance of any work or the publication of a photograph of a work does not signify agreement about claims that are being made.  Ms. Noland has not been asked for nor has she given the rights to any photographs of her works or verified their accuracy or authenticity.

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Alexander Berggruen

Lot Essay

"From the point at which I was making work out of objects I became interested in how, actually, under which circumstances people treat other people like objects. I became interested in psychopaths in particular, because they objectify people in order to manipulate them. By extension they represent the extreme embodiment of a culture's proclivities; so psychopathic behavior provides useful highlighted models to use in search of cultural norms." (C. Noland, quoted in M. Cone, Journal of Contemporary Art, Fall/Winter 1990)

"Noland, not Barney, Hirst, or Gonzalez-Torres, is the crucial link between last 1980's commodity art and much that has followed; she is the portal through which enormous amounts of appropriational, political and compositional notions pass. So mercurial, so fierce, and originally poetic is she that I think of her as our Rimbaud." (J. Saltz, "Invasion of the Sculpture Snatchers", The Village Voice, May 12, 2006)

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