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Thomas Demand (b. 1964)
signed, numbered and dated '5/6 Thomas Demand 2000' (on the reverse)
Cibachrome print Diasec
118 x 70¾ in. (300 x 180 cm.)
Executed in 2000. This work is number from five from an edition of six.
303 Gallery, New York
Acquired from the above by the present owner
A. Searle, "Doubt the Day," Parkett, No.62, Zurich 2001, p.114 (illustrated in color).
New York, 303 Gallery, Thomas Demand, September-October 1998.
Paris, Fondation Cartier pour l'art contemporain, Thomas Demand, November 2000-February 2001, introduction pages and p.5 (illustrated; another example exhibited).
San Antonio, Art Pace; Aspen Art Museum; and Site Santa Fe, Thomas Demand, September 2001-June 2002.

Lot Essay

Thomas Demand views the world from media based eyes; traditional photography as we understand it is thwarted and altered. Grass, interiors, blinds, barns, balconies, stables, sinks, escalators, and hedges all become paper and cardboard, and our perceptions of what these items traditionally represent are questioned.

Demand's early artistic journey sought a medium that was accessible and immediately recognizable. Eventually his search led him to paper. He began by using the material to make sculptures, but quickly found that he did not have the space to store these pieces, so he began taking pictures of them and thus only this documentation remained. Photographing these sculptures forced Demand to view these works in a different light. Soon the artist had to adapt the physical construction of the works, making them life-size paper and cardboard models. He also was forced to adapt his method of taking pictures so the pieces themselves would read more clearly.

Later is his career Demand turned his interest towards the political world in Podium. Two dates loom large in this image; a lectern with microphones and a glass of water are depicted below. This sterile environment, seemingly untouched by a human presence represents the location where Serbian dictator Slobadon Milosevic gave a speech on the occasion of the 600th anniversary of the Serbian defeat by the Turks.

Highly charged interiors are usually the focus of Demand's work as he searches the Internet, newspapers and his own memory for source material. The results of his attention are photographs of reduced and abstracted shapes that are at once sculptural and cinemagraphic.

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