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Tschabalala Self (b. 1990)
These lots have been imported from outside the EU … Read more PROPERTY OF A PRIVATE COLLECTOR
Tschabalala Self (b. 1990)

Love to Saartjie

Details
Tschabalala Self (b. 1990)
Love to Saartjie
signed and dated ‘tschabalala self 2015’ (on the stretcher)
oil and acrylic on stitched canvas collage on dyed canvas
66 x 26in. (167.6 x 66cm.)
Executed in 2015
Provenance
Acquired directly from the artist by the present owner.
Exhibited
Seattle, The Frye Art Museum, Tschabalala Self, 2019, p. 4.
Special Notice

These lots have been imported from outside the EU or, if the UK has withdrawn from the EU without an agreed transition deal, from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

Brought to you by

Victoria Gramm
Victoria Gramm Co-Head of Sale

Lot Essay

Tschabalala Self reimagines and narrates the experience of black female bodies in compositions which are monuments to a people and culture that society so often marginalises and degrades. For Love to Saartjie, 2015, the artist has turned to the life of Saartjie Baartman, a South African woman exhibited as the Hottentot Venus to 19th-century European audiences. Put on display for curious onlookers, Baartman was made into an inhuman object of fascination. Self’s Love to Saartjie, instead, celebrates her humanity; as the artist explained, ‘I recognize her as a real person and in making that painting I wanted to picture a young woman. Not an object, not a corpse’ (T. Self, quoted in J. Mahmoud, ‘Tschabalala Self’s Avatars of Black Womanhood’, Hyperallergic, 4 March 2019). Similarly, Colored 2, 2015, venerates a voluptuous body. By rendering its figure as an icon, Self’s richly layered composition uses texture both compositionally and as a symbol of her subject’s complex identity. Partially inspired by her mother’s sewing, she incorporates fabric swatches into her dimensional compositions. Her ‘avatars transcend subjectivity’ by finding power in a variable, transformative embodiment (T. Self, quoted in J. Mahmoud, ‘Tschabalala Self’s Avatars of Black Womanhood’, Hyperallergic, 4 March 2019). Born in Harlem, New York, Self studied at Bard and then the Yale School of Art. Her trenchant criticism of the portrayal of women of colour has ensured that her own rise has been swift, and in the past few years she has had solo exhibitions at Parasol Unit Foundation for Contemporary Art, London, the Frye Art Museum, Seattle, and the Hammer Museum, Los Angeles, among others. Currently, she has a solo exhibition at the Institute of Contemporary Art, Boston.

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