Tom Otterness
epoxy paint, graphite and bronze on solid wood doors and pressed wood reliefs
each 95 1/2 x 30 x 5 in. (242.6 x 76.2 x 12.7 cm)
overall 95 1/2 x 60 x 5 in. (242.6 x 152.4 x 12.7 cm)
Executed in 1985, in the United States, this work is number 6 from an edition of 9.
Provenance:
Brooke Alexander Gallery, New York
Acquired from the above by the present owner in 2006
Exhibited:
Los Angeles, James Corcoran Gallery; New York, Brooke Alexander Gallery, u003cemu003eTom Otternessu003c/emu003e, October 27–November 30, 1990, n.p. (another example exhibited and illustrated)
Literature:
Peter Frank and Michael McKenzie, eds., u003cemu003eNew, Used, and Improved: Art for the 80su003c/emu003e, New York, 1987, p. 32 (another example illustrated)
Holly Solomon and Alexandra Anderson, eds., u003cemu003eLiving with Art, New Yorku003c/emu003e, 1988, pp. 44, 178 (another example illustrated)
Neal Benezra, ed., u003cemu003eAffinities and Institutions: The Gerald S. Elliott Collection of Contemporary Artu003c/emu003e, Chicago, 1990, p. 154 (another example illustrated)
epoxy paint, graphite and bronze on solid wood doors and pressed wood reliefs
each 95 1/2 x 30 x 5 in. (242.6 x 76.2 x 12.7 cm)
overall 95 1/2 x 60 x 5 in. (242.6 x 152.4 x 12.7 cm)
Executed in 1985, in the United States, this work is number 6 from an edition of 9.
Provenance:
Brooke Alexander Gallery, New York
Acquired from the above by the present owner in 2006
Exhibited:
Los Angeles, James Corcoran Gallery; New York, Brooke Alexander Gallery, u003cemu003eTom Otternessu003c/emu003e, October 27–November 30, 1990, n.p. (another example exhibited and illustrated)
Literature:
Peter Frank and Michael McKenzie, eds., u003cemu003eNew, Used, and Improved: Art for the 80su003c/emu003e, New York, 1987, p. 32 (another example illustrated)
Holly Solomon and Alexandra Anderson, eds., u003cemu003eLiving with Art, New Yorku003c/emu003e, 1988, pp. 44, 178 (another example illustrated)
Neal Benezra, ed., u003cemu003eAffinities and Institutions: The Gerald S. Elliott Collection of Contemporary Artu003c/emu003e, Chicago, 1990, p. 154 (another example illustrated)
