拍品 20

"Change is the creative impulse. For instance, with the new Body Mixes, I combine several record covers in order to underscore that which we take for granted. The seductive covers are mutated into grotesque creatures. I point the figure at certain advertising methods, but I am also interested in a relation between physical and the mechanical. We have always tried to objects a human quality. We project on them a body scale, a texture, shape that resemble us. We give machines-or see in them-anthropomorphic qualities. The machine is an extension of the human body and the record is a mechanical object" (C. Marclay, in J. Seliger, 'Christian Marclay,' Journal of Contemporary Art, vol. 5, No. 1, Spring 1992, p. 68). "I've always been interested in Duchamp and the idea of the ready-made and using mundane things. It didn't come from the appropriation strategy of the 1980s. In a way I think that when appropriation hit the art world, it was also very strong in the music world because of hip hop. That parallel interested me. Richard Prince and GrandMaster Flash were doing the same thing in the early eighties, but with different media" (C. Marclay, in J. Seliger, 'Christian Marclay,' Journal of Contemporary Art, vol. 5, No. 1, Spring 1992, p. 67).

Christian Marclay (b. 1955)

Guitar Neck

细节

Christian Marclay (b. 1955)
Guitar Neck
signed and dated 'Christian Marclay 1992' (on the reverse)
seven record album covers
73 x 19 in. (185.4 x 48.2 cm.)
Executed in 1992.

来源

Margo Leavin Gallery, Los Angeles
Clyde and Karen Beswick, Los Angeles
Acquired from the above by the present owner, 1998

出版

D. Pagel, "Christian Marclay at Margo Leavin Gallery," Art Issues, no. 28, May/June 1993, p. 41 (illustrated).
P. Sherburne, "Close to the Edit," Frieze, issue 77, September 2003.
C. Knight, "Leading the Eye by the Ear," Los Angeles Times, 3 June 2003, p. E1 (illustrated in color).
B. Cooper, "Snap, Crackle, Pop," Los Angeles, June 2003, p. 91 (illustrated in color).
eds., "Mix-Master Marclay," Tate, July/August 2003, p. 24 (illustrated in color).
N. Edwards, "Front & Center: Bard Exhibit Could Leave You Tapping Your Feet," Poughkeepsie Journal, 3 October 2003.
J. González, K. Gordon and M. Higgs, eds., Christian Marclay, London and New York, 2005, pp. 8-9 (illustrated in color).
Alex Haw, "London: Barbican Art Gallery," Contemporary, no. 75, August 2005, p. 54.

展览

Los Angeles, Margo Leavin Gallery, Christian Marclay, March-April, 1993.
Los Angeles, University of California, Hammer Museum; Annandale-on-Hudson, Bard College, Center for Curatorial Studies Museum; Seattle Art Museum; Kunstmuseum Thun; Avignon, Collection Lambert and London, Barbican Art Gallery, Christian Marclay, June 2003-May 2005, pp. 136 and 178 (illustrated in color).
Providence, Brown University, David Winton Bell Gallery, Inappropriate Covers, April-May 2009 (illustrated in color).

拍品专文

Change is the creative impulse. For instance, with the new Body Mixes, I combine several record covers in order to underscore that which we take for granted. The seductive covers are mutated into grotesque creatures. I point the figure at certain advertising methods, but I am also interested in a relation between physical and the mechanical. We have always tried to objects a human quality. We project on them a body scale, a texture, shape that resemble us. We give machines-or see in them-anthropomorphic qualities. The machine is an extension of the human body and the record is a mechanical object" (C. Marclay, in J. Seliger, 'Christian Marclay,' Journal of Contemporary Art, vol. 5, No. 1, Spring 1992, pp. 68).
"I've always used found objects, images and sounds, and collaged them together, and tried to create something new and different with what was available. To be totally original and start from scratch always seemed futile. I was always more interested in taking something that existed and was part of my surroundings, to cut it up, twist it, turn it into something different; appropriating it and making it mine through manipulations and juxtapositions" (C. Marclay, in J. Seliger, 'Christian Marclay,' Journal of Contemporary Art, vol. 5, No. 1, Spring 1992, pp. 66-67).
"I've always been interested in Duchamp and the idea of the ready-made and using mundane things. It didn't come from the appropriation strategy of the 1980s. In a way I think that when appropriation hit the art world, it was also very strong in the music world because of hip hop. That parallel interested me. Richard Prince and GrandMaster Flash were doing the same thing in the early eighties, but with different media" (C. Marclay, in J. Seliger, 'Christian Marclay,' Journal of Contemporary Art, vol. 5, No. 1, Spring 1992, p. 67).