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Nancy GravesNancy Graves - Polaroid photograph of the artist with her sculpture, Hand Signed1980
1980
$7,500
£5,643.26
€6,519.69
CA$10,529.83
A$11,375.67
CHF 6,051.97
MX$136,880.30
NOK 76,630.72
SEK 70,080.88
DKK 48,705.32
About the Item
Hand signed, dated and inscribed Polaroid photograph of Nancy Graves, dated September 24, 1980, depicting the artist with her iconic sculpture Shaman.
Provenance: Collection of Jim Wiggins, one of the last century's foremost autograph collectors.
The date of this signed polaroid photograph coincides with the date of her major traveling solo exhibition, Nancy Graves: A Survey 1969/1980 at the Buffalo AKG Museum and traveling to the Akron Art Institute, Akron, Ohio; Contemporary Arts Museum, Houston, Texas; Brooks Memorial Art Gallery, Memphis, Tennessee; Neuberger Museum of Art, Purchase, New York; Des Moines Art Center, Des Moines, Iowa; and Walker Art Center, Minneapolis, Minnesota. The work depicted in this polaroid -- SHAMAN, created in 1970, is now in the permanent collection of Wallraf-Richarts Collection in Cologne, West Germany. "Shaman" was originally exhibited at The National Gallery of Canada, Ottawa, September 2 - October 31, 1971
Nancy Graves was the first woman ever to be awarded a solo show at the Whitney Museum
This work has been elegantly floated with a raised float in a museum quality wood frame under UV plexiglass.
Measurements:
Framed:
9.25 inches (vertical) by 8.5 inches (horizontal) by 2 inches
Polaroid:
4.75 inches (vertical) by 3.5 inches (horizontal)
More about Nancy Graves:
Nancy Graves (1940–1995) was born in Massachusetts. Her father worked as an accountant at the local Berkshire Museum, where art was displayed with natural history. He encouraged his daughter’s early interests in art, nature and anthropology — interests which endured for the rest of her life. After graduating from Vassar College with a degree in English Literature, Graves attended Yale University, where she earned both a B.A. and an M.A. in Art, studying alongside Chuck Close, Robert Mangold and Brice Marsden.
Following Yale, she won a prestigious Fulbright Scholarship in 1964, and began studying painting in Paris — where she also married sculptor Richard Serra, whom she had met at Yale (and from whom she would divorce in 1970). Moving on to Florence soon after, she would live a somewhat nomadic life, spending time in countries that included Morocco, Kashmir, India, Egypt, Peru, Australia and Canada.
From a point of view that she described as “objective,” Graves transformed scientific sources, such as maps and diagrams, into artworks by re-producing their complex visual information in detailed paintings and drawings. Investigating the intersections between art and scientific disciplines, Graves created compelling, formally rigorous, yet ultimately expressive works of art that examine concepts of repetition, variation, verisimilitude, and the presentation and perception of visual information.
Based in SoHo, New York, Graves gained prominence in the late 1960s as a post-Minimalist artist for innovative camel, fossil, totem, and bone sculptures that were hand formed and assembled from unusual materials such as fur, burlap, canvas, plaster, latex, wax, steel, fiberglass and wood. Made in reaction to Pop and Minimalism, these works reference archaeological sites, anthropology, and natural science displays. Suspended from the ceiling or clustered directly on the floor, these early sculptures also engage with Conceptualist ideas of display. For her Whitney Museum presentation Graves exhibited three seemingly realistic sculptures of camels in an installation that evoked taxidermy specimens and questioned issues of verisimilitude in art and science, particularly in light of their hand patched and painted fur surfaces. The exhibition elicited wide spread critical responses and established her artistic significance.
After intensely engaging with sculpture in the early 1970s, Graves returned to painting. Her detailed pointillist canvasses re-produced — in paint — images culled from documentary nature photographs, NASA satellite recordings, and Lunar maps, commingling scientific exactitude with abstraction. Resuming sculpture in the late 1970s, Graves was among the first contemporary artists to experiment with bronze casting. She re-invigorated the traditional lost wax technique by assembling cast found objects into unique improbably balanced sculptures, with bright polychrome surfaces and distinctive patinas.
Throughout the 1980s Graves became widely recognized for her increasingly large and graceful open-form sculpture commissions. At the same time, she also expanded her drawing, painting, and printmaking practice and made large gestural watercolors. Then, in the late 1980s she created wall-mounted works that combined her explorations of sculpture, painting, form and color. In these large-scale pieces, she mounted high relief polychrome sculptural elements to the surfaces and edges of painted shaped canvases so that patterned shadows were cast onto the paintings and surrounding wall.
By the 1990s Graves was casting in glass, resin, paper, aluminum, and bronze, combining these varied materials and colors into daring sculptures with moving parts. As she proceeded in all the media she mastered, Graves increasingly re interpreted and transmuted forms sourced from her own earlier artwork — rather than from outside research — creating elaborate compositions that form a layered a-temporal archaeology of her own visual production.
Nancy Graves’ pioneering art anticipated ideas being explored by artists today such as data mining, multi disciplinarity, technology, and research-based art. Her work addresses philosophical, perceptual, aesthetic and technological issues that are especially relevant to making art in the digital age.
- Courtesy of the Nancy Graves Foundation
- Creator:Nancy Graves (1940-1995, American)
- Creation Year:1980
- Dimensions:Height: 4.75 in (12.07 cm)Width: 3.5 in (8.89 cm)
- Medium:
- Movement Style:
- Period:
- Condition:photograph is vintage with some ink rubbing/loss (see image); frame is new.
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1745217441282
Nancy Graves
A sculptor of animals and American Indian shamanistic objects, filmmaker, and painter, Nancy Graves had a highly successful and varied career, primarily in New York City. In her abstract work, she united her interest in anthropology, totemic objects, cartography, and biomorphic shapes. She was born in Pittsfield, Massachusetts, and became a graduate of Vassar College in 1961 and then Yale University's School of Art and Architecture. Graves won a Fulbright-Hayes Fellowship for painting, allowing her to spend a year in Paris in 1964-65. In the next few years, she traveled in North Africa and the Near East and lived and worked in Florence, Italy where she did her first signature work, which was sculptures of life-size Bactrian camels.
In 1966, she moved to New York City and further experimented with ways to produced these sculptures by building wood and steel armatures, covering them with skins of animal embryos, stuffing the skins with polyurethane to form humps, and tinting the skins with oil paints.
In 1968, she had her first New York one-woman show at the Graham Gallery followed by her second one-woman show at the Whitney Museum in 1969. Both exhibitions featured her camels.
In 1972 at the Philadelphia Institute of Contemporary Art, she made sculpture suggestive of Indian objects such as bones, skins, and feathers and added also steel rods to this motif for other exhibitions.
As a filmmaker, she has had showings in film festivals in London, New York, and Boston. Source: Charlotte Rubinstein, "American Women Artists"
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