John Armleder, ‘Furniture Sculpture 193 (Caprice)’, 1988, Heritage Auctions
John Armleder, ‘Furniture Sculpture 193 (Caprice)’, 1988, Heritage Auctions

Signature: Incised with signature, title, and numbering on the ball

Publisher: Daniel Newburg Gallery, New York

C. Ritschard, Charles Goerg, John M. Armleder, Furniture Sculpture, 1980-1990, Musée Rath and Musée d'art et d'histoire, Geneva, 1990, pp. 76-77, no. 31, (another example illustrated); M. Brehm, John M. Armleder: At any speed, Hatje Cantz, Ostfilidern-Ruit, 1999, p. 60 and 105, (another example illustrated); F. Nymphius, John M. Armleder - Pudding Overdose, Kehrer Verlag, Heidelberg, 2002, p. 65, another exampled illustrated).

About John Armleder

Performance artist, sculptor, and painter John M. Armleder draws from what he calls a "supermarket of forms." His art can take on attributes of Suprematist painting, Minimalist sculpture, Dada readymades, or, in the case of his wall paintings, actual wallpaper (turning Sol LeWitt’s ideology on its head while referencing Francis Picabia's dots or Surrealism's lobsters). Affiliated with Fluxus in the 1960s and ‘70s, Armleder was also associated with Neo-Geo (short for Neo-Geometric Conceptualism) in the 1980s for his furniture sculptures, conflating art and the design object. His works explore decor as the inevitable devolution of cultural expressions into background elements.

Swiss, b. 1948, Geneva, Switzerland