John McCracken, ‘Klondike’, 1992, Sotheby's
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John McCracken

Klondike, 1992

Polyester resin and fiberglass on plywood
9 × 96 × 14 in
22.9 × 243.8 × 35.6 cm
Bidding closed
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About the work
Exhibition history
Provenance
S
Sotheby's
Medium
Sculpture
Signature
Signed, titled and dated 1992 on the reverse
John McCracken
American, 1934–2011
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Working with what he called “planks,” John McCracken created Minimalist sculptures that bridge the material world with the metaphysical. By leaning the planks against the wall, McCracken’s intention was to connect the spheres of two-dimensional painting and three-dimensional sculpture. His method involved a laborious process of painting, sanding, and polishing the polyester resin on each plywood board to achieve a flawless patina that looks machine-made, bringing to mind the 1960s West Coast “Finish Fetish Art” aesthetic. The most dramatic effect of his glossy surfaces is the way they become as reflective as mirrors and oftentimes seem to disappear altogether, such as in his 1985 work Akitanai. “My tendency,” McCracken once said, “is to reduce or develop everything to 'single things'—things which refer to nothing outside [themselves] but which at the same time possibly refer, or relate, to everything.”

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John McCracken, ‘Klondike’, 1992, Sotheby's
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Save
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Share
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About the work
Exhibition history
Provenance
S
Sotheby's
Medium
Sculpture
Signature
Signed, titled and dated 1992 on the reverse
John McCracken
American, 1934–2011
Follow

Working with what he called “planks,” John McCracken created Minimalist sculptures that bridge the material world with the metaphysical. By leaning the planks against the wall, McCracken’s intention was to connect the spheres of two-dimensional painting and three-dimensional sculpture. His method involved a laborious process of painting, sanding, and polishing the polyester resin on each plywood board to achieve a flawless patina that looks machine-made, bringing to mind the 1960s West Coast “Finish Fetish Art” aesthetic. The most dramatic effect of his glossy surfaces is the way they become as reflective as mirrors and oftentimes seem to disappear altogether, such as in his 1985 work Akitanai. “My tendency,” McCracken once said, “is to reduce or develop everything to 'single things'—things which refer to nothing outside [themselves] but which at the same time possibly refer, or relate, to everything.”

John McCracken

Klondike, 1992

Polyester resin and fiberglass on plywood
9 × 96 × 14 in
22.9 × 243.8 × 35.6 cm
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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Minimalism