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John McCracken, ‘Untitled’, Christie's
John McCracken, ‘Untitled’, Christie's
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John McCracken

Untitled

Wood, fiberglass and polyester resin
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About the work
Provenance
C
Christie's

John McCracken (1934-2011)

Untitled

wood, fiberglass and polyester resin

12 x 11 7/8 x 11 7/8 in. …

John McCracken (1934-2011)

Untitled

wood, fiberglass and polyester resin

12 x 11 7/8 x 11 7/8 in. (30.4 x 30.1 x 30.1 cm.)

Executed in 1970.

Signature
Untitled
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.”

John McCracken, ‘Untitled’, Christie's
John McCracken, ‘Untitled’, Christie's
Save
Save
Share
Share
Save
Save
Share
Share
About the work
Provenance
C
Christie's

John McCracken (1934-2011)

Untitled

wood, fiberglass and polyester resin

12 x 11 7/8 x 11 7/8 in. …

John McCracken (1934-2011)

Untitled

wood, fiberglass and polyester resin

12 x 11 7/8 x 11 7/8 in. (30.4 x 30.1 x 30.1 cm.)

Executed in 1970.

Signature
Untitled
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

Untitled

Wood, fiberglass and polyester resin
Want to sell a work by this artist? Consign with Artsy.