Kendell Geers, ‘Hope is a Four Letters Word’, 2017, Sculpture, Neon Sign, Galerie Ron Mandos
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Kendell Geers

Hope is a Four Letters Word, 2017

Neon Sign
80 7/10 × 40 1/5 × 9 4/5 in
205 × 102 × 25 cm
Edition of 3 + 2 AP
.
Contact For Price
Location
Amsterdam
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About the work
Kendell Geers
South African, b. 1968
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Incorporating language, ready-mades, broken glass, film, performance, and other elements, Kendell Geers creates work that disrupts social norms and codes. Employing a wide range of references—from art history to pornography, iconography to kitsch—Geers questions the value of aesthetics and thumbs his nose at the concept of originality. Laden with complex political references to racial or religious stereotypes, his work is challenging, confrontational, and, at the same time, humorous. His earliest and best-known work has its origins in the artist’s anti-Apartheid activities and subsequent exile from South Africa, incorporating the harsh visual and performative language of activism—in Title Withheld (Brick) (1994/96), Geers threw a brick through a gallery window; in Title Withheld (Deported) (1993/97), he constructed a charged electric fence to cordon off a gallery space from visitors. Geers made a splash in 1993 when he urinated in Marcel Duchamp’s iconic Fountain.

Kendell Geers, ‘Hope is a Four Letters Word’, 2017, Sculpture, Neon Sign, Galerie Ron Mandos
Save
Save
Share
Share
About the work
Kendell Geers
South African, b. 1968
Follow

Incorporating language, ready-mades, broken glass, film, performance, and other elements, Kendell Geers creates work that disrupts social norms and codes. Employing a wide range of references—from art history to pornography, iconography to kitsch—Geers questions the value of aesthetics and thumbs his nose at the concept of originality. Laden with complex political references to racial or religious stereotypes, his work is challenging, confrontational, and, at the same time, humorous. His earliest and best-known work has its origins in the artist’s anti-Apartheid activities and subsequent exile from South Africa, incorporating the harsh visual and performative language of activism—in Title Withheld (Brick) (1994/96), Geers threw a brick through a gallery window; in Title Withheld (Deported) (1993/97), he constructed a charged electric fence to cordon off a gallery space from visitors. Geers made a splash in 1993 when he urinated in Marcel Duchamp’s iconic Fountain.

Kendell Geers

Hope is a Four Letters Word, 2017

Neon Sign
80 7/10 × 40 1/5 × 9 4/5 in
205 × 102 × 25 cm
Edition of 3 + 2 AP
.
Contact For Price
Location
Amsterdam
Have a question? Visit our help center.
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