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Rosemarie Trockel, ‘He came unaccompanied’, 2017, The Watermill Center Benefit Auction
Rosemarie Trockel, ‘He came unaccompanied’, 2017, The Watermill Center Benefit Auction
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He came unaccompanied, 2017

Digital print on florex
30 1/2 × 23 63/100 in
77.5 × 60 cm
Bidding closed
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About the work
The Watermill Center Benefit Auction

Please note: An additional framing cost of $257 will be applied to the purchase price of the …

Please note: An additional framing cost of $257 will be applied to the purchase price of the artwork.

Medium
Photography
Signature
Signed
Image rights
Courtesy of Sprüth Magers
Rosemarie Trockel
German, b. 1952
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German Conceptual artist Rosemarie Trockel explores feminist and cultural themes using a wide array of mediums, from drawings on paper to elaborate, mechanized installations. Reflecting her view of the art world as male-dominated, Trockel’s works can be self-consciously ironic, exemplified by her series of machine-made balaklavas featuring symbols and logos such as the cross and the Playboy bunny (Balaklava, 1986). These combine a number of conflicting ideas: the historically feminine craft of knitting set against the threatening imagery of the balaklava, capitalist mass-production juxtaposed with political violence.

Rosemarie Trockel, ‘He came unaccompanied’, 2017, The Watermill Center Benefit Auction
Rosemarie Trockel, ‘He came unaccompanied’, 2017, The Watermill Center Benefit Auction
Save
Save
View
View in room
Share
Share
Save
Save
View
View in room
Share
Share
About the work
The Watermill Center Benefit Auction

Please note: An additional framing cost of $257 will be applied to the purchase price of the …

Please note: An additional framing cost of $257 will be applied to the purchase price of the artwork.

Medium
Photography
Signature
Signed
Image rights
Courtesy of Sprüth Magers
Rosemarie Trockel
German, b. 1952
Follow

German Conceptual artist Rosemarie Trockel explores feminist and cultural themes using a wide array of mediums, from drawings on paper to elaborate, mechanized installations. Reflecting her view of the art world as male-dominated, Trockel’s works can be self-consciously ironic, exemplified by her series of machine-made balaklavas featuring symbols and logos such as the cross and the Playboy bunny (Balaklava, 1986). These combine a number of conflicting ideas: the historically feminine craft of knitting set against the threatening imagery of the balaklava, capitalist mass-production juxtaposed with political violence.

He came unaccompanied, 2017

Digital print on florex
30 1/2 × 23 63/100 in
77.5 × 60 cm
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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