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Sara VanDerBeek, ‘Belle Grove’, 2009, Sotheby's
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Sara VanDerBeek

Belle Grove, 2009

C-print mounted on aluminum
40 × 30 in
101.6 × 76.2 cm
Bidding closed
About the work
Exhibition history
Provenance
S
Sotheby's

No Reserve (see Conditions of Sale for further information)

Neither Appearance Nor Illusion: …

No Reserve (see Conditions of Sale for further information)

Neither Appearance Nor Illusion: Property from the Collection of Santiago Barberi Gonzalez

Executed in 2009, this work is number 2 from an edition of 3.

Medium
Photography
Sara VanDerBeek
American, b. 1976
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Sara VanDerBeek’s photographs are based primarily on abstract sculptural forms that incorporate diverse sources such as art history books, personal images, magazines, and newspapers. Creating the sculptures in her studio, VanDerBeek photographs and often dismantles them, destroying all evidence of their existence save for the images. "I am fascinated by the transformative quality of photography," she says. "Photographs can affect your sense of time, place, memory, and scale and thus are attuned to the central aspects of our existence." Recently, VanDerBeek has taken to preserving and displaying her sculptural forms alongside her photographs, further complicating the relationship between object, image of the object, and the idea of the image as an object itself.

Sara VanDerBeek, ‘Belle Grove’, 2009, Sotheby's
Navigate left
Sara VanDerBeek, ‘Belle Grove’, 2009, Sotheby's
Navigate right
Save
Save
View
View in room
Share
Share
Save
Save
View
View in room
Share
Share
About the work
Exhibition history
Provenance
S
Sotheby's

No Reserve (see Conditions of Sale for further information)

Neither Appearance Nor Illusion: …

No Reserve (see Conditions of Sale for further information)

Neither Appearance Nor Illusion: Property from the Collection of Santiago Barberi Gonzalez

Executed in 2009, this work is number 2 from an edition of 3.

Medium
Photography
Sara VanDerBeek
American, b. 1976
Follow

Sara VanDerBeek’s photographs are based primarily on abstract sculptural forms that incorporate diverse sources such as art history books, personal images, magazines, and newspapers. Creating the sculptures in her studio, VanDerBeek photographs and often dismantles them, destroying all evidence of their existence save for the images. "I am fascinated by the transformative quality of photography," she says. "Photographs can affect your sense of time, place, memory, and scale and thus are attuned to the central aspects of our existence." Recently, VanDerBeek has taken to preserving and displaying her sculptural forms alongside her photographs, further complicating the relationship between object, image of the object, and the idea of the image as an object itself.

Sara VanDerBeek

Belle Grove, 2009

C-print mounted on aluminum
40 × 30 in
101.6 × 76.2 cm
Bidding closed
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