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JENNY SAVILLE and GLEN LUCHFORD (b. 1970) CLOSED CONTACT #13 signed, titled "Jenny Saville Closed...

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JENNY SAVILLE and GLEN LUCHFORD (b. 1970) CLOSED CONTACT #13 signed, titled  Jenny Saville Closed...
JENNY SAVILLE and GLEN LUCHFORD
(b. 1970)
CLOSED CONTACT #13
signed, titled "Jenny Saville Closed Contact #13" and numbered of six on Plexiglas support
on the reverse
c-print mounted on Plexiglas
60 x 120 x 6 in.
(152.4 x 304.8 x 15.3 cm)
executed 1995-1996
this work is from an edition of six and of the series CLOSED CONTACT
ESTIMATE: $25,000-35,000

PROVENANCE
Gagosian Gallery, LOS ANGELES

EXHIBITED
LOS ANGELES, Gagosian Gallery, CLOSED CONTACT: JENNY SAVILLE, GLEN LUCHFORD, January 12-February 9, 2002, n.p. (another example exhibited; illustrated)
I've become quite interested in the notion of monsters, and how if you take something out of symmetry you've made a body behave in a way you don't expect. How far do you go with a body that's supposed to be normal in order for it to become monstrous? You don't have to do very much. Slightly moving something or changing the scale or changing the crop. With something that's actually not distorted - if seen in the realm of the normal, you don't have to go very far to change somebody's perception." The large scale photographs, just as in Saville's paintings, make the figures and all their details more visible and significant at the same time that it makes us smaller and brings us closer. "I want this..." says Saville, "that you approach the painting like you were a child, the painting is actually a landscape in itself that you physically and visually have to climb to look at, to experience it. So when you're up close you're right in it. So that's part of the reason for making the photographs so big, these kind of undulating forms that mutate and move around. You kind of feel that movement when you look at them. The crevices and bruises and ins and outs. You can't just contemplate. You have to become active as a looker.
K. Dunn, CLOSED CONTACT: JENNY SAVILLE, GLEN LUCHFORD,
LOS ANGELES, 2002, unpaginated