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Angela Bulloch Auction Price Results

Angela Bulloch (1966-)  Please Register/Login to access your Invaluable Alerts

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ANGELA BULLOCH Ontario 1966 PLUTO 2 2008 Pigment

Lot 9: ANGELA BULLOCH Ontario 1966 PLUTO 2 2008 Pigment

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Description: ANGELA BULLOCH Ontario 1966 PLUTO 2 2008 Pigment Print auf Hahnemühlepapier. 61,5 x 61,5.

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ANGELA BULLOCH

Lot 11: ANGELA BULLOCH

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Description: B. 1966EXTRA TIME 8:5measurements75 by 50 by 50cm.alternate measurements29 1/2 by 19 2/3 by 19 2/3 in.1 DMX-module, 1 half Black Box module, waxed birchwood, printed aluminium panel, white glass, diffusion foil, assorted black cables, RGB-lighting system, DMX-ControllerExecuted in 2006.PROVENANCEDonated by the artist, courtesy of Esther Schipper, BerlinNOTEOne of the most innovative artists to have emerged during the 1990s, Angela Bulloch combines light, sound, audio, video, text and objects to formulate a constellation that critically explores systems and rules which govern behaviour and perception.Extra Time 8:5, 2006 consists of a pixel box that is part of a larger series of works the artist began to develop in 2000, together with artist Holger Friese. Displayed either individually or collectively in multiple clusters, each pixel box comprises 3 fluorescent colour tubes that when combined are capable of generating a staggering 16,777,216 colours. Yet the randomness suggested behind the sequence of colours, belies a high degree of orchestration. A DMX modular system, connected to each pixel box, enables the artist to choreograph a transition of colours related to processed information. This could be derived from such disparate sources as the structure of a movie; the rhythmic structure of rock music; video footage taken by the artist, or in the case of Extra Time 8:5, a homeopathic dose of 'infotainment' culled from an early morning BBC broadcast of the same name. Frame by frame, the artist selects a specific quantity of pixels from each material via the use of computer software. As with all her work the artist creates a single object or device that generates an entire environment. The room in which this box is presented will be suffused with light, mutating through an entire spectrum of colours. When confronted with the source material thus transformed, the estrangement one feels is often paired with a strange sense of familiarity. This might be located in formal aspects of the pixel box, which clearly resembles Judd's minimalist forms, or a piece of furniture that could be found in a club environment; it could equally be derived from the formalist use of pure colour in the work of artists from Mondrian to Ellsworth Kelly; the evocation of modernist utopias and their search for a universal language; or indeed the source material selected by the artist. This distillation of moments is clearly exemplified and compounded in Extra Time 8:5, which seems to oscillate between an optimistic yearning for the future and nostalgia for the past: the paradox of being transported back to the future. Born in 1966 in Canada, the artist studied at Goldsmiths and was based in London for a number of years before moving to Berlin where she currently lives and works. She has shown extensively across Europe, has been nominated for the Turner Prize and was featured in the Tate Triennale in 2006. Fittingly it was in the form of the group exhibition - Seven Obsessions, 1990 - held at the Whitechapel Gallery, that the artist received her first UK institutional outing; at the time Bulloch was already exploring themes of participation which are at the core of her current-day work. The artist's contribution comprised a version of the work Blue Horizons - a drawing machine that throughout the duration of the exhibition plotted a wall drawing in blue ink, its action systematically triggered upon the presence of the viewer. As well as implicating the viewer in the making of the work, the artist is also interested in the significance of the social preconditions and parameters which prescribe participation. As the artist has stated: "the work outlines the fact that individual choices are more or less meaningless -- the work has already defined the parameters of choice." (the artist cited in David Bussel, "Who Controls What? Interview with Angela Bulloch" in Art From The UK, Munich 1998, p.31) AC

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Lot 37: Angela Bulloch (B. 1966)

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Description: Happy Sacks inscribed with the artist's initials, titled and dated 'Happy Sack AB 94' (on a tag attached to the fabric of each) canvas, polystyrene, felt each: 981/2in. (250cm.) diameter 3 PROVENANCE Galerie Schipper & Krome, Cologne. NOTES 'AB: I first used them ['Happy Sacks'] for an exhibition at the Hamburger Kunstverein, because I needed a position for people to really sit and spend time. After that the use became more a structure within the work - a vehicle to engage with physically... SK:...an island for the 'social'. AB: When Donald Judd was making furniture he would always say something like, a chair is not a sculpture, because you can not see it when you sit in it. So its functional value stops it from being an art object - but I think that is nonsense! SK: Your 'Happy Sacks' bring the potential viewer out of their vertical perspective and into a horizontal viewpoint... AB: I've become bored by the conventions in museums and the erect authority of art objects. By lying down and looking horizontally it relativises the object's authority... SK: And they look quite childish, like toys in the playroom at Ikea. I think their infantality is what makes them so physically attractive, it's like falling back in time - you become aware of the body's polymorphousness. AB: The viewer is the collaborator in the sense that she defines, perceives the meaning in her own terms. This would happen anyway with any work, provided there is a viewer, what I try to do, is make the fact of interpretation, understanding or perceiving, part of the purpose of the work itself'. (S. Kalmar and Angela Bulloch, in: 'Angela Bulloch. Satellite', Zurich 1998, p. 50).

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ANGELA BULLOCH

Lot 88: ANGELA BULLOCH

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Description: Fly-over Genoa This work is unique. Signed ‘Angela Bulloch’ inside the VHS box.

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Angela Bulloch (b. 1966) Doubleganger:yellow 2001 mixed media lightbox sculpture 50 by 50 by 150 cm. 19 11/16 by 19 11/16 by 59 1/16 in. This work was executed in 2001.

Lot 101: Angela Bulloch (b. 1966) Doubleganger:yellow 2001 mixed media lightbox sculpture 50 by 50 by 150 cm. 19 11/16 by 19 11/16 by 59 1/16 in. This work was executed in 2001.

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Description: Doubleganger:yellow 2001 mixed media lightbox sculpture 50 by 50 by 150 cm. 19 11/16 by 19 11/16 by 59 1/16 in. This work was executed in 2001.

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Angela Bulloch

Lot 106: Angela Bulloch

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Description: Red Chance Corner Piece This work is unique and is accompanied by a certificate of authenticity signed by the artist.

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ANGELA BULLOCH

Lot 152: ANGELA BULLOCH

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Description: Cyan Catwalk This work is unique and is accompanied by installation instructions signed by the artist.

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Lot 157: Angela Bulloch (B. 1966)

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Description: Laughing Chair cushion, two speakers, amplifier and tape player (chair and carpet not included) dimensions variable Executed in 1991 SALESROOM NOTICE Please note that this lot has been withdrawn.

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Lot 158: Angela Bulloch (B. 1966)

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Description: Yellow Double Switch Piece two opaline polycarbonate spheres with yellow painted lamps and alternating electrical mechanism each: 19in. (50cm.) diameter Executed in 1989 NOTES "The first light bulb pieces I made refer to the street crossing system used in Britain. This system was designed by Mr. Belisha sometime during the 30s. It functions as a sign to indicate to both the pedestrians and the cars to be aware that this should be a safe place for the pedestrians to cross the road, therefore indicating the place where people walking and people driving cars interface. The light pieces developed and evolved form this starting point...that is changed the terms of the sign and the people who it indicates, or tells something to, by shifting this basic language of flashing lights into another context. The flashes become more complex and the colours vary, as the first yellow ones I used were like the first words in a codified language of cause and effect, action and knowledge, or awareness between people and objects." (A. Bulloch, in: D. Bussel, 'Who Controls What? Interview with Angela Bulloch in: 'Art from the UK,' Munich 1997, p.31.).

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                                        Angela Bulloch (b. 1966)

Lot 190: Angela Bulloch (b. 1966)

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Description: Angela Bulloch (b. 1966) Sciak! Sciak! signed with the artist's initials 'aB' (on the slide negative) wall painting dimensions variable Executed in 1992, this work is unique

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 - Angela Bulloch , b.1966 Star Gate Section 
 9 DMV modules, 1 LAN black box

Lot 194: - Angela Bulloch , b.1966 Star Gate Section 9 DMV modules, 1 LAN black box

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Description: 9 DMV modules, 1 LAN black box

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Lot 248:

Description: ANGELA BULLOCH (B. 1966) Panorama Island c-print 33½ x 46in. (85.1 x 116.8cm.) Executed in 1995, this work is from an edition of ten

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ANGELA BULLOCH

Lot 252: ANGELA BULLOCH

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Description: RGB SPHERES IV

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Lot 267: Angela Bulloch (British, 1966) 'Mud Slinger', 1995 mixed media installation including a pump, hoses and a set of vinyl letters which spell the words 'Mud Slinger no 1',together with an inventory and instruction letter signed by the artist and dated

Description: 'Mud Slinger', 1995mixed media installation including a pump, hoses and a set of vinyl letters which spell the words 'Mud Slinger no 1',together with an inventory and instruction letter signed by the artist and dated '2nd August 1997'65cm (25 9/16in) height

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Angela Bulloch (b. 1966)

Lot 268: Angela Bulloch (b. 1966)

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Description: Angela Bulloch (b. 1966) On/Off Line Drawing Machine steel rail, pulleys, rope, trip switches (one at each end), motor, electronics, brackets, pen and eraser11 x 115 3/8 x 2 3/8in. (28 x 293 x 6cm.) Executed in 1991, this work is unique

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Angela Bulloch (b.1966) open pixel print digital

Lot 394: Angela Bulloch (b.1966) open pixel print digital

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Description: Angela Bulloch (b.1966) open pixel print digital photographic print, 2006, as included in the Serpentine Portfolio , signed, dated and numbered 35/50 in felt-tip pen verso , on photographic paper, the full sheet, in good condition, sheet 297 x 420mm.

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