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Lot 123: § Jake and Dinos Chapman, UHM001 - and two copies of accompanying book (1 mint) Chapman and two copies of the accompanying book (one...

Art and Design since 1860

by Cheffins

May 2, 2013

Cambridge, United Kingdom

Live Auction
Sold
  • § Jake and Dinos Chapman, UHM001 - and two copies of accompanying book (1 mint) Chapman and two copies of the accompanying book (one...
  • § Jake and Dinos Chapman, UHM001 - and two copies of accompanying book (1 mint) Chapman and two copies of the accompanying book (one...
  • § Jake and Dinos Chapman, UHM001 - and two copies of accompanying book (1 mint) Chapman and two copies of the accompanying book (one...
  • § Jake and Dinos Chapman, UHM001 - and two copies of accompanying book (1 mint) Chapman and two copies of the accompanying book (one...
  • § Jake and Dinos Chapman, UHM001 - and two copies of accompanying book (1 mint) Chapman and two copies of the accompanying book (one...
  • § Jake and Dinos Chapman, UHM001 - and two copies of accompanying book (1 mint) Chapman and two copies of the accompanying book (one...
  • § Jake and Dinos Chapman, UHM001 - and two copies of accompanying book (1 mint) Chapman and two copies of the accompanying book (one...
   
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Description: § Jake and Dinos Chapman, UHM011, Bronze
2002

Purchased from the Jake and Dinos 'Chapman Family Collection' Exhibition at White Cube in 2002

Accompanied by two copies of the exhibition catalogue

The infamously subversive Jake and Dinos Chapman have, over the years, developed numerous works referencing the global fast food giant McDonalds as a reference of critique towards, what they perceive, as the moral bankruptcy of modernity. Their emphatic attention to detail creates an atmosphere around their work impossible to ignore or surpass. The 'Chapman Family Collection' exhibited in 2002 for example, used catalogue numbers of each item such as CFC76311561 and CFC77227084 which are in fact the telephone numbers of McDonald's branches in central London. Their humour is not lost on the art critics such as Neal Brown who comments "The Chapman's critique was one of mischievous conceptual slipperiness: both excessively silly and eminently sensible' (Neal Brown, 'Burger Fetish', Modern Painters, Spring 2003, p.95) and two copies of the accompanying book (one Mint)

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