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Tim Noble

(1966 ) Wikipedia® : Tim Noble
noble  tim  $

Phillips, De Pury & Luxembourg
Jun 30, 2017
Find artworks, auction results, sale prices and pictures of Tim Noble at auctions worldwide.
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Variants on Artist's name :

Webster Sue & Noble Tim

 

Artworks in Arcadja
100

Some works of Tim Noble

Extracted between 100 works in the catalog of Arcadja
Tim Noble -  Untitled

Tim Noble - Untitled

Original
Estimate:

Price: Not disclosed
Lot number: 272
Other WORKS AT AUCTION
Description:
TIM NOBLE & SUE WEBSTER | Untitled Description: inscribed within the card 'Thanks for the BANK! T + $ xx' in black ink lithograph on wove paper laid to folded card Dimensions: sheet: 16.1 by 10.9 cm. 6 1/4 by 4 1/4 in. Condition Report: The full sheet, in good condition, laid to card with minor associated rippling, framed. The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.
Tim Noble - A 'fucking Beautiful' Detail

Tim Noble - A 'fucking Beautiful' Detail

Original
Estimate:
Starting price:

Price:

Gross Price
Lot number: 18
Other WORKS AT AUCTION
Description:
Description: TIM NOBLE AND SUE WEBSTER - A 'Fucking Beautiful' detail Dimensions: 49.5 x 120.7 cm (19 1/2 x 47 1/2 in.) Medium: neon and transformers, in 3 parts Provenance: Modern Art Inc., London Christie's, New York, 15 May 2002, lot 329 Acquired at the above sale by the present owner Notes: Executed in 2000, this work is from an edition of 10.
Tim Noble -  $

Tim Noble - $

Original 2001
Estimate:
Starting price:

Price:

Gross Price
Lot number: 171
Other WORKS AT AUCTION
Description:
Description: TIM NOBLE AND SUE WEBSTER - $ Dimensions: 182.9 x 129.5 x 25.4 cm (72 x 51 x 10 in.) Medium: 204 ice white turbo reflector caps, lamps, holders and daisy washers, lacquered brass, electronic light sequencer (3-channel shimmer effect) Exhibited: Beverly Hills, Gagosian Gallery, Tim Noble and Sue Webster: Instant Gratification, 10 November – 22 December 2001 (another example exhibited) Kate Farrington, 'Tim Noble & Sue Webster', NY Arts Magazine, 2004, Vol. 9, no. 11/12 Christopher Millis, 'Art Junkies: Barry Mc Gee and Noble & Webster Take in the Trash', The Boston Phoenix, (2004), n.p. Provenance: Private Collection (acquired directly from the artist) Sotheby's, New York, 10 May 2012, lot 413 Acquired at the above sale by the present owner Notes: Executed in 2001, this work is number 5 from an edition of 5 plus 1 artist's proof.
Tim Noble - Vicious

Tim Noble - Vicious

Original 1999
Estimate:
Starting price:

Price:

Lot number: 141
Other WORKS AT AUCTION
Description:
TIM NOBLE AND SUE WEBSTER - Vicious
Notes:
Executed in 1999, this work is number 5 from an edition of 5.
Provenance:
Modern Art Inc., London Acquired from the above by the present owner
79.2 x 238.8 x 10.2 cm (31 1/8 x 94 x 4 in.)
98 fuchsia SIRIO type reflector caps, lamps with holders, foamex and electronic sequencer
Tim Noble - $

Tim Noble - $

Original 2001
Estimate:

Price:

Gross Price
Lot number: 31
Other WORKS AT AUCTION
Description:
Tim Noble and Sue Webster

B. 1966 AND B. 1967 - "$" -

signed with the artists' initials, dated 2001 and numbered 1/5 on the inside of the reverse

204 ice white turbo reflector caps, lamps, plastic bulb covers, daisy washers, lightbulbs, lacquered brass and electronic sequencer

182.3 by 133 by 24cm.; 71 1/2 by 52 1/4 by 9 1/2 in.

Provenance

Stuart Shave/Modern Art Inc., London

Private Collection, Europe (acquired from the above in 2001)

Sale: Sotheby's, London, Contemporary Art Evening Sale, 12 October 2007, Lot 20

Acquired directly from the above by the present owner

Exhibited

Los Angeles, Gagosian Gallery, Tim Noble & Sue Webster: Instant Gratification, 2001, another example exhibited, n.p., installation view

Boston, Museum of Fine Arts, Tim Noble & Sue Webster, 2004, another example exhibited, n.p., illustrated in colour

Dresden, Deutsches Hygiene-Museum, Die Zehn Gebote: Politik – Moral – Gesellschaft, 2004, p. 45, illustrated in colour

Catalogue Note

Illuminated by a cacophony of 204 dazzling ice white flashing bulbs, Tim Noble and Sue Webster's eye-catching $ is an alluringly seductive sculpture that owes much of its potency to the processes of the advertising industry. Resplendent and extravagant, the theatrical crescendo of bulbs blinking in an orchestrated sequence is the ultimate altarpiece to decadence, excess and desire. Brandishing the definitive symbol of wealth, success, want, need and greed this work is utterly instinctive and direct. Executed in the same year as Noble and Webster's wittily titled Instant Gratification exhibition at Gagosian Gallery, Beverly Hills, which prominently featured another example from this edition, $ succinctly addresses the history of art through its appropriation of a popular icon. Relating to a tradition that spans back to the inauguration of Pop art, $ brandishes the ultimate symbol of popular culture as transported into the realm of high art via Noble and Webster's subversive bent. A pointedly ostentatious and conspicuous hyperbole of kitsch culture, $ jubilantly celebrates the glitz, brash casinos of Las Vegas and its British siblings; Piccadilly Circus and the Blackpool illuminations. $ is bold and daring, illuminating a new kind of relationship with the viewer, who is forced to acknowledge the audacity of its raw and electrifying power.

In 1997, after the artists' first major and wildly successful solo exhibition, the duo celebrated by taking a trip to Las Vegas to marvel at the very museums of low culture that had inspired their work. Stimulated by the direct and accessible glamour of Sin City, on their return to London Noble and Webster continued to create work that dealt with the cheap thrills of illumination with a renewed sense of vigour and passion. The fusion of brash seduction and poignancy so integral to their art comes to its ultimate conclusion in the present work: $. The simplest and yet most powerful of icons, the dollar sign is deeply cemented in the global consciousness as the immeasurably potent and ultimate symbol of currency. The concept of wealth holds different meanings for different people such as independence, opportunity, and choice to name a few. It is this eclectic fusion of opposites; high culture and anti-culture; form and anti-form; and wealth and poverty, that provides $ with its stunning power. Deliberately positioned astride two ostensible antipodes – highbrow art on the one hand and consumer society's lowbrow kitsch on the other – $'s complex pastiche emphasises the surprising similarity between the two.

Unlike many other artists of their generation, Noble and Webster meticulously craft each of their light sculptures without the aid of assistants. As a teenager Webster spent many hours helping her electrician father repair cigarette vending machines, a skill that would give her the practical nous to construct the complex electrical arrangements evidenced in the Sisyphean light system of $. Noble and Webster first experimented with lights in their now infamous Flash Painting in 1993, which consisted of a three foot by fifteen foot canvas surrounded by sequenced white fairground lights, and was exhibited in a show they staged in a Brick Lane warehouse for their peers, among them Chris Ofili. Returning to light and neon works in earnest in 1996, $ is a later and more fully resolved example of their iconic light pieces. Taking the fluorescent light sculptures of Dan Flavin as a clear source of art historical inspiration, $ completely overhauls the clarity of minimalism by combining sculpture, theatre and persona in a mesmerising spectacle. In $, the artists have attained their ultimate goal of making their lives and those of the viewer part of their art.
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