The Rubell Collection... (Part II)
10:47 p.m.Continuing with our tour of Rubell's collection "To Have and To Hold" exhibition, we are now going to see the artworks of the 90s...
Over the exposed pipes that cross the roof, you'll catch a glimpse of Maurizio Cattelan's doves (Italy, 1960): eleven doves (tourists, in the words of the artists), distributed randomly over the pipes, as silent witnesses of what's going on in the room.
Untitled, by Maurizio Cattelan (1998)
Materials: eleven taxidermy doves / Variable dimensions
Acquired in 1999
You'll also see Thomas Schutte's Machine (Germany, 1954). It consist of a vertical structure holding wax figures with distorted faces, dressed weirdly. Schutte's work is always linked with architecture and offers a reflection on the role of human beings in society, specially in the Soviet era.
Machine, by Thomas Schütte (1993)
Materials: four wax figures, fabric, metal structure, foam and electric motor / Measures: 180.3 x 340.4 x 309.9 cm
Acquired in 2003
From the early years of this millennia, there are works by Richard Prince (Panamá, 1949), Wade Guyton (USA, 1972) and, again, Rosemarie Trockel.
New England Nurse, by Richard Prince (2002)
Technique: inkjet and acrylic on canvas / Measures: 201.9 x 132.7 cm
Acquired in 2004
Colony, by Rosemarie Trockel (2007)
Materials: brown wool and wood / Measures: 296 x 296 cm
Acquired in 2014
Untitled, by Wade Guyton (2007)
Technique: Epson inkjet print on canvas / Measures: 214 x 175.3 cm
Acquired in 2007
What makes these works so attractive (just a small example of the vast Rubell Collection), is that many of them are founding works in the career of an artist. Sherman's photo of the 70s, for example, marked the beginning of a series of portraits that would herald all her career. In the description the artist wrote for the Rubell Collection, she mentions the lack of resources she had for the shoot. Such a completely different situation to her historical portraits! Those were presented at a Gallery in New York which turned out being a successful total sold out.
In Thomas Schutte's case, the artwork in exhibition is a predecessor of the touching 2005's Tree Capacity Men, in which similar men as those in Machine, but 3mt high, turn each others backs. It was his way of expressing his pesimist vision on a repressed society.
The collection stays alive with new acquisitions and many of its works are on display in exhibitions around the world. According to the press, the Rubells are the most prestigious collectors in Miami and they are in the 9th place of the Top 10 most active buyers in the artworld.
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