This Is Shahnoza 1
This Is Shahnoza 1
Signed Print
Julian Opie
Price data unavailable
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
There aren't enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.
Medium: Screenprint
Edition size: 40
Year: 2006
Size: H 57cm x W 136cm
Signed: Yes
Format: Signed Print
TradingFloor
Track this artwork in realtime
Watch artwork, manage valuations, track your portfolio and return against your collection.
Track auction value trend
Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| September 2021 | Sotheby's Online - United Kingdom | This Is Shahnoza 1 - Signed Print | |||
| January 2020 | Phillips London - United Kingdom | This Is Shahnoza 1 - Signed Print | |||
| December 2011 | Christie's London - United Kingdom | This Is Shahnoza 1 - Signed Print | |||
| April 2011 | Christie's London - United Kingdom | This Is Shahnoza 1 - Signed Print |
Meaning & Analysis
This is Shahnoza 1 is a print by Julian Opie from his This is Shahnozaseries from 2006. In this print Opie depicts a young woman whose shape is delineated clearly by bold, black outlines. The figure is faceless, with only a blank circle as a head hovering over her shoulders, and she slinks around a pole in only her underwear and a sheer dress.
This print is indicative of Opie’s desire to create movement through a sequence of static images, much like movement in films, and so we see the dancer moving around the pole. Opie orientates the figure’s head and body towards the viewer to suggest her awareness of being watched and makes clear that this sequence of movements is conforming to a particular performance tradition.
This is Shahnoza 1 presents the viewer with a response to iconography found in the cultural mainstream, showing an anonymous image of the stereotypically ‘sexy’ woman. Opie’s figures are therefore in line with his landscapes and still lives that form a self-conscious representation of the idea that art feeds on art. Of this, Opie has said that his picture making "is a self-conscious circular type of activity… I make art looking at other art, looking at other things in the world that look like art, making things that look like art, making things that look like things that look like art."
