$35,000-$50,000 Value Indicator
$30,000-$50,000 Value Indicator
¥160,000-¥250,000 Value Indicator
€21,000-€35,000 Value Indicator
$180,000-$280,000 Value Indicator
¥3,330,000-¥5,190,000 Value Indicator
$23,000-$35,000 Value Indicator
This estimate blends recent public auction records with our own private sale data and network demand.
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Medium: Mixed Media
Format: Signed Mixed Media
Size: H 121cm x W 115cmx D 4cm
Edition size: 30
Julian Opie's This Is Shahnoza In 3 Parts 9 (signed) is a mixed media piece from 2008, estimated to be worth between £18,000 to £28,000. This artwork has been sold twice at auction, with the first sale recorded in September 2010. The edition size of this artwork is limited to 30.
|Auction Date||Auction House||Artwork|
Return to Seller
|January 2016||Phillips London - United Kingdom||This Is Shahnoza In 3 Parts 9 - Signed Mixed Media|
|September 2010||Sotheby's Online - United Kingdom||This Is Shahnoza In 3 Parts 9 - Signed Mixed Media|
The final print of Julian Opie’s This Is Shahnoza collection, This Is Shahnoza In 3 Parts 9 shows an image of a female model leaning backwards on to her forearms, with her legs crossed in the air. In partitioning the image into three parts, the viewer compartmentalises the figure’s body and Opie makes the viewer question how we might sexualise and fragment the female form.
This Is Shahnoza In 3 Parts 9 is rendered in Opie’s trademark linear style, showing the figure with a blank circle as a head, and her feet cut off, showing only straps for shoes. Opie’s images of people engage with longstanding ideas that have characterised art history by questioning what intrinsic elements are needed to convey a narrative or person’s character. However, Opie turns this tradition in art history by explicitly citing the model as a professional pole dancer.
Drawing from the choreography, gestures and typical iconography of strip shows and catwalks, throughout the series Opie depicts the figure in a range of dynamic and theatrical poses that effectively catch the viewer’s attention. In reducing the figure to a ‘type’ rather than depicting a recognisable individual, Opie succinctly conveys the way in which seemingly natural human behaviour is made up of learned performance codes.