This is Shahnoza – Shahnoza Pole Dancer
This is Shahnoza – Shahnoza Pole Dancer
Unsigned Print
Julian Opie
£4,450-£6,500
$8,500-$12,500 Value Indicator
$8,000-$11,500 Value Indicator
¥40,000-¥60,000 Value Indicator
€5,500-€8,000 Value Indicator
$45,000-$70,000 Value Indicator
¥880,000-¥1,280,000 Value Indicator
$6,000-$8,500 Value Indicator
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: 1000
Year: 2007
Size: H 243cm x W 60cm
Signed: No
Format: Unsigned Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| June 2018 | Van Ham Fine Art Auctions - Germany | This is Shahnoza – Shahnoza Pole Dancer - Unsigned Print | |||
| December 2015 | Koller Zurich - Switzerland | This is Shahnoza – Shahnoza Pole Dancer - Unsigned Print |
Meaning & Analysis
Julian Opie’s This Is Shahnoza – Shahnoza Pole is a vinyl print from 2007 that shows a full-length image of a naked woman dancing around a pole. Opie depicts the human form in a highly stylised manner showing the model’s head as a blank circle, without a neck and her feet cut off, showing only straps for shoes.
Opie was initially inspired to respond to a room of Henry Moore sculptures, mostly reclining nudes, for a mural in the Art Gallery of Ontario in 2006. The artist sought to find a way to produce images of a woman in these poses without conventional props like a bed, chair or even the floor. With a desire to liberate the human body from gravity, Opie asked a professional pole dancer, Shahnoza, to pose for him in a variety of choreographed moves.
This Is Shahnoza – Shahnoza Pole Dancer represents Opie’s clever blending of high art, graphic design and contemporary life. Working with the female nude, a subject that has preoccupied artists for generations, Opie unsettles the viewer’s assumptions of what constitutes high art by presenting an image that is more likely to be found in a ‘gentleman’s club’ than in an art gallery setting.
