This Is Shahnoza 3
This Is Shahnoza 3
Signed Print
Julian Opie
£8,500-£12,500Value
Indicator
$16,000-$24,000 Value Indicator
$14,500-$21,000 Value Indicator
¥80,000-¥110,000 Value Indicator
€10,000-€14,500 Value Indicator
$80,000-$120,000 Value Indicator
¥1,630,000-¥2,390,000 Value Indicator
$11,000-$16,000 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: 40
Year: 2006
Size: H 57cm x W 136cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| June 2023 | Phillips London - United Kingdom | This Is Shahnoza 3 - Signed Print | |||
| September 2021 | Sotheby's Online - United Kingdom | This Is Shahnoza 3 - Signed Print | |||
| May 2017 | Swann Auction Galleries - United States | This Is Shahnoza 3 - Signed Print |
Meaning & Analysis
Showing a pole dancing figure in a sequence of static poses, This is Shahnoza 3 is a print from Julian Opie’s This is Shahnoza series from 2006. The figure is rendered in Opie’s trademark visual language, with thick, bold outlines and a blank circular head, thus she is an anonymised archetype of male desire.
As with many of Opie’s figures, the model in this print is anonymised by her featureless face and is thus reduced to a ‘type’, rather than being someone to be recognised. At the same time, Opie depicts the figure as always facing the viewer, and so by self-consciously subjecting herself to being looked at she maintains her sovereignty over the desiring gaze and disrupts the expectations of the viewer.
This is Shahnoza 3 is theatrical in its use of movement and motion. Wearing a black dress, the woman is depicted in a series of dynamic and alluring poses typical of choreography seen in strip clubs and popular culture. 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.
