Keith Sonnier


Keith Sonnier, Untitled, 1973, New York Collection for Stockholm Portfolio, Alternate Projects


Untitled, 1973
Screenprint in colors, varnish/wove paper. Printed by Styria Studios Inc., New York. SIGNED, dated and numbered on the print. Out of the New York Collection for Stockholm Portfolio, a portfolio of seventeen screenprints, nine lithographs, two lithographs with screenprint, one photocopy, and one photograph.
9h x 12w in
22.86h x 30.48w cm

$ 700

In the early 1970s, the Moderna Museet in Stockholm wanted to build a collection centered around works made by contemporary American artists. Working with New York-based group Experiments in Art and Technology (E.A.T.), the museum selected 30 pieces in a variety of media by some of New York’s most important young artists. In an effort to help raise the necessary funds for these acquisitions, the Moderna and E.A.T. created The New York Collection for Stockholm Portfolio. In an edition of 300, this portfolio was composed of a print made be each artist slated for the museum’s collection. The complete portfolio features works by the following artists: Lee Bontecou, Robert Breer, John Chamberlain, Walter de Maria, Jim Dine, Mark di Suvero, Öyvind Fahlström, Dan Flavin, Red Grooms, Hans Haacke, Alex Hay, Donald Judd, Ellsworth Kelly, Sol LeWitt, Roy Lichtenstein, Robert Morris, Louise Nevelson, Kenneth Noland, Claes Oldenburg, Nam June Paik, Robert Rauschenberg, Larry Rivers, James Rosenquist, George Segal, Richard Serra, Keith Sonnier, Richard Stankiewicz, Cy Twombly, Andy Warhol and Robert Whitman.

Keith Sonnier (1941-2020) was a postminimalist sculptor, performance artist, video and light artist. Sonnier rose to prominence in the late 1960s with a practice that was highly experimental and of the moment. His use of neon in combination with ephemeral materials gained him early international recognition. Sonnier’s use of unconventional materials—from industrial neon to ephemeral, high-tech radio waves and tactile, soft elements, such as flocked latex and foam rubber—impelled him to reimagine sculpture as something to be experienced beyond the merely optical.