Lee Bontecou (b. 1931) is an important and unique contributor to American abstraction during the 20th century. 

At the very end of the 1950's Bontecou began exhibiting innovative and radical works:  sculptures that hung on the wall. Using an array of mostly discarded or utilitarian materials, such as mail sacks or components from discarded machines, Bontecou created 3-dimensional works that were highly ambiguous and intriguing. Voids are one of Bontecou's signature motifs - yet the meaning behind them is debated and contested. Are these metaphors for war, genitlia, or portals into a mysterious dimension? 

During the 1960's Bontecou exhibited at Leo Castelli's eponymous gallery alongside Frank Stella and other major artists. All three of these artists blurred the distinctions and definition between painting and sculpture. 

Like many sculptors of her generation, Bontecou created complimentary drawings and prints. This work is a paradigm of her practice, where one can see an ocular element or a void. 

Similar to Louise Nevelson, over the last decade her work has been rediscovered by art historians, curators and collectors. There is tremendous movement in her reputation and market. This is an ideal piece for a (young) collector interested in American abstraction, sculpture or women artists. 

This work can be found in several museum permanent collection including the MoMA, amongst others. 

Questions about this product? Contact us or call +1.844.440.4287

Signed and numbered by the artist (on mount)

From the Ten from Leo Castelli portfolio 

USA, 1967

Screenprint on muslin, mounted to board 

14"H 13"W (work)  

18.5"H 17.5"W (framed)

Detailed condition report by request

Very good condition.

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