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Estimate: $ 1,500 - $ 2,000
BARTON LIDICÉ BENEŠ (1942-2012)
Pier 48. A portfolio of eight photographs by Andres Lander and David Meyer depicting the empty and run down pier, each cornered into a numbered folder, with text stamped on the opposite side. The text is excerpted from letters from the artist to his Aunt Evelyn, with whom he maintained a long correspondence. The colophon also features stamped text. Chromogenic prints, the images measuring 241.3x158.7 mm; 9 1/2x6 1/4 inches, and the reverse; each cornered into a folded sheet with stamped text. Small folio-size muslin cloth enclosure with a gold anchor pin clasp; the colophon with Beneš, Lander, and Meyer's signatures and the edition notation 5/14 in pencil. 1976.
Barton Lidicé Beneš was a sculptor and visual artist who worked in materials that he described as artifacts from everyday life. He became well-known for his collection and installations of relics ranging from cremation ashes to shredded money to bodily fluids to found objects to celebrity ephemera. Calling these reliquaries "Museums," Beneš' own apartment also became a larger-scale installation of its own, holding memento mori. A veteran of the AIDS crisis, Beneš' work blended activism, poetry, and resistance, forcing a confrontation with death and fears of transmission. His most controversial work was titled Lethal Weapons and featured objects such as a toy gun, darks, and other found objects filled with his own blood.
