Thursday, June 23, 2011

Explanation as Composition: Provenance #8



The provenance of this work was written during a collaborative writing session at LACE on 30 January 2011. Writers include: Amanda Ackerman, Harold Abramowitz, Kate Durbin, Sarah Shun-lien Bynum and Teresa Carmody. Event writer collaborators: Aimee Bender, Allison Carter, Mark Z. Danielewski, Carribean Fragoza, Veronica Gonzalez, Janice Lee, Harryette Mullen, Janet Sarbanes, Anna Joy Springer, and Stephen Van Dyck.


At this point the work moved into a rather murky stage of its long journey to Los Angeles. In 1974, an explosion in the gas main at the Musée D’Accord resulted in considerable damage to the neoclassical structure, and with great reluctance the museum’s trustees decided to sell off some of its holdings in order to pay for the extensive repairs. Thus the work entered the private collection of British music producer Ian Applegate.

The work is the third item in an inventory of Ian Applegate’s artworks housed on his estate near Burnham-on-Crouch in southeast England. Applegate had achieved some notoriety as the producer for the first two albums by platinum-selling hard rock artist Wolf Temple. Having purchased his country estate at the end of 1973, Applegate then went about assembling a suitably distinguished art collection. The work was an early acquisition, bought at auction for £9500 on the suggestion of his spiritual advisor, Mara Nooney, who believed that the work was originally commissioned by the descendant of one of Applegate’s past selves. The work was displayed in what had once been the estate’s conservatory, and incurred some minor sun damage while in Applegate’s possession.

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