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The object displayed in this listing (a used C4 envelope) is not the artwork. However, a concept defining an artwork is being written on it. The artwork has no title; its subtitle is ‘h_ (followed by a square shaped cut in the paper, a void, revealing a white canvas as being placed inside the envelope)’. This is a homage to previous works of art that deal with nothingness and that have amplified how difficult it is to display nothing. Here an interesting article about the Centre Georges Pompidou's commitment: https://www.independent.co.uk/arts-entertainment/art/news/the-art-of-nothing-pompidou-centre-celebrates-half-a-century-of-minimalism-1633388.html 

Minimalism appeals, the ‘less is more’, the necessity to unclutter – for a message to stand out you have to eliminate background noise. Prehistoric art already presents itself as such. Following this train of thought you may come to exhibit invisible artworks. “...I have decided to end the battle. My paintings are now invisible and I would like to show them in a clear and positive manner, in my next Parisian exhibition at Iris Clert's.” [Stich, Sidra. Yves Klein. Hayward Gallery. London, 1994 (https://en.wikipedia.org/wiki/Yves_Klein - accessed 26/10/218)]. 
“ subtitle: h_ ” comes six decades after.

I would have preferred the shorter term ‘nothing’, sounds however too much as ‘no thing’. ‘Nothingness’ is to mean the absence of anything or any being or any non-being. As far as I am aware nothingness has yet to be exhibited, proposing that “ subtitle: h_ ” enables that aspiration. Please note that nothingness is not the artwork, in following that Marcel Duchamp's urinal is not the artwork – just that a urinal is present in an exhibition of ‘Fountain’. Equally nothingness is present where “ subtitle h_ ” is being exhibited. Talking about the ‘presence’ of nothingness, if nothingness was not present, then something would be present. Since nothingness is present so truly nothing is being exhibited.

Why the envelope? It was mailed early September 2017 to the Centre Georges Pompidou; part of a mailing done to some of the world’s leading contemporary art galleries/museums regards “Oa51s_homageCYF”, a previous conceptual work that can be viewed next to this listing. In doing some research for “Oa51s_homageCYF” I had been impressed by the Centre Pompidou’s dedication to the strand of minimalism in which at first glance it appears that nothing is being exhibited. Nothingness is part of “Oa51s_homageCYF”. Therefore when I received much positive feedback from renowned contemporary art galleries/museums I anticipated a favourable response from the Centre Pompidou as well. Just then my letter came returned. There was a note on it reading “Destinataire inconnu à l'adresse”. This resonating with nothingness triggered the creation of  “ subtitle h_ ”. The original envelope is for sale - NOT however in this listing. What sells is a six piece limited edition of pigment prints. The envelope in its original dimensions (229 x 324 mm) and colours will be replicated, professionally scanned (the images in this listing are photos) on a prestigious archival paper sized 420 x 594 mm.
The object displayed in this listing (a used C4 envelope) is not the artwork. However, a concept defining an artwork is being written on it. The artwork has no title; its subtitle is ‘h_ (followed by a square shaped cut in the paper, a void, revealing a white canvas as being placed inside the envelope)’. This is a homage to previous works of art that deal with nothingness and that have amplified how difficult it is to display nothing. Here an interesting article about the Centre Georges Pompidou's commitment: https://www.independent.co.uk/arts-entertainment/art/news/the-art-of-nothing-pompidou-centre-celebrates-half-a-century-of-minimalism-1633388.html 

Minimalism appeals, the ‘less is more’, the necessity to unclutter – for a message to stand out you have to eliminate background noise. Prehistoric art already presents itself as such. Following this train of thought you may come to exhibit invisible artworks. “...I have decided to end the battle. My paintings are now invisible and I would like to show them in a clear and positive manner, in my next Parisian exhibition at Iris Clert's.” [Stich, Sidra. Yves Klein. Hayward Gallery. London, 1994 (https://en.wikipedia.org/wiki/Yves_Klein - accessed 26/10/218)]. 
“ subtitle: h_ ” comes six decades after.

I would have preferred the shorter term ‘nothing’, sounds however too much as ‘no thing’. ‘Nothingness’ is to mean the absence of anything or any being or any non-being. As far as I am aware nothingness has yet to be exhibited, proposing that “ subtitle: h_ ” enables that aspiration. Please note that nothingness is not the artwork, in following that Marcel Duchamp's urinal is not the artwork – just that a urinal is present in an exhibition of ‘Fountain’. Equally nothingness is present where “ subtitle h_ ” is being exhibited. Talking about the ‘presence’ of nothingness, if nothingness was not present, then something would be present. Since nothingness is present so truly nothing is being exhibited.

Why the envelope? It was mailed early September 2017 to the Centre Georges Pompidou; part of a mailing done to some of the world’s leading contemporary art galleries/museums regards “Oa51s_homageCYF”, a previous conceptual work that can be viewed next to this listing. In doing some research for “Oa51s_homageCYF” I had been impressed by the Centre Pompidou’s dedication to the strand of minimalism in which at first glance it appears that nothing is being exhibited. Nothingness is part of “Oa51s_homageCYF”. Therefore when I received much positive feedback from renowned contemporary art galleries/museums I anticipated a favourable response from the Centre Pompidou as well. Just then my letter came returned. There was a note on it reading “Destinataire inconnu à l'adresse”. This resonating with nothingness triggered the creation of  “ subtitle h_ ”. The original envelope is for sale - NOT however in this listing. What sells is a six piece limited edition of pigment prints. The envelope in its original dimensions (229 x 324 mm) and colours will be replicated, professionally scanned (the images in this listing are photos) on a prestigious archival paper sized 420 x 594 mm.

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7

View In My Room

" subtitle: h_ " (limited edition 1 of 6) Print

Samuel Buttner

United Kingdom

Printmaking, Paper

Size: 16.5 W x 11.7 H x 0.1 D in

Ships in a Box

$353

Shipping included

Trustpilot Score

422 Views

7

Artist Recognition
link - Artist featured in a collection

Artist featured in a collection

ABOUT THE ARTWORK
DETAILS AND DIMENSIONS
SHIPPING AND RETURNS

A concept defining an artwork - written on an envelope. The artwork has no title. Subtitle is: ‘h_ (followed by a square shaped cut, a void, revealing a white canvas inside the envelope)’. It is a homage to previous art dealing with nothingness (that had shown how difficult it is to display nothing)...

Year Created:

2018

Subject:
Mediums:

Print, Paper

Rarity:

Limited Edition of 6

Size:

16.5 W x 11.7 H x 0.1 D in

Ready to Hang:

Not Applicable

Frame:

Not Framed

Authenticity:

Certificate is Included

Packaging:

Ships in a Box

Delivery Cost:

Shipping is included in price.

Delivery Time:

Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Returns:

The purchase of photography and limited edition artworks as shipped by the artist is final sale.

Handling:

Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.

Ships From:

United Kingdom.

Customs:

Shipments from United Kingdom may experience delays due to country's regulations for exporting valuable artworks.

Need more information?

Need more information?

London-based artist works with found objects, printed ready-mades as well as wood and bronze sculptures. Samuel Buttner exhibits internationally, has received awards and commissions for art in public spaces, and his work is held in both private and public collections. 'Remembering how my drawings as an eight-year-old received much attention, then opportunities for training during my teenage years leading to an education of professional wood sculptor. During my mid-twenties that enigmatic pull into social work with creativity for children and engagement in the special educational needs sector. The sculptor, printmaker and conceptual artist is grounded in life drawing, anatomical studies, and plein air painting. Much of the above would befriend me with Vincent van Gogh, valuing that eye-brain-hand-coordination for authentic, ecstatic expressiveness. Being equally aware how the subconscious gets visualized where it has been said that positive stimuli is evident as well as an artist philosopher, hence resonating with the like Marcel Duchamp exploring that limitless creativity-of-the-mind; that which is outside the box.'

Artist Recognition
Artist featured in a collection

Artist featured by Saatchi Art in a collection

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