Named for Picasso’s iconic 1907 work, Christopher K. Ho’s delectable Demoiselles d'Avignon project includes a series of cerebral “coffee tables” that, while technically functional, are much more about sampling and remixing the visual vocabulary of fine art’s tradition of modernist abstraction.
“I approached these pieces as an art-historical problem,” the New York-based artist explains. “Picasso went to the Trocadéro ethnographic museum and encountered African masks [which inspired his painting]. I was trying to think of what a similar encounter might be—someone in the future, encountering Western abstraction.”
According to Ho, “Each artwork of mine is a provisional and an emphatic response to the field of contemporary art: provisional because that field is ever changing; and emphatic because at every moment, there exist overlooked and undervalued aesthetic, social, and ideological positions that compel highlighting. My work is always demanding to make and sometimes difficult to view, insofar as it asks to be contextualized broadly, in the field of art as well as in those of sociology, economics, and history. I embrace these demands and this difficulty.”
Demoiselles d'Avignon: White One is an artwork that consists of an ebony base supporting two pieces of custom glass stacked on top of one another. In between the glass are works on paper. While this piece can be used as a table, the surface is not completely level and the materials are delicate. The buyer should be aware of this before purchase.