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12 December 2024
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Billy Apple
Billy Apple Bleaching with Lady Clairol Instant Crème Whip, November 1962
, 1962–1997
69 x 80 x 4 in. (175.3 x 203.2 x 10.2 cm.)
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Billy Apple
New Zealand, 1935–2021
Billy Apple Bleaching with Lady Clairol Instant Crème Whip, November 1962
,
1962–1997
Billy Apple
Billy Apple Bleaching with Lady Clairol Instant Crème Whip, November 1962
, 1962–1997
69 x 80 x 4 in. (175.3 x 203.2 x 10.2 cm.)
close
Contact the gallery
for more images
View to Scale
Zoom
Medium
Gelatin silver print with silk-screened text
Size
69 x 80 x 4 in. (175.3 x 203.2 x 10.2 cm.)
Price
Price on Request
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Rossi & Rossi
London / Hong Kong
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About this Artwork
Exhibitions
06/09/2018–07/28/2018 Billy Apple® Six Decades 1962–2018
Apple Sees Red: Live Stills, Gallery One, London (April 1963)
From Barrie Bates to Billy Apple: 1960–74, Serpentine Gallery, London (6-28 April 1974).
Literature
From Barrie Bates to Billy Apple: 1960–74 (London: Serpentine Gallery, 6-28 April 1974), 11 (illustrated).
Gray and Schafhausen, Billy Apple® (Rotterdam: Witte de With, Center for Contemporary Art, 2009), 15, 87.
Barton, Christina, Billy Apple® British and American Works 1960-69, (London: The Mayor Gallery, 16 September - 30 October 2010), 15, 42 (illustrated).
SOLD ON APPLE: The Complete Wystan Curnow Writings (Auckland: Ackland Art Gallery Toi o Tāmaki, 2015), 158 (illustrated), 163, 165.
Barton, Christina, Billy Apple: A Life In Parts (Auckland: Auckland Art Gallery Toi O Tamaki, 2015), 16 (illustrated), 17.
Image Rights
Photograph by Richard Smith
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Description
With its silk-screened text, this framed photograph is a key work in Billy Apple’s oeuvre. It records the actual moment of his self-creation, when he marked his name change by bleaching his hair in Richard Smith’s studio in London on 22 November 1962. Transferred to a black-and-white negative from Smith’s original 35-mm colour slide, it first appeared as an illustration in From Barrie Bates to Billy Apple, the catalogue to the artist’s solo exhibition at the Serpentine Gallery, London, in 1974. This image was printed in 1997 in Auckland, New Zealand, from the 1974 negative by Studio La Gonda (Mark Adams and Haru Sameshima) on vintage fibre-based paper.
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