1/7/2024 0 Comments Matthew barney blondeThe nitro lacquer Blonde finish has a gloss sheen, with no touchups or overspray, highlighting the ripples of figuring in the maple back and sides. The original nickel trapeze tailpiece rounds out the hardware compliment, although the original pickguard is not present.Ĭosmetically, it would be a challenge to find a cleaner Kessel model for sale, and this one is the nicest we've seen in years. The Melita bridge is another top-tier piece of hardware only used on select Kay models, with a carved ebony base and adjustment for each individual string saddle. There are a few extremely common and light cracks in the plexiglass veneer (purely cosmetic) adjacent to the tuning posts, but even these tiny fissures are much smaller than virtually every other Kay Kessel model we've seen.Īll of the electronics work as they should, with Volume and Tone controls which retain their original near mint clear DeArmond reflector cap knobs. The plexiglass headstock overlay boasts the Kay name along with a prominent and raised Chevron with further Art Deco detailing. This was Kay's most ornate and eye-catching headstock design, not seen beyond 1960 and this is a very clean example. No description of a Kay Barney Kessel is complete without discussing the incredible Kelvinator headstock. Pending tuners are present and turn very smoothly, holding pitch as they should, and the original metal Kay serial number badge is intact too, mounted with its original pair of tiny nails. On the headstock, the original nickel Grover Rotomatic Pat. The scale is a full 25 5/8", and the long scale design increases the tension on the top, yielding more projection and power. The original medium jumbo frets are intact, having been leveled in the guitar's lifetime and currently exhibiting zero wear. The hand-carved bone nut measures 1 11/16" in width, and the Brazilian rosewood fretboard sports pearl block inlays and cream binding. 900" at the 1st fret and 1.015" at the 9th, where the profile begins to subtly transition into the heel. The neck has a fairly generous and chunky C shape with good shoulder, increasing modestly in heft as you travel up the fretboard and measuring. Professionally setup here at Mike & Mike's Guitar Bar, this Kay boasts a fresh set of 11-50 roundwound strings and low, comfortable action. The pickup has ample output, with clear, glassy cleans that have incredible warmth and articulation, with a touch of growl when you dig in. The maple back and sides have deep curly figuring, and this Kessel is a stately, professional instrument produced in this model's brief lifetime when Kay crafted fine, high-end archtops to compete with Gibson and the other heavy hitters of the day. The solid spruce top is press-arched and superior to a laminated top, with a very vibrant and dynamic acoustic tone that translates well through the single neck position "Kleenex Box" P-35 single coil pickup. The top of Kay's archtop line in 1959 (along with the two other Kessel body sizes), the Artist boasts a full 15 1/4" lower bout, with a body depth of 3 3/8" for a very full and round archtop tone. With its original blonde nitro lacquer finish and single pickup configuration, this Kessel combines two of the Artist model's rarest features. Recently acquired by LACMA, REPRESSIA (decline ) established Barney’s visual language and anticipates the corporeal drive of his Cremaster cycle of five films, all of which feature performance across different sites and timelines.Up for sale, a 1959 Kay Barney Kessel Artist archtop in collector-grade condition and in perfect working order, complete with the original brown Lifton hardshell case. The central space features sculptural components that draw from the exercise equipment and materials used in wrestling, some of which are fashioned out of transmutable elements such as cast petroleum wax and petroleum jelly. The room-sized sculptural installation features two videos in which Barney performs strenuous acts of athletics with unorthodox outcomes: Radial Drill (1991) and Blind Perineum (1991). Barney’s REPRESSIA (decline ) is a seminal installation from his breakout solo exhibition Facility of DECLINE at Barbara Gladstone Gallery, New York, in 1991. Matthew Barney’s expansive career began in the early 1990s with significant gallery exhibitions that established his interest in centering the body and performance in his installations and media productions.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |