20th Century & Contemporary Art Evening Sale

London Auction 13 February 2020
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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

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\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

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\nNew York

\n\n

1 212 940 1250

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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

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Best known for grey-scale paintings that combine abstract and figurative elements, Tomoo Gokita is one of the most internationally prominent contemporary Japanese artists. His signature works feature archetypal figures or groups with their faces obscured, evoking haunting film stills or magazine spreads. Gokita enrolled in a local art school in 1988, but dropped out two years later to pursue a career in graphic design. Though he found success as a designer in the Japanese music industry, he felt creatively stifled and returned to painting full-time in the mid 1990s. 

Similar to the way Gerhard Richter used photographs as a starting point for abstraction, Gokita combines visual references from found imagery with his stylized approach, creating portraits that are both rooted in memory and rich in painterly expression. His precise technique, often characterized by abstract flourishes and gestural swipes, can be traced to influence from New York’s Neo-Expressionists. In this playful manipulation of form, Gokita injects a sense of humor into his work, warping the archetypal into the absurd. Gokita has been the subject of multiple solo exhibitions at many prominent museums and galleries, including the Kawamura Memorial DIC Museum of Art in Sakura, Japan. The artist continues to live and work in Tokyo.

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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

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\n\t\t\t

Created during the breakout years of KAWS’s swift rise to fame, SMALL KM LANDSCAPE, 2001  is a seminal work marking an important transition in the artist’s career. As his first series made exclusively on canvas, KAWS’s landscape paintings represent a significant step from his beginnings as a graffiti artist towards his integration into the commercial art world. This year also marks KAW’s first solo exhibition in Tokyo, where he debuted his trademarked KIMPSONS characters like those featured in the present lot. Since this moment in the early 2000s, KAWS has continually challenged established distinctions between “high” and “low” art, taking inspiration from both art history and popular culture.
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\n\t\t\tSynonymous with the middle-class American lifestyle, The Simpsons explores the lives of a relatively mediocre family mischievously navigating through suburban life. Acknowledging the universal infatuation with these less than inspirational figures, KAWS pointedly noted, “I found it weird how infused a cartoon could become in people’s lives; the impact it could have, compared to, like, regular politics.”
[i] Decidedly honing in on this established, consumer-friendly subject matter, KAWS integrated his anarchic renderings of inflated crossbones and X-eyes on his appropriations of these beloved characters, renaming them THE KIMPSONS and making them distinctly his own.

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\"\"
\n\n\t\t\t

Vincent Van Gough, Wheat Field with Cypresses, 1889. The National Gallery, London. 

\n\n\t\t\t

 

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\n\n\t\t\t

\n\t\t\tIn SMALL KM LANDSCAPE, KAWS disrupts the visual understanding of his subject using both abstraction and dramatic re-contextualization. The only painting from the five works that make up this series to feature multiple Simpsons characters in a single composition, the present work utilizes careful circumscription to illustrate only the tops of Krusty the Clown and Marge’s heads, resulting in an animated landscape that recalls the naturalistic elements of traditional landscape painting, such as those found in Vincent van Gogh’s A Wheat Field with Cypresses. Despite seeing a condensed cropping of the composition in an unlikely context, the viewer instantly recognizes Marge’s iconic blue up-do and Krusty the Clown’s sparse eccentric locks. The puffed crossbones that protrude from Krusty’s head, signature to KAWS’s now ubiquitous visual lexicon, further the painting’s unanimous resonance. Doubling as mountaintops, bushes and trees and painted with sophisticated precision, this work functions as a hybrid between mass-marketed pop-culture and the realistic documentation of our natural surroundings, demonstrating the extent to which fabricated cartoons have been integrated into the daily life of modern society.
\n\t\t\t \n\n\t\t\t

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\n\t\t\tAs SMALL KM LANDSCAPE exudes wit and controversy – simultaneously paying homage to and mocking the established, formal components of art history – it is supremely representative of KAWS’s original mission to create universal content that encourages all to interact with and relate to his work.
\n\n\t\t\t
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 [i] KAWS, quoted in Monica Ramirez-Montagut, KAWS 1993-2010, New York, 2010, p. 126.
\n\n\t\t\t
 
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\n\n
 
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KAWS (b. 1974, Jersey City, New Jersey; lives and works in Brooklyn, New York) is renowned for his prolific body of work that straddles the worlds of art and design to include paintings, murals, graphic and product design, street art, and large-scale sculptures. Over the last two decades KAWS has built a successful career with work that consistently shows his formal agility as an artist, as well as his underlying wit, irreverence, and affection for our times. His refined graphic language revitalizes figuration with both big, bold gestures and playful intricacies.  

\n\n

KAWS often appropriates and draws inspiration from pop culture animations, forming a unique artistic vocabulary across mediums. Admired for his larger-than-life sculptures and hardedge paintings that emphasize line and color, KAWS’s cast of hybrid cartoon characters are the strongest examples of his exploration of humanity. As seen in his collaborations with global brands, the artist’s imagery possesses a sophisticated humor and reveals a thoughtful interplay with consumer products. With their broad appeal, KAWS’s artworks are highly sought-after by collectors inside and outside of the art world, establishing him as a uniquely prominent artist and influence in today’s culture.  

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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

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Taking from the tradition of gestural painting, Los Angeles-based artist Petra Cortright uses floral imagery to recreate Monet-type works on aluminum. But unlike those who preceded her, Cortright is digitally charged in her practice and renders analog images into "digital brushstrokes." She sources her images online and manipulates them in Photoshop in the hopes of constructing a palimpsestic sprawl. With the hint of glitch and a pinch of selfie culture, her work is self-reflexive in that it studies the progression of Abstract Expressionism into our current historical moment.

Cortright started her career by posting self-portrait videos taken by webcam to her own YouTube channel. The videos feature the artist scrolling through various recording effects.

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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

\n","marketplaceStorefrontEmailBlastSent":false,"medium":"acrylic on fiberglass and reinforced plastic with iron base","dimensions":"each 72 1/2 x 36 5/8 x 16 7/8 in. (184.2 x 93 x 42.9 cm)","provenance":"Alexander Ochs Gallery, Berlin
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Herford, Museum fur zeitgenossische Kunst und Design, Loss of Control, 2008","literature":"","essay":"","sigEdtMan":"Executed in 2003, these works are numbers 15 and 16 from an edition of 25 and are accompanied by a certificate of authenticity signed by the artist.","showAdvanceBidButton":true,"showShippingLink":false,"preface":"Property from a Private European Collection","estimateSpecialChar":"","lotSpecialChar":"","cExtraInfo":"","partnerBidUrl":"https://live.phillips.com/place-bid/1-33D0RI","auctionLotBidUrl":null,"saleOfferThreshold":0,"auctionBidPartner":1,"otherEstimates":null,"otherEstimatesList":[],"cEssay":null,"artistInscription":"each signed, partially titled, respectively numbered and dated “yue minjin 5 [15, 16]/25 2003” on the backside","cArtistInscription":null,"cCirca":null,"cPreface":null,"cBirthDeath":null,"cMedium":null,"cProvenance":null,"cSigEdtMan":null,"cExhibited":null,"cLiterature":null,"detailVideoUrl":null,"webDescription":"","viewInRoomImage":"","videoAboveTheFold":true,"videoSquareAspectRatio":false,"auctionLotPublicId":115040,"auctionMobilityAuctionRowId":"1-2UKT9F","auctionMobilityLotRowId":"1-33D0RI","buyNowPrice":0,"cDescription":null,"cMakerName":null,"createDate":"2020-06-12T00:02:47.783","description":"Two works: Contemporary Terracotta Warriors No. 5","discipline":"Contemporary Art","displayOrder":0,"descriptionWithMarkup":"Two works: Contemporary Terracotta Warriors No. 5","estimateText":"","eventDate":"2020-07-02T19:00:00","eventTime":"","hammerPlusBP":150000,"hammerPlusBPLive":0,"highEstimate":100000,"is360View":false,"isCopyrightBlocked":false,"isHideDisplay":false,"isMixedAuction":false,"isNoLot":false,"isSoldOverride":false,"locationName":"New York","lotNumber":226,"lotNumberSuffix":"","lotNumberFull":"226","lowEstimate":70000,"lotStatusId":2,"makerName":"Yue Minjun","makerId":10975,"objectNumber":"140847","videoTitle":"","videoDescription":"","videoSource":"","saleNumber":"NY010520","isExhibition":false,"artistImageBlocked":false,"useCloudinary":true,"useObjectNumberAsImageName":false,"cloudinaryVersion":"1593618250","imageVersion":"1593618250","auctionLotDisplayTypeId":1,"auctionLotDisplayTypeName":"single-cell","currencySign":"$","detailLink":"https://www.phillips.com/detail/yue-minjun/NY010520/226","imagePath":"/auctions/NY010520/226_001.jpg","isNoReserve":false,"saleTitle":"20th c. & Contemporary Art Day Sale, Afternoon Session","saleTypeId":1,"showEstimateText":true,"showSaleOffers":false,"showSoldPrice":true,"lotStartDateTime":"2020-07-02T14:00:00","lotEndDateTime":"2020-07-02T19:00:00","tags":[],"wModelName":null,"wReferenceNo":null},{"additionalContent":[],"cAdditionalContent":[],"department":"Contemporary","circa":null,"startDateTime":"0001-01-01T00:00:00","isSaleOver":true,"showConditionReport":false,"showInquireButton":false,"condition":"This work is in very good condition overall. There is a pinpoint accretion to the upper right, visible only upon close inspection. There are minor losses to the right turnover edge and handling marks to the outer edges, not visible from the front. This work is not framed.","displayFavoriteLotButton":false,"isViewInRoom":false,"height":0,"width":0,"depth":0,"artistBiography":"

Takashi Murakami is best known for his contemporary combination of fine art and pop culture. He uses recognizable iconography like Mickey Mouse and cartoonish flowers and infuses it with Japanese culture. The result is a boldly colorful body of work that takes the shape of paintings, sculptures and animations.

In the 1990s, Murakami founded the Superflat movement in an attempt to expose the "shallow emptiness of Japanese consumer culture." The artist plays on the familiar aesthetic of mangas, Japanese-language comics, to render works that appear democratic and accessible, all the while denouncing the universality and unspecificity of consumer goods. True to form, Murakami has done collaborations with numerous brands and celebrities including Kanye West, Louis Vuitton, Pharrell Williams and Google.

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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

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The spin paintings gather and amalgamate the individuality of every individual color … to become pure expression of the basic and vital gesture of paintings and its mythology”
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\r\nDamien Hirst
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detail of the present lot
\r\n\t\t\t
\r\n\t\t\tBeautiful, Flaming Lips Day, Form of a Shell Painting, 2010 is a monumental canvas by Damien Hirst from his psychedelic Spin series, a dynamic body of work that pays homage to the active brushwork of abstract painting through modern technology and practice. Hirst first experimented with spin paintings in Brixton in 1992, the same year he received his first nomination for the prestigious Turner Prize. The following year, Hirst and fellow artist Angus Fairhurst set up a stall at the artist-led street fair A Fête Worse than Death, inviting patrons to create their own spin paintings to be signed by the pair for only a pound. By 1994, Hirst officially began his iconic Spin Paintings by throwing vibrantly colored paint on circular-shaped canvases placed on a rapidly moving spin machine. When asked to comment on the works, the artist explained, “You can’t make a bad one. Why bother with all that angst? You can’t argue with it; you can only change scale. You still make artistic decisions … But a twelve foot diameter painting is awesome.”[i]
\r\n\t\t\t
\r\n\t\t\tBeautiful, Flaming Lips Day, Form of a Shell Painting stands out from the series, not only for its phenomenal scale, but also for its unique title and story. In keeping with most of Hirst’s Spin paintings, the present work is titled starting with “Beautiful” and ending in “painting”, however, this work specifically evokes the artist’s passion for rock music.  A cacophony of turquoise, red and yellow that pulsate with spontaneity, Beautiful, Flaming Lips Day, Form of a Shell Painting takes its title from the renowned rock band of the same name. While on tour in the UK, the band was invited to Hirst’s studio after a concert to splatter their own Spin painting, which now decorates the ceiling of Delo Creative, a production house that works closely with the band. Aptly, Beautiful, Flaming Lips Day, Form of a Shell Painting was gifted by the artist to the current owner who, like Hirst, is a celebrated patron of both the performing and visual arts.

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A painting by Damien Hirst and the Flaming Lips being unrolled and installed on the ceiling of the Womb, Oklahoma City. Photo by Mary Beth Babcock, Artwork ©  2020 Damien Hirst
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\r\n\t\t\tAs a founding member of  the Young British Artists collective, Hirst utilizes unconventional techniques representing the revolutionary attitude of the movement. Rather than adhering to traditional and methodical brushwork by hand, The Spin series is characterized by the chaotic combination of Hirst’s own body movements when throwing the pigment and the machinery’s rapid rotations, resulting in a stunning vortex of vitality. In Beautiful, Flaming Lips Day, Form of a Shell Painting, Hirst advances the revolutionary action painting techniques developed by Jackson Pollock by placing scale at the forefront and utilizing his body as the method and impulse as the intention. Hirst notes, “I believe that after Pollock created a distance between the brush and the canvas by flinging the paint, there was nowhere to go with painting…but people still make action paintings. The urge to be a painter is still there even if the process of painting is meaningless.”[i]

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[i]Damien Hirst, quoted in an interview with Stuart Morgan, Damien Hirst, New York, 1996

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[ii]Damien Hirst, quoted in Damien Hirst and Robert Violette, eds., I Want to Spend the Rest of My Life Everywhere, with Everyone, One to One, Always, Forever, Now, London, 1997, p. 246

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There is no other contemporary artist as maverick to the art market as Damien Hirst. Foremost among the Young British Artists (YBAs), a group of provocative artists who graduated from Goldsmiths, University of London in the late 1980s, Hirst ascended to stardom by making objects that shocked and appalled, and that possessed conceptual depth in both profound and prankish ways.

Regarded as Britain's most notorious living artist, Hirst has studded human skulls in diamonds and submerged sharks, sheep and other dead animals in custom vitrines of formaldehyde. In tandem with Cheyenne Westphal, now Chairman of Phillips, Hirst controversially staged an entire exhibition directly for auction with 2008's "Beautiful Inside My Head Forever," which collectively totalled £111 million ($198 million).

Hirst remains genre-defying and creates everything from sculpture, prints, works on paper and paintings to installation and objects. Another of his most celebrated series, the 'Pill Cabinets' present rows of intricate pills, cast individually in metal, plaster and resin, in sterilized glass and steel containers; Phillips New York showed the largest of these pieces ever exhibited in the United States, The Void, 2000, in May 2017.

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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

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Tracey Emin is a prominent member of the Young British Artists (YBAs), who rose to critical and commercial success in the London art scene of the 1980s and 1990s. Emin is known for the personal, confessional nature of her work, which explores various mediums such as drawing, painting, photography, sculpture, neon text and found objects. Similar to fellow YBA artist Damien Hirst, Emin’s early work was championed by dealer Charles Saatchi, who exhibited Everyone I Have Ever Slept With 1963-1995 in 1997; the piece was comprised of names appliqued onto a small tent. Two years later, Emin was shortlisted for the Turner Prize. Her exhibition My Bed at the Tate Gallery became one of her best-known works, cementing her raw, confrontational style and catapulting her to international fame.

Born in Croydon, England, Emin currently divides her time between Spitalfields, East London and the south of France. As her career has progressed, she has become increasingly known for creating neon sculptures and editions, which pair neon glass light with her distinctive handwriting.

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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

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1 212 940 1250

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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

\n","marketplaceStorefrontEmailBlastSent":false,"medium":"hand-dyed gelatin silver print, in artist's frame, in 4 parts","dimensions":"each 28 x 33 1/4 in. (71.1 x 84.5 cm)\r\noverall 56 x 66 1/2 in. (142.2 x 168.9 cm)","provenance":"White Cube, London
Acquired from the above by the present owner in December 2003","exhibited":"London, White Cube, Gilbert & George New Horny Pictures, June 2 - July 15, 2001","literature":"Gilbert & George The Complete Pictures: 1971 - 2005, vol. 2, London, 2007, p. 1239 (illustrated, p. 1020)","essay":"","sigEdtMan":"Executed in 2001.","showAdvanceBidButton":true,"showShippingLink":false,"preface":"","estimateSpecialChar":"","lotSpecialChar":"","cExtraInfo":"","partnerBidUrl":"https://live.phillips.com/place-bid/1-33D0RY","auctionLotBidUrl":null,"saleOfferThreshold":0,"auctionBidPartner":1,"otherEstimates":null,"otherEstimatesList":[],"cEssay":null,"artistInscription":"signed \"Gilbert + George\" lower right","cArtistInscription":null,"cCirca":null,"cPreface":null,"cBirthDeath":null,"cMedium":null,"cProvenance":null,"cSigEdtMan":null,"cExhibited":null,"cLiterature":null,"detailVideoUrl":null,"webDescription":"","viewInRoomImage":"","videoAboveTheFold":true,"videoSquareAspectRatio":false,"auctionLotPublicId":114923,"auctionMobilityAuctionRowId":"1-2UKT9F","auctionMobilityLotRowId":"1-33D0RY","buyNowPrice":0,"cDescription":null,"cMakerName":null,"createDate":"2020-06-12T00:02:47.783","description":"Two","discipline":"Contemporary Art","displayOrder":0,"descriptionWithMarkup":null,"estimateText":"","eventDate":"2020-07-02T19:00:00","eventTime":"","hammerPlusBP":0,"hammerPlusBPLive":0,"highEstimate":80000,"is360View":false,"isCopyrightBlocked":false,"isHideDisplay":false,"isMixedAuction":false,"isNoLot":false,"isSoldOverride":false,"locationName":"New York","lotNumber":234,"lotNumberSuffix":"","lotNumberFull":"234","lowEstimate":60000,"lotStatusId":3,"makerName":"Gilbert & George","makerId":10617,"objectNumber":"143524","videoTitle":"","videoDescription":"","videoSource":"","saleNumber":"NY010520","isExhibition":false,"artistImageBlocked":false,"useCloudinary":true,"useObjectNumberAsImageName":false,"cloudinaryVersion":"1593618254","imageVersion":"1593618254","auctionLotDisplayTypeId":21,"auctionLotDisplayTypeName":"onerow_twocolumns-right","currencySign":"$","detailLink":"https://www.phillips.com/detail/gilbert-george/NY010520/234","imagePath":"/auctions/NY010520/234_001.jpg","isNoReserve":false,"saleTitle":"20th c. & Contemporary Art Day Sale, Afternoon Session","saleTypeId":1,"showEstimateText":true,"showSaleOffers":false,"showSoldPrice":true,"lotStartDateTime":"2020-07-02T14:00:00","lotEndDateTime":"2020-07-02T19:00:00","tags":[],"wModelName":null,"wReferenceNo":null},{"additionalContent":[],"cAdditionalContent":[],"department":"Contemporary","circa":null,"startDateTime":"0001-01-01T00:00:00","isSaleOver":true,"showConditionReport":false,"showInquireButton":false,"condition":"This work is in very good condition. There are very faint clear drip accretions to the lower edge, visible only upon very close inspection. There is a very minor loss to the top layer of paint to the extreme right edge, visible only upon very close inspection. There is no restoration apparent under Ultraviolet light. This work is not framed.","displayFavoriteLotButton":false,"isViewInRoom":true,"height":174.9,"width":125.1,"depth":0,"artistBiography":"","artistBirthYear":"","artistDeathYear":"","artistNationality":"","isWatch":false,"isAdult":false,"lotThumbList":"235_002.jpg","lotThumbs":["235_002.jpg"],"lotImages":[{"imagePath":"auctions/NY010520/235_001.jpg","isViewInRoom":true},{"imagePath":"auctions/NY010520/235_002.jpg","isViewInRoom":false}],"extraInfo":"

Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

\n","marketplaceStorefrontEmailBlastSent":false,"medium":"oil on canvas","dimensions":"68 7/8 x 49 1/4 in. (174.9 x 125.1 cm)","provenance":"Metro Pictures, New York
Acquired from the above by the present owner","exhibited":"New York, Metro Pictures, Paulina Olowska: Applied Fantastic, October 28 - December 18, 2010","literature":"Andrew Russeth, \"New York: Can't-Miss Gallery Openings This Week\", HuffPost, October 27, 2010, online (illustrated)
\"#TFWGucci\", ad campaign, Gucci, March 2017, online (illustrated in advertisement)
Lionel Bovier, ed., Paulina Olowska: Book, Zurich, 2013, p. 116 (illustrated)","essay":"","sigEdtMan":"Painted in 2010.","showAdvanceBidButton":true,"showShippingLink":false,"preface":"","estimateSpecialChar":"","lotSpecialChar":"","cExtraInfo":"","partnerBidUrl":"https://live.phillips.com/place-bid/1-33D0S2","auctionLotBidUrl":null,"saleOfferThreshold":0,"auctionBidPartner":1,"otherEstimates":null,"otherEstimatesList":[],"cEssay":null,"artistInscription":"signed, titled and dated \"Paulina Olowska \"Klaun\" 2010\" on the reverse","cArtistInscription":null,"cCirca":null,"cPreface":null,"cBirthDeath":null,"cMedium":null,"cProvenance":null,"cSigEdtMan":null,"cExhibited":null,"cLiterature":null,"detailVideoUrl":null,"webDescription":"","viewInRoomImage":"","videoAboveTheFold":true,"videoSquareAspectRatio":false,"auctionLotPublicId":114925,"auctionMobilityAuctionRowId":"1-2UKT9F","auctionMobilityLotRowId":"1-33D0S2","buyNowPrice":0,"cDescription":null,"cMakerName":null,"createDate":"2020-06-12T00:02:47.783","description":"Klaun","discipline":"Contemporary Art","displayOrder":0,"descriptionWithMarkup":null,"estimateText":"","eventDate":"2020-07-02T19:00:00","eventTime":"","hammerPlusBP":62500,"hammerPlusBPLive":0,"highEstimate":70000,"is360View":false,"isCopyrightBlocked":false,"isHideDisplay":false,"isMixedAuction":false,"isNoLot":false,"isSoldOverride":false,"locationName":"New York","lotNumber":235,"lotNumberSuffix":"","lotNumberFull":"235","lowEstimate":50000,"lotStatusId":2,"makerName":"Paulina Olowska","makerId":4371,"objectNumber":"140640","videoTitle":"","videoDescription":"","videoSource":"","saleNumber":"NY010520","isExhibition":false,"artistImageBlocked":false,"useCloudinary":true,"useObjectNumberAsImageName":false,"cloudinaryVersion":"1593618257","imageVersion":"1593618257","auctionLotDisplayTypeId":1,"auctionLotDisplayTypeName":"single-cell","currencySign":"$","detailLink":"https://www.phillips.com/detail/paulina-olowska/NY010520/235","imagePath":"/auctions/NY010520/235_001.jpg","isNoReserve":false,"saleTitle":"20th c. & Contemporary Art Day Sale, Afternoon Session","saleTypeId":1,"showEstimateText":true,"showSaleOffers":false,"showSoldPrice":true,"lotStartDateTime":"2020-07-02T14:00:00","lotEndDateTime":"2020-07-02T19:00:00","tags":[],"wModelName":null,"wReferenceNo":null},{"additionalContent":[],"cAdditionalContent":[],"department":"Contemporary","circa":null,"startDateTime":"0001-01-01T00:00:00","isSaleOver":true,"showConditionReport":false,"showInquireButton":false,"condition":"This work is in good condition overall. All elements are present and stable. There are pinpoint losses in areas to the extreme edges. There are minor drip accretions in areas, most noticeably to the black area of the lower left panel. There are scattered scuffs throughout, most noticeably to the two upper left panels. This work is not framed.","displayFavoriteLotButton":false,"isViewInRoom":false,"height":0,"width":0,"depth":0,"artistBiography":"","artistBirthYear":"","artistDeathYear":"","artistNationality":"","isWatch":false,"isAdult":false,"lotThumbList":null,"lotThumbs":[],"lotImages":[{"imagePath":"auctions/NY010520/236_001.jpg","isViewInRoom":false}],"extraInfo":"

Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

\n","marketplaceStorefrontEmailBlastSent":false,"medium":"acrylic on plywood, in 10 parts","dimensions":"each 19 3/4 x 15 3/4 in. (50.2 x 40 cm)","provenance":"Kunsthandel Andreas Lutherer, Germany
Private Collection, Germany
Phillips, London, January 22, 2015, lot 25
Acquired at the above sale by the present owner","exhibited":"","literature":"","essay":"","sigEdtMan":"Painted in 2001, this work is from a series of 4 unique variants and is recorded in the archive of Günther Förg as No. 01.B.0408.

We thank Mr. Michael Neff from the Estate of Günther Förg for the information he has kindly provided on this work.","showAdvanceBidButton":true,"showShippingLink":false,"preface":"","estimateSpecialChar":"","lotSpecialChar":"","cExtraInfo":"","partnerBidUrl":"https://live.phillips.com/place-bid/1-33D0S4","auctionLotBidUrl":"https://live.phillips.com/place-bid/0","saleOfferThreshold":0,"auctionBidPartner":1,"otherEstimates":null,"otherEstimatesList":[],"cEssay":null,"artistInscription":"each signed, consecutively inscribed and dated \"Förg 01 [A3-J3]\" and stamped \"multiple\" on the reverse","cArtistInscription":null,"cCirca":null,"cPreface":null,"cBirthDeath":null,"cMedium":null,"cProvenance":null,"cSigEdtMan":null,"cExhibited":null,"cLiterature":null,"detailVideoUrl":null,"webDescription":"","viewInRoomImage":"","videoAboveTheFold":true,"videoSquareAspectRatio":false,"auctionLotPublicId":114901,"auctionMobilityAuctionRowId":"1-2UKT9F","auctionMobilityLotRowId":"1-33D0S4","buyNowPrice":0,"cDescription":null,"cMakerName":null,"createDate":"2020-06-12T00:02:47.783","description":"Untitled","discipline":"Contemporary Art","displayOrder":0,"descriptionWithMarkup":null,"estimateText":"","eventDate":"2020-07-02T19:00:00","eventTime":"","hammerPlusBP":106250,"hammerPlusBPLive":0,"highEstimate":100000,"is360View":false,"isCopyrightBlocked":false,"isHideDisplay":false,"isMixedAuction":false,"isNoLot":false,"isSoldOverride":false,"locationName":"New York","lotNumber":236,"lotNumberSuffix":"","lotNumberFull":"236","lowEstimate":70000,"lotStatusId":2,"makerName":"Günther Förg","makerId":8656,"objectNumber":"142858","videoTitle":"","videoDescription":"","videoSource":"","saleNumber":"NY010520","isExhibition":false,"artistImageBlocked":false,"useCloudinary":true,"useObjectNumberAsImageName":false,"cloudinaryVersion":"1593618257","imageVersion":"1593618257","auctionLotDisplayTypeId":2,"auctionLotDisplayTypeName":"two-columns-one-row","currencySign":"$","detailLink":"https://www.phillips.com/detail/gunther-forg/NY010520/236","imagePath":"/auctions/NY010520/236_001.jpg","isNoReserve":false,"saleTitle":"20th c. & Contemporary Art Day Sale, Afternoon Session","saleTypeId":1,"showEstimateText":true,"showSaleOffers":false,"showSoldPrice":true,"lotStartDateTime":"2020-07-02T14:00:00","lotEndDateTime":"2020-07-02T19:00:00","tags":[],"wModelName":null,"wReferenceNo":null},{"additionalContent":[],"cAdditionalContent":[],"department":"Contemporary","circa":null,"startDateTime":"0001-01-01T00:00:00","isSaleOver":true,"showConditionReport":false,"showInquireButton":false,"condition":"This work is in very good condition. There are no apparent condition issues with this work. There is no restoration apparent under Ultraviolet light. This work is not framed.","displayFavoriteLotButton":false,"isViewInRoom":true,"height":177.8,"width":121.9,"depth":0,"artistBiography":"","artistBirthYear":"","artistDeathYear":"","artistNationality":"","isWatch":false,"isAdult":false,"lotThumbList":null,"lotThumbs":[],"lotImages":[{"imagePath":"auctions/NY010520/237_001.jpg","isViewInRoom":true}],"extraInfo":"

Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

\n","marketplaceStorefrontEmailBlastSent":false,"medium":"oil on canvas","dimensions":"70 x 48 in. (177.8 x 121.9 cm)","provenance":"Fraenkel Gallery, San Francisco
Acquired from the above by the present owner","exhibited":"San Francisco, Fraenkel Gallery, Mel Bochner: Photographs and Not Photographs 1966-2010, September 9 - October 30, 2010, pp. 52, 78 (illustrated, p. 53; installation view illustrated, p. 70)","literature":"","essay":"","sigEdtMan":"Painted in 2010.","showAdvanceBidButton":true,"showShippingLink":false,"preface":"","estimateSpecialChar":"","lotSpecialChar":"","cExtraInfo":"","partnerBidUrl":"https://live.phillips.com/place-bid/1-33D0S9","auctionLotBidUrl":"https://live.phillips.com/place-bid/0","saleOfferThreshold":0,"auctionBidPartner":1,"otherEstimates":null,"otherEstimatesList":[],"cEssay":null,"artistInscription":"signed, titled, inscribed and dated \"MB 3-116 BLAH, BLAH, BLAH, MEL BOCHNER 2010\" on the reverse","cArtistInscription":null,"cCirca":null,"cPreface":null,"cBirthDeath":null,"cMedium":null,"cProvenance":null,"cSigEdtMan":null,"cExhibited":null,"cLiterature":null,"detailVideoUrl":null,"webDescription":"","viewInRoomImage":"","videoAboveTheFold":true,"videoSquareAspectRatio":false,"auctionLotPublicId":114914,"auctionMobilityAuctionRowId":"1-2UKT9F","auctionMobilityLotRowId":"1-33D0S9","buyNowPrice":0,"cDescription":null,"cMakerName":null,"createDate":"2020-06-12T00:02:47.783","description":"Blah, Blah, Blah","discipline":"Contemporary Art","displayOrder":0,"descriptionWithMarkup":null,"estimateText":"","eventDate":"2020-07-02T19:00:00","eventTime":"","hammerPlusBP":187500,"hammerPlusBPLive":0,"highEstimate":60000,"is360View":false,"isCopyrightBlocked":false,"isHideDisplay":false,"isMixedAuction":false,"isNoLot":false,"isSoldOverride":false,"locationName":"New York","lotNumber":237,"lotNumberSuffix":"","lotNumberFull":"237","lowEstimate":40000,"lotStatusId":2,"makerName":"Mel Bochner","makerId":279,"objectNumber":"136386","videoTitle":"","videoDescription":"","videoSource":"","saleNumber":"NY010520","isExhibition":false,"artistImageBlocked":false,"useCloudinary":true,"useObjectNumberAsImageName":false,"cloudinaryVersion":"1593618254","imageVersion":"1593618254","auctionLotDisplayTypeId":20,"auctionLotDisplayTypeName":"onerow_twocolumns-left","currencySign":"$","detailLink":"https://www.phillips.com/detail/mel-bochner/NY010520/237","imagePath":"/auctions/NY010520/237_001.jpg","isNoReserve":false,"saleTitle":"20th c. & Contemporary Art Day Sale, Afternoon Session","saleTypeId":1,"showEstimateText":true,"showSaleOffers":false,"showSoldPrice":true,"lotStartDateTime":"2020-07-02T14:00:00","lotEndDateTime":"2020-07-02T19:00:00","tags":[],"wModelName":null,"wReferenceNo":null},{"additionalContent":[],"cAdditionalContent":[],"department":"Contemporary","circa":null,"startDateTime":"0001-01-01T00:00:00","isSaleOver":true,"showConditionReport":false,"showInquireButton":false,"condition":"These works are in good condition. \r\n\r\n(i) There is a clear accretion to the upper edge. There is a stable hairline crack to the right edge, visibly only under raking light. There is a minor rub to the upper edge, visible only under very close inspection. There are diagonal faint abrasions to the upper right, visible only under raking light.\r\n\r\n(ii) There is an area of pink stay media to the lower left. There are pinpoint accretions to the upper edge and upper left corner, visible only upon very close inspection. There is stable hairline cracking to the upper edge and left edge, visible only under raking light. There are minor yellow accretions to the turnover edges, not visible from the front.\r\n \r\n\r\nThere are areas that fluoresce brightly to the exterior edges and center of both works, attributed to minor rubbing of the upper paint layer. These works are not framed.","displayFavoriteLotButton":false,"isViewInRoom":false,"height":0,"width":0,"depth":0,"artistBiography":"","artistBirthYear":"","artistDeathYear":"","artistNationality":"","isWatch":false,"isAdult":false,"lotThumbList":null,"lotThumbs":[],"lotImages":[{"imagePath":"auctions/NY010520/238_001.jpg","isViewInRoom":false}],"extraInfo":"

Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

\n","marketplaceStorefrontEmailBlastSent":false,"medium":"oil on linen","dimensions":"each 15 7/8 x 12 in. (40.3 x 30.5 cm)","provenance":"Quint Gallery, San Diego
Leo Koenig, Inc., New York
Acquired from the above by the present owner","exhibited":"","literature":"","essay":"","sigEdtMan":"Painted in 1998.","showAdvanceBidButton":true,"showShippingLink":false,"preface":"","estimateSpecialChar":"","lotSpecialChar":"","cExtraInfo":"","partnerBidUrl":"https://live.phillips.com/place-bid/1-33D0SL","auctionLotBidUrl":null,"saleOfferThreshold":0,"auctionBidPartner":1,"otherEstimates":null,"otherEstimatesList":[],"cEssay":null,"artistInscription":"(i) signed, titled and dated \"Seascape #1 16,2,98 Peter Dreher\" on the reverse\r\n(ii) signed, titled and dated \"Seascape 4 Peter Dreher 1998\" on the reverse","cArtistInscription":null,"cCirca":null,"cPreface":null,"cBirthDeath":null,"cMedium":null,"cProvenance":null,"cSigEdtMan":null,"cExhibited":null,"cLiterature":null,"detailVideoUrl":null,"webDescription":"","viewInRoomImage":"","videoAboveTheFold":true,"videoSquareAspectRatio":false,"auctionLotPublicId":114999,"auctionMobilityAuctionRowId":"1-2UKT9F","auctionMobilityLotRowId":"1-33D0SL","buyNowPrice":0,"cDescription":null,"cMakerName":null,"createDate":"2020-06-12T00:02:47.783","description":"Two works: (i) Seascape #1; (ii) Seascape #4","discipline":"Contemporary Art","displayOrder":0,"descriptionWithMarkup":"Two works: (i) Seascape #1; (ii) Seascape #4","estimateText":"","eventDate":"2020-07-02T19:00:00","eventTime":"","hammerPlusBP":40000,"hammerPlusBPLive":0,"highEstimate":18000,"is360View":false,"isCopyrightBlocked":false,"isHideDisplay":false,"isMixedAuction":false,"isNoLot":false,"isSoldOverride":false,"locationName":"New York","lotNumber":238,"lotNumberSuffix":"","lotNumberFull":"238","lowEstimate":12000,"lotStatusId":2,"makerName":"Peter Dreher","makerId":17106,"objectNumber":"143346","videoTitle":"","videoDescription":"","videoSource":"","saleNumber":"NY010520","isExhibition":false,"artistImageBlocked":false,"useCloudinary":true,"useObjectNumberAsImageName":false,"cloudinaryVersion":"1593618258","imageVersion":"1593618258","auctionLotDisplayTypeId":21,"auctionLotDisplayTypeName":"onerow_twocolumns-right","currencySign":"$","detailLink":"https://www.phillips.com/detail/peter-dreher/NY010520/238","imagePath":"/auctions/NY010520/238_001.jpg","isNoReserve":false,"saleTitle":"20th c. & Contemporary Art Day Sale, Afternoon Session","saleTypeId":1,"showEstimateText":true,"showSaleOffers":false,"showSoldPrice":true,"lotStartDateTime":"2020-07-02T14:00:00","lotEndDateTime":"2020-07-02T19:00:00","tags":[],"wModelName":null,"wReferenceNo":null},{"additionalContent":[],"cAdditionalContent":[],"department":"Contemporary","circa":null,"startDateTime":"0001-01-01T00:00:00","isSaleOver":true,"showConditionReport":false,"showInquireButton":false,"condition":"This work is in very good condition overall. There are very minor pinpoint accretions to the upper edge, visible only upon very close inspection. There is wear to the upper left corner and minor scuffing to the lower edge. There is no restoration apparent under Ultraviolet light. This work is not framed.","displayFavoriteLotButton":false,"isViewInRoom":true,"height":94,"width":94,"depth":0,"artistBiography":"

Few artists have dedicated their careers as singularly to one genre as George Condo has to that of portraiture. He is drawn to the endless inquiries posed by the aesthetics and formal considerations of Caravaggio, Rembrandt and the Old Masters. Emerging on the New York art scene in the 1980s alongside contemporaries such as Keith Haring and Jean-Michel Basquiat, Condo developed a distinctive visual lexicon that is unmistakably his own. 

\n\n

Student to Warhol, friend to Basquiat and collaborator with William S. Burroughs, Condo tracked a different path. The artist frequently cites Picasso as a predominant influence in his contemporary cubist compositions and joyous use of paint. Condo is known for postmodernist compositions staked in wit and the grotesque, which draw the eye into a highly imaginary world. 

\n","artistBirthYear":"1957","artistDeathYear":"","artistNationality":"American","isWatch":false,"isAdult":false,"lotThumbList":null,"lotThumbs":[],"lotImages":[{"imagePath":"auctions/NY010520/239_001.jpg","isViewInRoom":true}],"extraInfo":"

Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

\n","marketplaceStorefrontEmailBlastSent":false,"medium":"acrylic on canvas","dimensions":"37 x 37 in. (94 x 94 cm)","provenance":"Private Collection (acquired directly from the artist)
Phillips, New York, May 17, 2007, lot 73
Acquired at the above sale by the present owner","exhibited":"","literature":"","essay":"","sigEdtMan":"Painted in 1999.","showAdvanceBidButton":true,"showShippingLink":false,"preface":"","estimateSpecialChar":"","lotSpecialChar":"","cExtraInfo":"","partnerBidUrl":"https://live.phillips.com/place-bid/1-33D0SO","auctionLotBidUrl":"https://live.phillips.com/place-bid/0","saleOfferThreshold":0,"auctionBidPartner":1,"otherEstimates":null,"otherEstimatesList":[],"cEssay":null,"artistInscription":"signed, titled and dated \"Condo The Jimi Hendrix Experience 99\" on the reverse","cArtistInscription":null,"cCirca":null,"cPreface":null,"cBirthDeath":null,"cMedium":null,"cProvenance":null,"cSigEdtMan":null,"cExhibited":null,"cLiterature":null,"detailVideoUrl":null,"webDescription":"","viewInRoomImage":"","videoAboveTheFold":true,"videoSquareAspectRatio":false,"auctionLotPublicId":115085,"auctionMobilityAuctionRowId":"1-2UKT9F","auctionMobilityLotRowId":"1-33D0SO","buyNowPrice":0,"cDescription":null,"cMakerName":null,"createDate":"2020-06-12T00:02:47.783","description":"The Jimi Hendrix Experience from the series Jazz Paintings","discipline":"Contemporary Art","displayOrder":0,"descriptionWithMarkup":"The Jimi Hendrix Experience from the series Jazz Paintings","estimateText":"","eventDate":"2020-07-02T19:00:00","eventTime":"","hammerPlusBP":106250,"hammerPlusBPLive":0,"highEstimate":70000,"is360View":false,"isCopyrightBlocked":false,"isHideDisplay":false,"isMixedAuction":false,"isNoLot":false,"isSoldOverride":false,"locationName":"New York","lotNumber":239,"lotNumberSuffix":"","lotNumberFull":"239","lowEstimate":50000,"lotStatusId":2,"makerName":"George Condo","makerId":10606,"objectNumber":"143228","videoTitle":"","videoDescription":"","videoSource":"","saleNumber":"NY010520","isExhibition":false,"artistImageBlocked":false,"useCloudinary":true,"useObjectNumberAsImageName":false,"cloudinaryVersion":"1593618254","imageVersion":"1593618254","auctionLotDisplayTypeId":20,"auctionLotDisplayTypeName":"onerow_twocolumns-left","currencySign":"$","detailLink":"https://www.phillips.com/detail/george-condo/NY010520/239","imagePath":"/auctions/NY010520/239_001.jpg","isNoReserve":false,"saleTitle":"20th c. & Contemporary Art Day Sale, Afternoon Session","saleTypeId":1,"showEstimateText":true,"showSaleOffers":false,"showSoldPrice":true,"lotStartDateTime":"2020-07-02T14:00:00","lotEndDateTime":"2020-07-02T19:00:00","tags":[],"wModelName":null,"wReferenceNo":null},{"additionalContent":[],"cAdditionalContent":[],"department":"Contemporary","circa":null,"startDateTime":"0001-01-01T00:00:00","isSaleOver":true,"showConditionReport":false,"showInquireButton":false,"condition":"This work is in very good condition overall. All elements are present and structurally sound. There are abrasions and wear to the upper edges of the artist's wooden base. \r\n\r\nADDENDUM: Please note that this work is accompanied by a certificate of authenticity signed by the artist.","displayFavoriteLotButton":false,"isViewInRoom":false,"height":0,"width":0,"depth":0,"artistBiography":"","artistBirthYear":"","artistDeathYear":"","artistNationality":"","isWatch":false,"isAdult":false,"lotThumbList":"240_002.jpg,240_003.jpg","lotThumbs":["240_002.jpg","240_003.jpg"],"lotImages":[{"imagePath":"auctions/NY010520/240_001.jpg","isViewInRoom":false},{"imagePath":"auctions/NY010520/240_002.jpg","isViewInRoom":false},{"imagePath":"auctions/NY010520/240_003.jpg","isViewInRoom":false}],"extraInfo":"

Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

\n","marketplaceStorefrontEmailBlastSent":false,"medium":"silicone and wood base","dimensions":"sculpture 22 x 19 x 16 1/2 in. (55.9 x 48.3 x 41.9 cm)\r\nbase 39 x 24 1/2 x 21 1/2 in. (99.1 x 62.2 x 54.6 cm)\r\noverall 61 x 24 1/2 x 21 1/2 in. (154.9 x 62.2 x 54.6 cm)","provenance":"Luhring Augustine, New York
Nader Contemporary, Miami
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detail of the present lot
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“My work evolved from looking at graffiti, vandalism, the violence of tags in the streets and other forms of visual aggression, but as is more and more the case in my work, my painting has become more formal, more abstract ... I think of it in terms of space, depth, punctuation or color, as I imagine artists have been doing for centuries.”
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\r\nSterling Ruby

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Installation view of Sterling Ruby at the Institute of Contemporary Art, Miami, November 7 2019-February 2, 2020. Photograph by Fredrik Nilsen Studio, Artwork © 2020 Sterling Ruby

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For more than three decades, Prince's universally celebrated practice has pursued the subversive strategy of appropriating commonplace imagery and themes – such as photographs of quintessential Western cowboys and "biker chicks," the front covers of nurse romance novellas, and jokes and cartoons – to deconstruct singular notions of authorship, authenticity and identity.

Starting his career as a member of the Pictures Generation in the 1970s alongside such contemporaries as Cindy Sherman, Robert Longo and Sherrie Levine, Prince is widely acknowledged as having expanded the accepted parameters of art-making with his so-called "re-photography" technique – a revolutionary appropriation strategy of photographing pre-existing images from magazine ads and presenting them as his own. Prince's practice of appropriating familiar subject matter exposes the inner mechanics of desire and power pervading the media and our cultural consciousness at large, particularly as they relate to identity and gender constructs.

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Rebekah Bowling
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\nNew York

\n\n

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Tracy Williams, Ltd., New York
Acquired from the above by the present owner","exhibited":"New York, Tracy Williams, Ltd., Matt Mullican: Behind That Person, November 3 - December 22, 2011","literature":"","essay":"","sigEdtMan":"Executed in 2011.","showAdvanceBidButton":true,"showShippingLink":false,"preface":"","estimateSpecialChar":"","lotSpecialChar":"","cExtraInfo":"","partnerBidUrl":"https://live.phillips.com/place-bid/1-33D0T6","auctionLotBidUrl":"https://live.phillips.com/place-bid/0","saleOfferThreshold":0,"auctionBidPartner":1,"otherEstimates":null,"otherEstimatesList":[],"cEssay":null,"artistInscription":null,"cArtistInscription":null,"cCirca":null,"cPreface":null,"cBirthDeath":null,"cMedium":null,"cProvenance":null,"cSigEdtMan":null,"cExhibited":null,"cLiterature":null,"detailVideoUrl":null,"webDescription":"","viewInRoomImage":"","videoAboveTheFold":true,"videoSquareAspectRatio":false,"auctionLotPublicId":114913,"auctionMobilityAuctionRowId":"1-2UKT9F","auctionMobilityLotRowId":"1-33D0T6","buyNowPrice":0,"cDescription":null,"cMakerName":null,"createDate":"2020-06-12T00:02:47.783","description":"Two works: (i) Untitled (Diderot, Lettres Capitales); (ii) Untitled (Diderot, Alphabets des Lettres Bâtardes)","discipline":"Contemporary Art","displayOrder":0,"descriptionWithMarkup":"Two works: (i) Untitled (Diderot, Lettres Capitales); (ii) Untitled (Diderot, Alphabets des Lettres Bâtardes)","estimateText":"","eventDate":"2020-07-02T19:00:00","eventTime":"","hammerPlusBP":43750,"hammerPlusBPLive":0,"highEstimate":40000,"is360View":false,"isCopyrightBlocked":false,"isHideDisplay":false,"isMixedAuction":false,"isNoLot":false,"isSoldOverride":false,"locationName":"New York","lotNumber":246,"lotNumberSuffix":"","lotNumberFull":"246","lowEstimate":30000,"lotStatusId":2,"makerName":"Matt Mullican","makerId":7945,"objectNumber":"142068","videoTitle":"","videoDescription":"","videoSource":"","saleNumber":"NY010520","isExhibition":false,"artistImageBlocked":false,"useCloudinary":true,"useObjectNumberAsImageName":false,"cloudinaryVersion":"1593618264","imageVersion":"1593618264","auctionLotDisplayTypeId":20,"auctionLotDisplayTypeName":"onerow_twocolumns-left","currencySign":"$","detailLink":"https://www.phillips.com/detail/matt-mullican/NY010520/246","imagePath":"/auctions/NY010520/246_001.jpg","isNoReserve":false,"saleTitle":"20th c. & Contemporary Art Day Sale, Afternoon Session","saleTypeId":1,"showEstimateText":true,"showSaleOffers":false,"showSoldPrice":true,"lotStartDateTime":"2020-07-02T14:00:00","lotEndDateTime":"2020-07-02T19:00:00","tags":[],"wModelName":null,"wReferenceNo":null},{"additionalContent":[],"cAdditionalContent":[],"department":"Contemporary","circa":null,"startDateTime":"0001-01-01T00:00:00","isSaleOver":true,"showConditionReport":false,"showInquireButton":false,"condition":"This work is in very good condition. There are no apparent condition issues with this work. This work is framed under Plexiglas in a white wood frame.","displayFavoriteLotButton":false,"isViewInRoom":true,"height":61,"width":50.8,"depth":0,"artistBiography":"

For more than three decades, Prince's universally celebrated practice has pursued the subversive strategy of appropriating commonplace imagery and themes – such as photographs of quintessential Western cowboys and "biker chicks," the front covers of nurse romance novellas, and jokes and cartoons – to deconstruct singular notions of authorship, authenticity and identity.

Starting his career as a member of the Pictures Generation in the 1970s alongside such contemporaries as Cindy Sherman, Robert Longo and Sherrie Levine, Prince is widely acknowledged as having expanded the accepted parameters of art-making with his so-called "re-photography" technique – a revolutionary appropriation strategy of photographing pre-existing images from magazine ads and presenting them as his own. Prince's practice of appropriating familiar subject matter exposes the inner mechanics of desire and power pervading the media and our cultural consciousness at large, particularly as they relate to identity and gender constructs.

","artistBirthYear":"1947","artistDeathYear":"","artistNationality":"American","isWatch":false,"isAdult":false,"lotThumbList":null,"lotThumbs":[],"lotImages":[{"imagePath":"auctions/NY010520/247_001.jpg","isViewInRoom":true}],"extraInfo":"

Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

\n","marketplaceStorefrontEmailBlastSent":false,"medium":"acrylic, checks, duct tape and staples on canvas","dimensions":"24 x 20 in. (61 x 50.8 cm)","provenance":"Acquired directly from the artist by the present owner","exhibited":"","literature":"","essay":"","sigEdtMan":"Executed in 2013.","showAdvanceBidButton":true,"showShippingLink":false,"preface":"","estimateSpecialChar":"","lotSpecialChar":"","cExtraInfo":"","partnerBidUrl":"https://live.phillips.com/place-bid/1-33D0T8","auctionLotBidUrl":null,"saleOfferThreshold":0,"auctionBidPartner":1,"otherEstimates":null,"otherEstimatesList":[],"cEssay":null,"artistInscription":null,"cArtistInscription":null,"cCirca":null,"cPreface":null,"cBirthDeath":null,"cMedium":null,"cProvenance":null,"cSigEdtMan":null,"cExhibited":null,"cLiterature":null,"detailVideoUrl":null,"webDescription":"","viewInRoomImage":"","videoAboveTheFold":true,"videoSquareAspectRatio":false,"auctionLotPublicId":115045,"auctionMobilityAuctionRowId":"1-2UKT9F","auctionMobilityLotRowId":"1-33D0T8","buyNowPrice":0,"cDescription":null,"cMakerName":null,"createDate":"2020-06-12T00:02:47.783","description":"Untitled (Check Painting)","discipline":"Contemporary Art","displayOrder":0,"descriptionWithMarkup":null,"estimateText":"","eventDate":"2020-07-02T19:00:00","eventTime":"","hammerPlusBP":0,"hammerPlusBPLive":0,"highEstimate":40000,"is360View":false,"isCopyrightBlocked":false,"isHideDisplay":false,"isMixedAuction":false,"isNoLot":false,"isSoldOverride":false,"locationName":"New York","lotNumber":247,"lotNumberSuffix":"","lotNumberFull":"247","lowEstimate":30000,"lotStatusId":3,"makerName":"Richard Prince","makerId":1254,"objectNumber":"143365","videoTitle":"","videoDescription":"","videoSource":"","saleNumber":"NY010520","isExhibition":false,"artistImageBlocked":false,"useCloudinary":true,"useObjectNumberAsImageName":false,"cloudinaryVersion":"1593618260","imageVersion":"1593618260","auctionLotDisplayTypeId":21,"auctionLotDisplayTypeName":"onerow_twocolumns-right","currencySign":"$","detailLink":"https://www.phillips.com/detail/richard-prince/NY010520/247","imagePath":"/auctions/NY010520/247_001.jpg","isNoReserve":false,"saleTitle":"20th c. & Contemporary Art Day Sale, Afternoon Session","saleTypeId":1,"showEstimateText":true,"showSaleOffers":false,"showSoldPrice":true,"lotStartDateTime":"2020-07-02T14:00:00","lotEndDateTime":"2020-07-02T19:00:00","tags":[],"wModelName":null,"wReferenceNo":null},{"additionalContent":[{"active":true,"saleNumber":"NY010520","objectNumber":"139382","componentContainerId":728,"displayOrder":1,"componentData":[{"active":true,"componentId":1596,"displayOrder":1,"htmlCaption":"
“If paintings had babies, they might look like the 11 works in John Baldessari: Double Bill (Part 2) — just like their parents, only different. At Margo Leavin Gallery, [the artist] plays the part of matchmaker, midwife and master of ceremonies, mixing and mashing masterpieces into hilariously original hybrids that make you wonder if art comes in parts or only in wholes… No two are alike. Yet each is clearly a Baldessari — a whole lot more than the sum of its sources and nothing less than a pleasure to behold, a thrill to contemplate and a delight to dive into.”
\r\n
\r\nDavid Pagel

\r\n
\r\n
\r\n 
\r\n\r\n
John Baldessari’s Double Bill (Part 2): …and Ernst, 2012, belongs to a series that represents a remarkable development in the mature phase of the artist’s illustrious and prolific career. Having drawn most of his source imagery from photographs and film stills since the 1970s, Baldessari turns to the art historical canon in his Double Bill (Part 2) series, mixing and conflating two iconic paintings into collaged hybrids that become more than the sum of their parts. Prominently captioned with the name of a single artist – here, “…AND ERNST” – the caption and title of each work implies a coupling that invites the viewer to draw on their memories and art historical knowledge to solve the mystery of identifying the unnamed artist on the “double bill.”
\r\n","imageUrl":""}],"componentType":"RichText","title":"In Short"},{"active":true,"saleNumber":"NY010520","objectNumber":"139382","componentContainerId":733,"displayOrder":2,"componentData":[{"active":true,"componentId":1605,"displayOrder":1,"htmlCaption":"
\r\n
\r\n
\"\"\r\n
Max Ernst, Aquis submersus, 1919. Stadel Museum, Frankfurt, Artwork © 2020 Artists Rights Society (ARS), New York / ADAGP, Paris
\r\n
\r\n
\r\n
\r\n","imageUrl":""},{"active":true,"componentId":1610,"displayOrder":2,"htmlCaption":"
\r\n
\r\n
\"\"\r\n
David Hockney, Sunbather, 1966. Museum Ludwig, Cologne, Artwork © David Hockney
\r\n
\r\n
\r\n
\r\n","imageUrl":""}],"componentType":"RichTextCarousel","title":"Source Imagery"},{"active":true,"saleNumber":"NY010520","objectNumber":"139382","componentContainerId":734,"displayOrder":3,"componentData":[{"active":true,"componentId":1611,"displayOrder":1,"htmlCaption":"

In the present work, Baldessari cuts apart and reworks selections from two very different paintings – Max Ernst’s Aquis Submersus, 1919, and David Hockney’s Sunbather, 1966. Melding, superimposing, and cropping the source images – Baldessari moves Hockney’s figure from the background to the foreground of the composition, positioning Ernst’s mysterious figure looming behind the unaware sunbather, infusing the composition with an ominous, yet humorous effect. The private swimming pools in Hockney’s most iconic paintings represent the sexual freedom and hedonism that he found upon his arrival in Los Angeles, where Baldessari lived, worked, and taught throughout his career; while the psychologically charged pool in Ernst’s surrealist composition signifies an act of disappearing and diving into the unconscious part of one’s psyche. Through his poignant juxtapositions, Baldessari encourages the viewer to imagine the narratives and relationships that manifest from the collision between the seemingly disparate images.
\r\n
\r\nWhile the source imagery of Baldessari’s Double Bill (Part 2) series came as a surprise, these canvases encompass the trademark motifs and recall the
formats and compositions of the most iconic works throughout the artist’s oeuvre. Despite the depth and breadth of his career, the artist ironically suggested that he will be best remembered as “the guy who puts dots over people’s faces.” From the mid-1980s, onwards, Baldessari employed circular price tags and painted flat, geometric shapes to occlude distracting elements and alter the meanings of his appropriated images. In Double Bill (Part 2): …and Ernst, the gray, green, black, purple, and white geometric planes recall elements of earlier iconic works by the artist, such as Frames and Ribbon, 1988. The format of Double Bill (Part 2): …and Ernst also recalls Baldessari’s iconic 1969 Commissioned Painting series, where the artist prominently featured as self-reflexive captions, the names of the sign painters that he hired to render photorealistic images upon each canvas. Baldessari uses a similar device in the Double Bill (Part 2) series, revisiting his examination of the nature of artistic authorship through his Magritte-like semiotic experiments of pitting text against images.
\r\n
\r\n
\r\n 

\r\n\r\n
“Conceptualism doesn’t really describe what I do. If somebody wants to use that term, it’s fine, but I’d prefer a word that’s broader and better. I’m really just an artist.”
\r\n
\r\nJohn Baldessari

\r\n
\r\n 
\r\n\r\n


\r\nOne of the reasons Baldessari has been labeled a conceptual artist is the ease with which he transitioned between making paintings, photographs, billboards, sculptures, books, prints, and videos – most comfortable blurring the distinctions between these mediums. Over the astounding sixty years of his artistic practice, with over three hundred solo shows and over one thousand group shows, Baldessari shaped the careers of the following generation of conceptual artists, influencing artists such as Cindy Sherman, Mike Kelley, Richard Prince, David Salle, and Matt Mullican. Baldessari never ceased to innovate – as Catherine Opie proclaims “perhaps his most famous statement ‘I will not make any more boring art’ was his recognition that the world contained enough material to explore for a lifetime.”[i]

\r\n\r\n
\r\n
\r\n
[i] Catherine Opie, quoted in Calvin Tomkins, “No More Boring Art: John Baldessari’s crusade”, The New Yorker, October 18, 2010, online
\r\n
\r\n\r\n
 
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\r\n
\r\n
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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

\n","marketplaceStorefrontEmailBlastSent":false,"medium":"varnished inkjet print, acrylic and oil on canvas","dimensions":"69 5/8 x 60 1/8 in. (176.7 x 152.6 cm)","provenance":"Margo Leavin Gallery, Los Angeles
Acquired from the above by the present owner in 2012","exhibited":"Los Angeles, Margo Leavin Gallery, John Baldessari: Double Bill (Part 2), May 12 - June 28, 2012
Durham, Nasher Museum of Art at Duke University; Columbus, The Ohio State University Urban Arts Space; New York, Miriam and Ira D. Wallach Art Gallery, Columbia University; Portland, Ronna and Eric Hoffman Gallery of Contemporary Art, Lewis & Clark College, Open This End: Contemporary Art from the Collection of Blake Byrne, February 19, 2015 - December 11, 2016, pl. 7, p. 114 (illustrated, p. 17)","literature":"David Pagel, \"Review: 'John Baldessari' is joyously more than sum of its sources\", Los Angeles Times, May 18, 2012, online","essay":"","sigEdtMan":"Executed in 2012.","showAdvanceBidButton":true,"showShippingLink":false,"preface":"Property from the Collection of Blake Byrne, Los Angeles","estimateSpecialChar":"","lotSpecialChar":"","cExtraInfo":"","partnerBidUrl":"https://live.phillips.com/place-bid/1-33D0TA","auctionLotBidUrl":"https://live.phillips.com/place-bid/0","saleOfferThreshold":0,"auctionBidPartner":1,"otherEstimates":null,"otherEstimatesList":[],"cEssay":null,"artistInscription":null,"cArtistInscription":null,"cCirca":null,"cPreface":null,"cBirthDeath":null,"cMedium":null,"cProvenance":null,"cSigEdtMan":null,"cExhibited":null,"cLiterature":null,"detailVideoUrl":null,"webDescription":"","viewInRoomImage":"","videoAboveTheFold":true,"videoSquareAspectRatio":false,"auctionLotPublicId":114938,"auctionMobilityAuctionRowId":"1-2UKT9F","auctionMobilityLotRowId":"1-33D0TA","buyNowPrice":0,"cDescription":null,"cMakerName":null,"createDate":"2020-06-12T00:02:47.783","description":"Double Bill (Part 2): …and Ernst","discipline":"Contemporary Art","displayOrder":0,"descriptionWithMarkup":null,"estimateText":"","eventDate":"2020-07-02T19:00:00","eventTime":"","hammerPlusBP":237500,"hammerPlusBPLive":0,"highEstimate":300000,"is360View":false,"isCopyrightBlocked":false,"isHideDisplay":false,"isMixedAuction":false,"isNoLot":false,"isSoldOverride":false,"locationName":"New York","lotNumber":248,"lotNumberSuffix":"","lotNumberFull":"248","lowEstimate":200000,"lotStatusId":2,"makerName":"John Baldessari","makerId":5282,"objectNumber":"139382","videoTitle":"","videoDescription":"","videoSource":"","saleNumber":"NY010520","isExhibition":false,"artistImageBlocked":false,"useCloudinary":true,"useObjectNumberAsImageName":false,"cloudinaryVersion":"1593618263","imageVersion":"1593618263","auctionLotDisplayTypeId":7,"auctionLotDisplayTypeName":"container_tworows_twocolumns-feature_center","currencySign":"$","detailLink":"https://www.phillips.com/detail/john-baldessari/NY010520/248","imagePath":"/auctions/NY010520/248_001.jpg","isNoReserve":false,"saleTitle":"20th c. & Contemporary Art Day Sale, Afternoon Session","saleTypeId":1,"showEstimateText":true,"showSaleOffers":false,"showSoldPrice":true,"lotStartDateTime":"2020-07-02T14:00:00","lotEndDateTime":"2020-07-02T19:00:00","tags":[],"wModelName":null,"wReferenceNo":null},{"additionalContent":[{"active":true,"saleNumber":"NY010520","objectNumber":"140156","componentContainerId":760,"displayOrder":1,"componentData":[{"active":true,"componentId":1643,"displayOrder":1,"htmlCaption":"
"I was thinking of the idea of the centerfold model. The pictures were meant to look like a model just after she’d been photographed for a centerfold. They aren’t cropped, and I thought that I wouldn’t bother with make-up and wigs and just change the lighting and experiment while using the same means in each."
\r\n
\r\nCindy Sherman
\r\n\r\n


\r\n 

\r\n","imageUrl":""}],"componentType":"RichText","title":"In Short"},{"active":true,"saleNumber":"NY010520","objectNumber":"140156","componentContainerId":759,"displayOrder":2,"componentData":[{"active":true,"componentId":1642,"displayOrder":1,"htmlCaption":"Phillips is pleased to offer an outstanding selection of over 50 post-war and contemporary works from an important private collection across our 20th Century & Contemporary Art Evening and Day Sales. Capturing the innovative temperament of the last 50 years of art history, this collection—meticulously amassed over 25 years—comprises artists that are some of the most highly regarded today.
\r\n ","imageUrl":""}],"componentType":"RichText","title":"Collection Appreciation "}],"cAdditionalContent":[],"department":"Contemporary","circa":null,"startDateTime":"0001-01-01T00:00:00","isSaleOver":true,"showConditionReport":false,"showInquireButton":false,"condition":"This work is in very good condition. There are no apparent condition issues with this work. This work was re-printed in 2019. The print is flush-mounted to Plexiglas. This work is framed under Plexiglas in a black wood frame.","displayFavoriteLotButton":false,"isViewInRoom":true,"height":139.7,"width":101.6,"depth":0,"artistBiography":"

Seminal to the Pictures Generation as well as contemporary photography and performance art, Cindy Sherman is a powerhouse art practitioner.  Wily and beguiling, Sherman's signature mode of art making involves transforming herself into a litany of characters, historical and fictional, that cross the lines of gender and culture. She startled contemporary art when, in 1977, she published a series of untitled film stills.

Through mise-en-scène​ and movie-like make-up and costume, Sherman treats each photograph as a portrait, though never one of herself. She embodies her characters even if only for the image itself. Presenting subversion through mimicry, against tableaus of mass media and image-based messages of pop culture, Sherman takes on both art history and the art world.

Though a shape-shifter, Sherman has become an art world celebrity in her own right. The subject of solo retrospectives across the world, including a blockbuster showing at the Museum of Modern Art, New York, and a frequent exhibitor at the Venice Biennale among other biennials, Sherman holds an inextricable place in contemporary art history.

","artistBirthYear":"1954","artistDeathYear":"","artistNationality":"American","isWatch":false,"isAdult":false,"lotThumbList":null,"lotThumbs":[],"lotImages":[{"imagePath":"auctions/NY010520/249_001.jpg","isViewInRoom":true}],"extraInfo":"

Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

\n","marketplaceStorefrontEmailBlastSent":false,"medium":"chromogenic color print","dimensions":"image 45 x 30 in. (114.3 x 76.2 cm)\r\nsheet 55 x 40 in. (139.7 x 101.6 cm)","provenance":"Metro Pictures, New York
Bonakdar Jancou Gallery, New York
Acquired from the above by the present owner in 1999","exhibited":"New York, Metro Pictures, Cindy Sherman, October 16 - November 13, 1982 (another example exhibited)
New York, The New Museum of Contemporary Art, The Decade Show, May 12 - August 19, 1990, p. 352 (another example exhibited and illustrated, p. 76)
Hamburg, Deichtorhollen; Malmo, Konsthall; Lucerne, Kunstmuseum, Cindy Sherman: Photographic Work 1975-1995, May 25, 1995 - February 11, 1996, no. 44, n.p. (another example exhibited and illustrated)
Los Angeles, The Museum of Contemporary Art; Chicago, Museum of Contemporary Art; Prague, Galerie Rudolfinum; London, Barbican Art Gallery; CAPC musée d'art contemporain de Bordeaux; Sydney, Museum of Contemporary Art; Toronto, Art Gallery of Ontario, Cindy Sherman: Retrospective, November 2, 1997 - January 2, 2000, no. 79, pp. 109, 197 (another example exhibited and illustrated, p. 108)
Los Angeles County Museum of Art; Washington, D.C., Corcoran Gallery of Art; Boston, Museum of Fine Arts, Jasper Johns to Jeff Koons: Four Decades of Art from the Broad Collections, October 7, 2001 - October 20, 2002, p. 194 (another example exhibited and illustrated, p. 144)
Minneapolis, Walker Art Center; Los Angeles, UCLA Hammer Museum, The Last Picture Show: Artists Using Photography, 1960 - 1982, October 11, 2003 - May 11, 2004, no. 159, p. 327 (another example exhibited and illustrated, p. 288)
Paris, Jeu de Paume; Kunsthaus Bregenz; Humlebæk, Louisiana Museum of Modern Art; Berlin, Martin-Gropius-Bau, Cindy Sherman, May 16, 2006 - September 10, 2007, p. 317 (another example exhibited and illustrated, pp. 103, 251)
Oslo, Astrup Fearnley Museet; Stockholm, Moderna Museet; Kunsthaus Zürich, Cindy Sherman: Untitled Horrors, May 4, 2013 - September 14, 2014, p. 225 (another example exhibited and illustrated, p. 72)
London, Tate Modern, Performing for the Camera, February 18 - June 12, 2016, p. 237 (another example exhibited and illustrated, p. 132)
Los Angeles, The Broad, Cindy Sherman: Imitation of Life, June 11 - October 2, 2016, no. 44, p. 154 (another example exhibited and illustrated, p. 60)
Sydney, New South Wales Art Gallery, Nude: Art from the Tate Collection, November 5, 2016 - February 5, 2017, pp. 26, 31, 199, 217 (another example exhibited and illustrated, p. 200); then traveled as Seoul Olympic Museum of Art; Yokohama Museum of Art, Nude: Masterpieces from Tate, August 11, 2017 - June 24, 2018, no. 114, p. 224 (another example exhibited and illustrated, p. 196)
Shanghai, Fosun Foundation, Cindy Sherman, November 7, 2018 - January 13, 2019 (another example exhibited)
London, National Portrait Gallery; Vancouver Art Gallery; Paris, Louis Vuitton Foundation, Cindy Sherman, June 27, 2019 - March 8, 2020, p. 252 (another example exhibited, p. 134)","literature":"Cindy Sherman, exh. cat., Stedeljik Museum, Amsterdam, 1982, no. 62, n.p. (another example illustrated)
Peter Schjeldahl and I. Michael Danoff, Cindy Sherman, New York, 1984, no. 62, n.p. (another example illustrated)
Cindy Sherman, Tokyo, 1987, n.p. (another example illustrated, p. 46)
Rosalind Krauss, Cindy Sherman 1975-1993, New York, 1993, p. 99 (another example illustrated)
Paul Moorhouse, Cindy Sherman, London, 2014, p. 46 (another example illustrated)
Joanne Heyler, ed., The Broad Collection, Los Angeles, 2015, p. 170 (another example illustrated)","essay":"","sigEdtMan":"Executed in 1982, this work is number 8 from an edition of 10 plus 2 artist's proofs.

Other examples from the edition are housed in the permanent collections of Tate, London and The Broad, Los Angeles.","showAdvanceBidButton":true,"showShippingLink":false,"preface":"A Discerning Vision\r\nProperty from an Important Private Collection","estimateSpecialChar":"","lotSpecialChar":"Ο","cExtraInfo":"","partnerBidUrl":"https://live.phillips.com/place-bid/1-33D0TC","auctionLotBidUrl":"https://live.phillips.com/place-bid/0","saleOfferThreshold":0,"auctionBidPartner":1,"otherEstimates":null,"otherEstimatesList":[],"cEssay":null,"artistInscription":"signed, numbered and dated \"Cindy Sherman 1982 8/10\" on a label affixed to the reverse of the backing board","cArtistInscription":null,"cCirca":null,"cPreface":null,"cBirthDeath":null,"cMedium":null,"cProvenance":null,"cSigEdtMan":null,"cExhibited":null,"cLiterature":null,"detailVideoUrl":null,"webDescription":"","viewInRoomImage":"","videoAboveTheFold":true,"videoSquareAspectRatio":false,"auctionLotPublicId":115015,"auctionMobilityAuctionRowId":"1-2UKT9F","auctionMobilityLotRowId":"1-33D0TC","buyNowPrice":0,"cDescription":null,"cMakerName":null,"createDate":"2020-06-12T00:02:47.783","description":"Untitled #97","discipline":"Contemporary Art","displayOrder":0,"descriptionWithMarkup":null,"estimateText":"","eventDate":"2020-07-02T19:00:00","eventTime":"","hammerPlusBP":143750,"hammerPlusBPLive":0,"highEstimate":200000,"is360View":false,"isCopyrightBlocked":false,"isHideDisplay":false,"isMixedAuction":false,"isNoLot":false,"isSoldOverride":false,"locationName":"New York","lotNumber":249,"lotNumberSuffix":"","lotNumberFull":"249","lowEstimate":150000,"lotStatusId":2,"makerName":"Cindy Sherman","makerId":2226,"objectNumber":"140156","videoTitle":"","videoDescription":"","videoSource":"","saleNumber":"NY010520","isExhibition":false,"artistImageBlocked":false,"useCloudinary":true,"useObjectNumberAsImageName":false,"cloudinaryVersion":"1592424344","imageVersion":"1592424344","auctionLotDisplayTypeId":20,"auctionLotDisplayTypeName":"onerow_twocolumns-left","currencySign":"$","detailLink":"https://www.phillips.com/detail/cindy-sherman/NY010520/249","imagePath":"/auctions/NY010520/249_001.jpg","isNoReserve":false,"saleTitle":"20th c. & Contemporary Art Day Sale, Afternoon Session","saleTypeId":1,"showEstimateText":true,"showSaleOffers":false,"showSoldPrice":true,"lotStartDateTime":"2020-07-02T14:00:00","lotEndDateTime":"2020-07-02T19:00:00","tags":[],"wModelName":null,"wReferenceNo":null},{"additionalContent":[],"cAdditionalContent":[],"department":"Contemporary","circa":null,"startDateTime":"0001-01-01T00:00:00","isSaleOver":true,"showConditionReport":false,"showInquireButton":false,"condition":"This work is in very good condition. There are a few pinpoint accretions in areas, visible only upon very close inspection. This work is framed under Plexiglas in a natural wood frame.","displayFavoriteLotButton":false,"isViewInRoom":true,"height":100.3,"width":152.4,"depth":0,"artistBiography":"","artistBirthYear":"","artistDeathYear":"","artistNationality":"","isWatch":false,"isAdult":false,"lotThumbList":null,"lotThumbs":[],"lotImages":[{"imagePath":"auctions/NY010520/250_001.jpg","isViewInRoom":true}],"extraInfo":"

Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

\n","marketplaceStorefrontEmailBlastSent":false,"medium":"black and white photograph","dimensions":"39 1/2 x 60 in. (100.3 x 152.4 cm)","provenance":"Galerie Lelong, New York
Kanransha, Tokyo
Acquired from the above by the present owner","exhibited":"New York, The New Museum of Contemporary Art, Ana Mendieta - A Retrospective, November 20, 1987 - January 24, 1988, no. 60, p. 65 (another example exhibited and illustrated, p. 43)
New York, Galerie Lelong, Ana Mendieta - Late Works: 1981-1985, May 10 - June 22, 2013 (another example exhibited)","literature":"","essay":"","sigEdtMan":"Photographed in 1982 and printed in 1991, this work is number 2 from an edition of 6 plus 3 artist's proofs.","showAdvanceBidButton":true,"showShippingLink":false,"preface":"","estimateSpecialChar":"","lotSpecialChar":"","cExtraInfo":"","partnerBidUrl":"https://live.phillips.com/place-bid/1-33D0TF","auctionLotBidUrl":null,"saleOfferThreshold":0,"auctionBidPartner":1,"otherEstimates":null,"otherEstimatesList":[],"cEssay":null,"artistInscription":"stamped with the artist's signature and by the estate \"Ana Mendieta Raquel Mendieta Harrington Administratix of The Estate\" on the reverse","cArtistInscription":null,"cCirca":null,"cPreface":null,"cBirthDeath":null,"cMedium":null,"cProvenance":null,"cSigEdtMan":null,"cExhibited":null,"cLiterature":null,"detailVideoUrl":null,"webDescription":"","viewInRoomImage":"","videoAboveTheFold":true,"videoSquareAspectRatio":false,"auctionLotPublicId":114929,"auctionMobilityAuctionRowId":"1-2UKT9F","auctionMobilityLotRowId":"1-33D0TF","buyNowPrice":0,"cDescription":null,"cMakerName":null,"createDate":"2020-06-12T00:02:47.783","description":"El laberinto de la vida (The Labyrinth of Life) from the series Labyrinth of Venus","discipline":"Contemporary Art","displayOrder":0,"descriptionWithMarkup":"El laberinto de la vida (The Labyrinth of Life) from the series Labyrinth of Venus","estimateText":"","eventDate":"2020-07-02T19:00:00","eventTime":"","hammerPlusBP":56250,"hammerPlusBPLive":0,"highEstimate":70000,"is360View":false,"isCopyrightBlocked":false,"isHideDisplay":false,"isMixedAuction":false,"isNoLot":false,"isSoldOverride":false,"locationName":"New York","lotNumber":250,"lotNumberSuffix":"","lotNumberFull":"250","lowEstimate":50000,"lotStatusId":2,"makerName":"Ana Mendieta","makerId":9198,"objectNumber":"140864","videoTitle":"","videoDescription":"","videoSource":"","saleNumber":"NY010520","isExhibition":false,"artistImageBlocked":false,"useCloudinary":true,"useObjectNumberAsImageName":false,"cloudinaryVersion":"1593618264","imageVersion":"1593618264","auctionLotDisplayTypeId":21,"auctionLotDisplayTypeName":"onerow_twocolumns-right","currencySign":"$","detailLink":"https://www.phillips.com/detail/ana-mendieta/NY010520/250","imagePath":"/auctions/NY010520/250_001.jpg","isNoReserve":false,"saleTitle":"20th c. & Contemporary Art Day Sale, Afternoon Session","saleTypeId":1,"showEstimateText":true,"showSaleOffers":false,"showSoldPrice":true,"lotStartDateTime":"2020-07-02T14:00:00","lotEndDateTime":"2020-07-02T19:00:00","tags":[],"wModelName":null,"wReferenceNo":null},{"additionalContent":[],"cAdditionalContent":[],"department":"Contemporary","circa":null,"startDateTime":"0001-01-01T00:00:00","isSaleOver":true,"showConditionReport":false,"showInquireButton":false,"condition":"This work is in very good condition overall. There are faint abrasions to the extreme edges, visible only upon very close inspection. The print is flush-mounted to board. This work is framed under Plexiglas in a black wood frame.","displayFavoriteLotButton":false,"isViewInRoom":true,"height":184.2,"width":125.1,"depth":0,"artistBiography":"

Seminal to the Pictures Generation as well as contemporary photography and performance art, Cindy Sherman is a powerhouse art practitioner.  Wily and beguiling, Sherman's signature mode of art making involves transforming herself into a litany of characters, historical and fictional, that cross the lines of gender and culture. She startled contemporary art when, in 1977, she published a series of untitled film stills.

Through mise-en-scène​ and movie-like make-up and costume, Sherman treats each photograph as a portrait, though never one of herself. She embodies her characters even if only for the image itself. Presenting subversion through mimicry, against tableaus of mass media and image-based messages of pop culture, Sherman takes on both art history and the art world.

Though a shape-shifter, Sherman has become an art world celebrity in her own right. The subject of solo retrospectives across the world, including a blockbuster showing at the Museum of Modern Art, New York, and a frequent exhibitor at the Venice Biennale among other biennials, Sherman holds an inextricable place in contemporary art history.

","artistBirthYear":"1954","artistDeathYear":"","artistNationality":"American","isWatch":false,"isAdult":false,"lotThumbList":null,"lotThumbs":[],"lotImages":[{"imagePath":"auctions/NY010520/251_001.jpg","isViewInRoom":true}],"extraInfo":"

Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

\n","marketplaceStorefrontEmailBlastSent":false,"medium":"chromogenic color print","dimensions":"72 1/2 x 49 1/4 in. (184.2 x 125.1 cm)","provenance":"Metro Pictures, New York
Acquired from the above by the present owner","exhibited":"New York, Metro Pictures, Cindy Sherman, October 5 - 26, 1985 (another example exhibited)
Muenster, Westfälische Kunstverein, Cindy Sherman Photographien, December 7, 1985 - January 26, 1986, p. 39 (another example exhibited and illustrated, p. 28)
New York, Whitney Museum of American Art, Cindy Sherman, July 9 - October 4, 1987, p. 19 (present lot exhibited and illustrated, p. 97)
Kunsthalle Basel; Munich, Staatsgalerie moderner Kunst; London, Whitechapel Art Gallery, Cindy Sherman, March 28 - September 22, 1991, p. 70 (present lot exhibited and illustrated, p. 44)
Helsinki, The Museum of Contemporary Art, Louise Lawler, Cindy Sherman, Laurie Simmons: Re-turning the gaze, March 28 - May 1, 1993, p. 72 (another example exhibited and illustrated, p. 37)
Hamburg, Deichtorhallen; Malmo, Kunsthall; Lucerne, Kunstmuseum, Cindy Sherman: Photographic Work, 1975-1995, May 25, 1995 - February 11, 1996, no. 87, n.p. (another example exhibited and illustrated)
Los Angeles, The Museum of Contemporary Art; Chicago, Museum of Contemporary Art; Prague, Galerie Rudolfinum; London, Barbican Art Gallery; Bordeaux, CAPC Musée d'art Contemporain; Sydney, Museum of Contemporary Art; Toronto, Art Gallery of Ontario, Cindy Sherman: Retrospective, November 2, 1997 - January 2, 2000, no. 102, pp. 137, 198 (another example exhibited and illustrated, p. 136)
Paris, Jeu de Paume; Kunsthaus Bregenz; Humlebæk, Louisiana Museum of Modern Art; Berlin, Martin-Gropius-Bau, Cindy Sherman, May 16, 2006 - September 10, 2007, pp. 120, 317 (another example exhibited and illustated, pp. 124, 255)
New York, Museum of Modern Art; San Francisco Museum of Modern Art; Minneapolis, Walker Art Center; Dallas Museum of Art, Cindy Sherman, February 26, 2012 - June 9, 2013, no. 115, p. 243 (another example exhibited and illustrated, p. 169)
New York, David Zwirner, No Problem: Cologne / New York 1984-1989, May 1 - June 14, 2014, p. 273 (another example exhibited and illustrated, p. 47)
Silkeborg, Museum Jorn, Cindy Sherman, September 23 - December 10, 2017, p. 135 (another example exhibited and illustrated, p. 55)
New York, Metro Pictures, Life to come, January 17 - February 16, 2019 (another example exhibited)","literature":"Rosalind Krauss and Norman Bryson, Cindy Sherman 1975-1993, New York, 1993, p. 229 (another example illustrated, p. 136)
Christa Schneider, Cindy Sherman: History Portraits, Munich, 1995, p. 16 (another example illustrated)
Andy Grundberg, Crisis of the Real: Writings on Photography, 1974-1989, New York, 1999, no. 18, p. 120 (another example illustrated)
Catherine Morris, The Essential: Cindy Sherman, New York, 1999, p. 23 (another example illustrated)
Johanna Burton, ed., \"Cindy Sherman\", MIT Press: The October Files, November 2006, p. 62 (another example illustrated)
Eleanor Heartney, Helaine Posner, Nancy Princenthal and Sue Scott, After the Revolution: Women Who Transformed Contemporary Art, Munich, 2007, p. 177 (another example illustrated, p. 178)
Cindy Sherman: Untitled Horrors, exh. cat., Astrup Fearnley Museet, Oslo, 2013 - 2014, p. 225 (another example illustrated, p. 112)
Eleanor Heartney, “Cindy Sherman: The Polemics of Play”, After the Revolution: Women Who Transformed Art, New York, 2013, p. 190 (another example illustrated)
Paul Moorhouse, Cindy Sherman, London, 2014, no. 66, p. 146 (another example illustrated, p. 82)
Peter Schjeldahl, \"Mutual Admiration Society: Revisiting the eighties exchange between Germany and New York\", The New Yorker, May 5, 2014, online (another example illustrated)","essay":"","sigEdtMan":"Executed in 1985, this work is number 3 from an edition of 6.","showAdvanceBidButton":true,"showShippingLink":false,"preface":"","estimateSpecialChar":"","lotSpecialChar":"","cExtraInfo":"","partnerBidUrl":"https://live.phillips.com/place-bid/1-33D0TJ","auctionLotBidUrl":"https://live.phillips.com/place-bid/0","saleOfferThreshold":0,"auctionBidPartner":1,"otherEstimates":null,"otherEstimatesList":[],"cEssay":null,"artistInscription":"signed, numbered and dated \"Cindy Sherman 1985 3/6\" on the reverse of the mount","cArtistInscription":null,"cCirca":null,"cPreface":null,"cBirthDeath":null,"cMedium":null,"cProvenance":null,"cSigEdtMan":null,"cExhibited":null,"cLiterature":null,"detailVideoUrl":null,"webDescription":"","viewInRoomImage":"","videoAboveTheFold":true,"videoSquareAspectRatio":false,"auctionLotPublicId":115004,"auctionMobilityAuctionRowId":"1-2UKT9F","auctionMobilityLotRowId":"1-33D0TJ","buyNowPrice":0,"cDescription":null,"cMakerName":null,"createDate":"2020-06-12T00:02:47.783","description":"Untitled #155","discipline":"Contemporary Art","displayOrder":0,"descriptionWithMarkup":null,"estimateText":"","eventDate":"2020-07-02T19:00:00","eventTime":"","hammerPlusBP":37500,"hammerPlusBPLive":0,"highEstimate":60000,"is360View":false,"isCopyrightBlocked":false,"isHideDisplay":false,"isMixedAuction":false,"isNoLot":false,"isSoldOverride":false,"locationName":"New York","lotNumber":251,"lotNumberSuffix":"","lotNumberFull":"251","lowEstimate":40000,"lotStatusId":2,"makerName":"Cindy Sherman","makerId":2226,"objectNumber":"140141","videoTitle":"","videoDescription":"","videoSource":"","saleNumber":"NY010520","isExhibition":false,"artistImageBlocked":false,"useCloudinary":true,"useObjectNumberAsImageName":false,"cloudinaryVersion":"1593618260","imageVersion":"1593618260","auctionLotDisplayTypeId":20,"auctionLotDisplayTypeName":"onerow_twocolumns-left","currencySign":"$","detailLink":"https://www.phillips.com/detail/cindy-sherman/NY010520/251","imagePath":"/auctions/NY010520/251_001.jpg","isNoReserve":false,"saleTitle":"20th c. & Contemporary Art Day Sale, Afternoon Session","saleTypeId":1,"showEstimateText":true,"showSaleOffers":false,"showSoldPrice":true,"lotStartDateTime":"2020-07-02T14:00:00","lotEndDateTime":"2020-07-02T19:00:00","tags":[],"wModelName":null,"wReferenceNo":null},{"additionalContent":[],"cAdditionalContent":[],"department":"Contemporary","circa":null,"startDateTime":"0001-01-01T00:00:00","isSaleOver":true,"showConditionReport":false,"showInquireButton":false,"condition":"This work is in good condition. There is faint creasing to the upper edge, visible only under raking light. There are pinpoint abrasions to the lower edge, visible only upon close inspection. The print is hinged to an archival rag mat with overmat. This work is framed under Plexiglas in a black wood frame.","displayFavoriteLotButton":false,"isViewInRoom":true,"height":25.4,"width":20.3,"depth":0,"artistBiography":"","artistBirthYear":"","artistDeathYear":"","artistNationality":"","isWatch":false,"isAdult":false,"lotThumbList":null,"lotThumbs":[],"lotImages":[{"imagePath":"auctions/NY010520/252_001.jpg","isViewInRoom":true}],"extraInfo":"

Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

\n","marketplaceStorefrontEmailBlastSent":false,"medium":"gelatin silver print","dimensions":"image 9 1/2 x 6 1/2 in. (24.1 x 16.5 cm)\r\nsheet 10 x 8 in. (25.4 x 20.3 cm)","provenance":"Gifted by the artist to the present owner","exhibited":"","literature":"","essay":"","sigEdtMan":"Executed in 1990, this work is a unique artist's proof outside of the edition.","showAdvanceBidButton":true,"showShippingLink":false,"preface":"","estimateSpecialChar":"","lotSpecialChar":"","cExtraInfo":"","partnerBidUrl":"https://live.phillips.com/place-bid/1-33D0TM","auctionLotBidUrl":null,"saleOfferThreshold":0,"auctionBidPartner":1,"otherEstimates":null,"otherEstimatesList":[],"cEssay":null,"artistInscription":"signed, numbered and dated \"A.P. M. Kelley 1990\" on the reverse","cArtistInscription":null,"cCirca":null,"cPreface":null,"cBirthDeath":null,"cMedium":null,"cProvenance":null,"cSigEdtMan":null,"cExhibited":null,"cLiterature":null,"detailVideoUrl":null,"webDescription":"","viewInRoomImage":"","videoAboveTheFold":true,"videoSquareAspectRatio":false,"auctionLotPublicId":115006,"auctionMobilityAuctionRowId":"1-2UKT9F","auctionMobilityLotRowId":"1-33D0TM","buyNowPrice":0,"cDescription":null,"cMakerName":null,"createDate":"2020-06-12T00:02:47.783","description":"Nostalgic Depiction of the Innocence of Childhood","discipline":"Editions","displayOrder":0,"descriptionWithMarkup":null,"estimateText":"","eventDate":"2020-07-02T19:00:00","eventTime":"","hammerPlusBP":20000,"hammerPlusBPLive":0,"highEstimate":35000,"is360View":false,"isCopyrightBlocked":false,"isHideDisplay":false,"isMixedAuction":false,"isNoLot":false,"isSoldOverride":false,"locationName":"New York","lotNumber":252,"lotNumberSuffix":"","lotNumberFull":"252","lowEstimate":25000,"lotStatusId":2,"makerName":"Mike Kelley","makerId":10764,"objectNumber":"140482","videoTitle":"","videoDescription":"","videoSource":"","saleNumber":"NY010520","isExhibition":false,"artistImageBlocked":false,"useCloudinary":true,"useObjectNumberAsImageName":false,"cloudinaryVersion":"1593618264","imageVersion":"1593618264","auctionLotDisplayTypeId":21,"auctionLotDisplayTypeName":"onerow_twocolumns-right","currencySign":"$","detailLink":"https://www.phillips.com/detail/mike-kelley/NY010520/252","imagePath":"/auctions/NY010520/252_001.jpg","isNoReserve":false,"saleTitle":"20th c. & Contemporary Art Day Sale, Afternoon Session","saleTypeId":1,"showEstimateText":true,"showSaleOffers":false,"showSoldPrice":true,"lotStartDateTime":"2020-07-02T14:00:00","lotEndDateTime":"2020-07-02T19:00:00","tags":[],"wModelName":null,"wReferenceNo":null},{"additionalContent":[],"cAdditionalContent":[],"department":"Contemporary","circa":null,"startDateTime":"0001-01-01T00:00:00","isSaleOver":true,"showConditionReport":false,"showInquireButton":false,"condition":"This work is in very good condition. There are no apparent condition issues with this work. The sheet is hinged at all four corners to an archival rag mat. This work is framed under Plexiglas in a black wood frame.","displayFavoriteLotButton":false,"isViewInRoom":true,"height":25.4,"width":20.3,"depth":0,"artistBiography":"","artistBirthYear":"","artistDeathYear":"","artistNationality":"","isWatch":false,"isAdult":false,"lotThumbList":null,"lotThumbs":[],"lotImages":[{"imagePath":"auctions/NY010520/253_001.jpg","isViewInRoom":true}],"extraInfo":"

Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

\n","marketplaceStorefrontEmailBlastSent":false,"medium":"gelatin silver print","dimensions":"image 8 x 7 1/2 in. (20.3 x 19.1 cm)\r\nsheet 10 x 8 in. (25.4 x 20.3 cm)","provenance":"Rosamund Felsen Gallery, Los Angeles
Jay Gorney Modern Art, New York
Acquired from the above by the present owner","exhibited":"New York, Jay Gorney Modern Art, Mike Kellley, Tim Rollins + K.O.S., Meyer Vaisman, May 12 - June 2, 1990 (another example exhibited)
New York, Skarstedt, Mike Kelley: Reconstructed History, September 11 - October 25, 2014 (another example exhibited)","literature":"Mike Kelley, Reconstructed History, New York, 1990, no. 10, n.p. (another example illustrated)","essay":"","sigEdtMan":"Executed in 1989, this work is the artist's proof from an edition of 1 plus 1 artist's proof.","showAdvanceBidButton":true,"showShippingLink":false,"preface":"","estimateSpecialChar":"","lotSpecialChar":"","cExtraInfo":"","partnerBidUrl":"https://live.phillips.com/place-bid/1-33D0TO","auctionLotBidUrl":null,"saleOfferThreshold":0,"auctionBidPartner":1,"otherEstimates":null,"otherEstimatesList":[],"cEssay":null,"artistInscription":null,"cArtistInscription":null,"cCirca":null,"cPreface":null,"cBirthDeath":null,"cMedium":null,"cProvenance":null,"cSigEdtMan":null,"cExhibited":null,"cLiterature":null,"detailVideoUrl":null,"webDescription":"","viewInRoomImage":"","videoAboveTheFold":true,"videoSquareAspectRatio":false,"auctionLotPublicId":115077,"auctionMobilityAuctionRowId":"1-2UKT9F","auctionMobilityLotRowId":"1-33D0TO","buyNowPrice":0,"cDescription":null,"cMakerName":null,"createDate":"2020-06-12T00:02:47.783","description":"The Start of the Slave Trade in the English Colonies from the series Reconstructed History","discipline":"Contemporary Art","displayOrder":0,"descriptionWithMarkup":"The Start of the Slave Trade in the English Colonies from the series Reconstructed History","estimateText":"","eventDate":"2020-07-02T19:00:00","eventTime":"","hammerPlusBP":5250,"hammerPlusBPLive":0,"highEstimate":7000,"is360View":false,"isCopyrightBlocked":false,"isHideDisplay":false,"isMixedAuction":false,"isNoLot":false,"isSoldOverride":false,"locationName":"New York","lotNumber":253,"lotNumberSuffix":"","lotNumberFull":"253","lowEstimate":5000,"lotStatusId":2,"makerName":"Mike Kelley","makerId":10764,"objectNumber":"140754","videoTitle":"","videoDescription":"","videoSource":"","saleNumber":"NY010520","isExhibition":false,"artistImageBlocked":false,"useCloudinary":true,"useObjectNumberAsImageName":false,"cloudinaryVersion":"1593618261","imageVersion":"1593618261","auctionLotDisplayTypeId":1,"auctionLotDisplayTypeName":"single-cell","currencySign":"$","detailLink":"https://www.phillips.com/detail/mike-kelley/NY010520/253","imagePath":"/auctions/NY010520/253_001.jpg","isNoReserve":false,"saleTitle":"20th c. & Contemporary Art Day Sale, Afternoon Session","saleTypeId":1,"showEstimateText":true,"showSaleOffers":false,"showSoldPrice":true,"lotStartDateTime":"2020-07-02T14:00:00","lotEndDateTime":"2020-07-02T19:00:00","tags":[],"wModelName":null,"wReferenceNo":null},{"additionalContent":[],"cAdditionalContent":[],"department":"Contemporary","circa":null,"startDateTime":"0001-01-01T00:00:00","isSaleOver":true,"showConditionReport":false,"showInquireButton":false,"condition":"This work is in very good condition. There is minor creasing to the four corners. The print is hinged at all four corners to an archival rag mat. This work is framed under Plexiglas in a black wood frame.","displayFavoriteLotButton":false,"isViewInRoom":true,"height":25.4,"width":20.3,"depth":0,"artistBiography":"","artistBirthYear":"","artistDeathYear":"","artistNationality":"","isWatch":false,"isAdult":false,"lotThumbList":null,"lotThumbs":[],"lotImages":[{"imagePath":"auctions/NY010520/254_001.jpg","isViewInRoom":true}],"extraInfo":"

Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

\n","marketplaceStorefrontEmailBlastSent":false,"medium":"gelatin silver print","dimensions":"image 7 5/8 x 7 5/8 in. (19.4 x 19.4 cm)\r\nsheet 10 x 8 in. (25.4 x 20.3 cm)","provenance":"Metro Pictures, New York
Acquired from the above by the present owner in 1993","exhibited":"New York, Metro Pictures, Mike Kelley, November 14 - December 19, 1992
New York, Whitney Museum of American Art; Los Angeles Museum of Art, Mike Kelley: Catholic Tastes, November 5, 1993 - August 11, 1994","literature":"","essay":"","sigEdtMan":"Executed in 1992, this work is unique.","showAdvanceBidButton":true,"showShippingLink":false,"preface":"","estimateSpecialChar":"","lotSpecialChar":"","cExtraInfo":"","partnerBidUrl":"https://live.phillips.com/place-bid/1-33D0TX","auctionLotBidUrl":null,"saleOfferThreshold":0,"auctionBidPartner":1,"otherEstimates":null,"otherEstimatesList":[],"cEssay":null,"artistInscription":null,"cArtistInscription":null,"cCirca":null,"cPreface":null,"cBirthDeath":null,"cMedium":null,"cProvenance":null,"cSigEdtMan":null,"cExhibited":null,"cLiterature":null,"detailVideoUrl":null,"webDescription":"","viewInRoomImage":"","videoAboveTheFold":true,"videoSquareAspectRatio":false,"auctionLotPublicId":115037,"auctionMobilityAuctionRowId":"1-2UKT9F","auctionMobilityLotRowId":"1-33D0TX","buyNowPrice":0,"cDescription":null,"cMakerName":null,"createDate":"2020-06-12T00:02:47.783","description":"Bedknobbed and Broom Struck","discipline":"Contemporary Art","displayOrder":0,"descriptionWithMarkup":null,"estimateText":"","eventDate":"2020-07-02T19:00:00","eventTime":"","hammerPlusBP":0,"hammerPlusBPLive":0,"highEstimate":12000,"is360View":false,"isCopyrightBlocked":false,"isHideDisplay":false,"isMixedAuction":false,"isNoLot":false,"isSoldOverride":false,"locationName":"New York","lotNumber":254,"lotNumberSuffix":"","lotNumberFull":"254","lowEstimate":8000,"lotStatusId":3,"makerName":"Mike Kelley","makerId":10764,"objectNumber":"140743","videoTitle":"","videoDescription":"","videoSource":"","saleNumber":"NY010520","isExhibition":false,"artistImageBlocked":false,"useCloudinary":true,"useObjectNumberAsImageName":false,"cloudinaryVersion":"1592424344","imageVersion":"1592424344","auctionLotDisplayTypeId":1,"auctionLotDisplayTypeName":"single-cell","currencySign":"$","detailLink":"https://www.phillips.com/detail/mike-kelley/NY010520/254","imagePath":"/auctions/NY010520/254_001.jpg","isNoReserve":false,"saleTitle":"20th c. & Contemporary Art Day Sale, Afternoon Session","saleTypeId":1,"showEstimateText":true,"showSaleOffers":false,"showSoldPrice":true,"lotStartDateTime":"2020-07-02T14:00:00","lotEndDateTime":"2020-07-02T19:00:00","tags":[],"wModelName":null,"wReferenceNo":null},{"additionalContent":[],"cAdditionalContent":[],"department":"Contemporary","circa":null,"startDateTime":"0001-01-01T00:00:00","isSaleOver":true,"showConditionReport":false,"showInquireButton":false,"condition":"This work is in very good condition. There is a pinpoint accretion to the lower left of the mat. The print is hinged at all four corners to an archival rag mat. This work is framed under Plexiglas in a dark wood frame.","displayFavoriteLotButton":false,"isViewInRoom":true,"height":25.4,"width":19.7,"depth":0,"artistBiography":"

Seminal to the Pictures Generation as well as contemporary photography and performance art, Cindy Sherman is a powerhouse art practitioner.  Wily and beguiling, Sherman's signature mode of art making involves transforming herself into a litany of characters, historical and fictional, that cross the lines of gender and culture. She startled contemporary art when, in 1977, she published a series of untitled film stills.

Through mise-en-scène​ and movie-like make-up and costume, Sherman treats each photograph as a portrait, though never one of herself. She embodies her characters even if only for the image itself. Presenting subversion through mimicry, against tableaus of mass media and image-based messages of pop culture, Sherman takes on both art history and the art world.

Though a shape-shifter, Sherman has become an art world celebrity in her own right. The subject of solo retrospectives across the world, including a blockbuster showing at the Museum of Modern Art, New York, and a frequent exhibitor at the Venice Biennale among other biennials, Sherman holds an inextricable place in contemporary art history.

","artistBirthYear":"1954","artistDeathYear":"","artistNationality":"American","isWatch":false,"isAdult":false,"lotThumbList":null,"lotThumbs":[],"lotImages":[{"imagePath":"auctions/NY010520/255_001.jpg","isViewInRoom":true}],"extraInfo":"

Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

\n","marketplaceStorefrontEmailBlastSent":false,"medium":"Fujicolor Crystal Archive print","dimensions":"10 x 7 3/4 in. (25.4 x 19.7 cm)","provenance":"Metro Pictures, New York
Acquired from the above by the present owner","exhibited":"New York, The Museum of Modern Art, The Complete Untitled Film Stills: Cindy Sherman, June 26 - September 2, 2007, p. 4 (another example exhibited and illustrated)
Vienna, Sammlung Verbund, The Feminist Avant-Garde of the 1970s: Works from Sammlung Verbund Collection, October 7, 2016 - January 15, 2017, p. 457 (another example exhibited and illustrated)
Worcester Art Museum, Photo Revolution: Andy Warhol to Cindy Sherman, November 16, 2019 - February 16, 2020, p. 101 (another example exhibited and illustrated, p. 32)","literature":"Gabriele Schor, Cindy Sherman: The Early Works 1975 - 1977, Ostfildern, 2012, no. 16, p. 122 (another example illustrated, p. 123)
Molly Nesbit, Midnight - The Tempest Essays, New York, 2017, p. 113 (another example illustrated)
Nina Schallenberg, ed., 40 Works: Marx Collection, Berlin, 2019, p. 152 (another example illustrated)","essay":"","sigEdtMan":"Photographed in 1975 and printed in 2001.","showAdvanceBidButton":true,"showShippingLink":false,"preface":"","estimateSpecialChar":"","lotSpecialChar":"","cExtraInfo":"","partnerBidUrl":"https://live.phillips.com/place-bid/1-33D0TZ","auctionLotBidUrl":null,"saleOfferThreshold":0,"auctionBidPartner":1,"otherEstimates":null,"otherEstimatesList":[],"cEssay":null,"artistInscription":"signed and dated \"Cindy S 1975/2001\" on the reverse","cArtistInscription":null,"cCirca":null,"cPreface":null,"cBirthDeath":null,"cMedium":null,"cProvenance":null,"cSigEdtMan":null,"cExhibited":null,"cLiterature":null,"detailVideoUrl":null,"webDescription":"","viewInRoomImage":"","videoAboveTheFold":true,"videoSquareAspectRatio":false,"auctionLotPublicId":114889,"auctionMobilityAuctionRowId":"1-2UKT9F","auctionMobilityLotRowId":"1-33D0TZ","buyNowPrice":0,"cDescription":null,"cMakerName":null,"createDate":"2020-06-12T00:02:47.783","description":"Untitled (Lucille Ball)","discipline":"Contemporary Art","displayOrder":0,"descriptionWithMarkup":null,"estimateText":"","eventDate":"2020-07-02T19:00:00","eventTime":"","hammerPlusBP":15625,"hammerPlusBPLive":0,"highEstimate":12000,"is360View":false,"isCopyrightBlocked":false,"isHideDisplay":false,"isMixedAuction":false,"isNoLot":false,"isSoldOverride":false,"locationName":"New York","lotNumber":255,"lotNumberSuffix":"","lotNumberFull":"255","lowEstimate":8000,"lotStatusId":2,"makerName":"Cindy Sherman","makerId":2226,"objectNumber":"143205","videoTitle":"","videoDescription":"","videoSource":"","saleNumber":"NY010520","isExhibition":false,"artistImageBlocked":false,"useCloudinary":true,"useObjectNumberAsImageName":false,"cloudinaryVersion":"1593618265","imageVersion":"1593618265","auctionLotDisplayTypeId":1,"auctionLotDisplayTypeName":"single-cell","currencySign":"$","detailLink":"https://www.phillips.com/detail/cindy-sherman/NY010520/255","imagePath":"/auctions/NY010520/255_001.jpg","isNoReserve":false,"saleTitle":"20th c. & Contemporary Art Day Sale, Afternoon Session","saleTypeId":1,"showEstimateText":true,"showSaleOffers":false,"showSoldPrice":true,"lotStartDateTime":"2020-07-02T14:00:00","lotEndDateTime":"2020-07-02T19:00:00","tags":[],"wModelName":null,"wReferenceNo":null},{"additionalContent":[],"cAdditionalContent":[],"department":"Contemporary","circa":null,"startDateTime":"0001-01-01T00:00:00","isSaleOver":true,"showConditionReport":false,"showInquireButton":false,"condition":"These works are in good condition overall. 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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

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Zurich, Galerie Eva Presenhuber, Peter Fischli David Weiss: Equilibres, June 11 - July 28, 2007 (another example exhibited)
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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

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Neuberger Berman Corporate Art Collection
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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

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Rodney Graham pulls from cultural and intellectual history through photography, film, music, performance and painting. He presents narratives with puns and references to literature and philosophy, including Sigmund Freud and Kurt Cobain, with a sense of humor that contradicts his residence in the post-punk scene of late 1970s Vancouver.

In his film trilogy Vexation Island (1999), How I Became a Ramblin' Man (1999) and City Self/Country Self (2001), the artist plays characters like a castaway and a cowboy caught in repetitive cycles of actions and gestures. Such unconscious dream states are further explored in Graham's series of upside-down photographs of oak trees, which are hung to mimic camera obscura.

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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

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Andrea Rosen Gallery, New York
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Marc Selwyn Fine Art, Los Angeles
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\nNew York

\n\n

1 212 940 1250

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Rebekah Bowling
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\nNew York

\n\n

1 212 940 1250

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\nNew York

\n\n

1 212 940 1250

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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

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Rebekah Bowling
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\nNew York

\n\n

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1 212 940 1250

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1 212 940 1250

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1 212 940 1250

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\nNew York

\n\n

1 212 940 1250

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\nNew York

\n\n

1 212 940 1250

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\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

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Rebekah Bowling
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\nNew York

\n\n

1 212 940 1250

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Rebekah Bowling
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\nNew York

\n\n

1 212 940 1250

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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

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In 2005, Shinique Amie Smith was among the 35 artists chosen for The Studio Museum in Harlem’s Frequency, an exhibition that continued the tradition of identifying a new generation of black artists that the museum had initiated nearly five years earlier with the groundbreaking show Freestyle. Exhibited next to the work of other emerging artists such as Nick Cave, Xaviera Simmons and Hank Willis Thomas, Shinique’s bale sculpture composed of second-hand clothing gained her critical attention. Ever since, she has made installations incorporating materials collected from communities and thrift shops, notably clothes, but also toys and other ephemera.

Smith was inspired to make sculpture from clothing after reading an article of how a shirt given by a woman in Manhattan to a local thrift store, made its way to a bale of used clothing and eventually was bought in Africa. While retaining the associations, Smith subsumes the material into a composition by tying the textiles together in cubes, bundles and dense assemblages.

 Exploring the connections and values we ascribe to objects, Smith addresses questions of abstraction, all the while probing how her material has both personal meaning, as well as social and cultural significance.

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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

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Winston-Salem, Southern Center for Contemporary Art, Shinique Smith: Every Brick, November 18, 2010 - February 13, 2011","literature":"","essay":"","sigEdtMan":"Executed in 2010.","showAdvanceBidButton":true,"showShippingLink":false,"preface":"","estimateSpecialChar":"","lotSpecialChar":"","cExtraInfo":"","partnerBidUrl":"https://live.phillips.com/place-bid/1-33D0WG","auctionLotBidUrl":null,"saleOfferThreshold":0,"auctionBidPartner":1,"otherEstimates":null,"otherEstimatesList":[],"cEssay":null,"artistInscription":null,"cArtistInscription":null,"cCirca":null,"cPreface":null,"cBirthDeath":null,"cMedium":null,"cProvenance":null,"cSigEdtMan":null,"cExhibited":null,"cLiterature":null,"detailVideoUrl":null,"webDescription":"","viewInRoomImage":"","videoAboveTheFold":true,"videoSquareAspectRatio":false,"auctionLotPublicId":114932,"auctionMobilityAuctionRowId":"1-2UKT9F","auctionMobilityLotRowId":"1-33D0WG","buyNowPrice":0,"cDescription":null,"cMakerName":null,"createDate":"2020-06-12T00:02:47.783","description":"Monochrome","discipline":"Contemporary Art","displayOrder":0,"descriptionWithMarkup":null,"estimateText":"","eventDate":"2020-07-02T19:00:00","eventTime":"","hammerPlusBP":17500,"hammerPlusBPLive":0,"highEstimate":22000,"is360View":false,"isCopyrightBlocked":false,"isHideDisplay":false,"isMixedAuction":false,"isNoLot":false,"isSoldOverride":false,"locationName":"New York","lotNumber":285,"lotNumberSuffix":"","lotNumberFull":"285","lowEstimate":18000,"lotStatusId":2,"makerName":"Shinique Smith","makerId":13048,"objectNumber":"141579","videoTitle":"","videoDescription":"","videoSource":"","saleNumber":"NY010520","isExhibition":false,"artistImageBlocked":false,"useCloudinary":true,"useObjectNumberAsImageName":false,"cloudinaryVersion":"1593618278","imageVersion":"1593618278","auctionLotDisplayTypeId":1,"auctionLotDisplayTypeName":"single-cell","currencySign":"$","detailLink":"https://www.phillips.com/detail/shinique-smith/NY010520/285","imagePath":"/auctions/NY010520/285_001.jpg","isNoReserve":false,"saleTitle":"20th c. & Contemporary Art Day Sale, Afternoon Session","saleTypeId":1,"showEstimateText":true,"showSaleOffers":false,"showSoldPrice":true,"lotStartDateTime":"2020-07-02T14:00:00","lotEndDateTime":"2020-07-02T19:00:00","tags":[],"wModelName":null,"wReferenceNo":null},{"additionalContent":[],"cAdditionalContent":[],"department":"Contemporary","circa":null,"startDateTime":"0001-01-01T00:00:00","isSaleOver":true,"showConditionReport":false,"showInquireButton":false,"condition":"This work is in very good condition. All collage elements appear to be present and adhere well to the underlying support. There is minor lifting of collage elements to the extreme edges, most noticeably to the right vertical edge at the upper right corner. This work is framed in a Plexiglas case.","displayFavoriteLotButton":false,"isViewInRoom":true,"height":121.9,"width":121.9,"depth":22.9,"artistBiography":"","artistBirthYear":"","artistDeathYear":"","artistNationality":"","isWatch":false,"isAdult":false,"lotThumbList":"286_002.jpg,286_003.jpg","lotThumbs":["286_002.jpg","286_003.jpg"],"lotImages":[{"imagePath":"auctions/NY010520/286_001.jpg","isViewInRoom":true},{"imagePath":"auctions/NY010520/286_002.jpg","isViewInRoom":false},{"imagePath":"auctions/NY010520/286_003.jpg","isViewInRoom":false}],"extraInfo":"

Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

\n","marketplaceStorefrontEmailBlastSent":false,"medium":"extruded polystyrene, string, pins, paper, silk, plastic and photograph collage on panel","dimensions":"48 x 48 x 9 in. (121.9 x 121.9 x 22.9 cm)","provenance":"Andrea Rosen Gallery, New York
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Brooklyn-based artist Keltie Ferris is most famous for large-scale paintings covered in layers of spray paint and hand-painted geometric fields. Ferris creates perceptual depth through a distinctive use of light and shapes. Her work often gives the illusion of a pixelated landscape though it remains abstract in its final form. While spray paint is typically associated with graffiti or temporary, "on-the-go" artistic practices, Ferris harnesses its dynamism to create stable, highly intricate scenes from combinations of vibrant colors.

She also uses her own body as a tool, covering it in oil and paint and pressing it against the canvas. She repeats this process numerous times to record her own trace as a slow but visible disappearance of the artist into the work.

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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

\n","marketplaceStorefrontEmailBlastSent":false,"medium":"oil, acrylic and pastel on canvas","dimensions":"80 x 100 in. (203.2 x 254 cm)","provenance":"Mitchell-Innes & Nash, New York
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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

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Katherine Bernhardt, whether in her paintings or make-shift Moroccan rugs, is rapt by neons and geometries. The artist, who works in New York, takes an almost hasty-flick of a brushstroke that lands as a jagged architectural form — figures cut in space and in buzzing colors that leave a mental trace.

Seemingly each month, multiple galleries, museums or art fairs across the world exhibit Bernhardt's large-scale fantasies and rug-centric installations, as seen in 2017 at Art Basel and with a solo retrospective at the Modern Art Museum of Fort Worth, Fort Worth. "I think the best painters don't intellectualize their own art—they just make stuff," she says; but with sharks circling trash in the water in today's climate, as is depicted in Sharks, Toilet Paper and Plantains, it's not hard to see Bernhardt's deeper meanings. 

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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

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Best known for grey-scale paintings that combine abstract and figurative elements, Tomoo Gokita is one of the most internationally prominent contemporary Japanese artists. His signature works feature archetypal figures or groups with their faces obscured, evoking haunting film stills or magazine spreads. Gokita enrolled in a local art school in 1988, but dropped out two years later to pursue a career in graphic design. Though he found success as a designer in the Japanese music industry, he felt creatively stifled and returned to painting full-time in the mid 1990s. 

Similar to the way Gerhard Richter used photographs as a starting point for abstraction, Gokita combines visual references from found imagery with his stylized approach, creating portraits that are both rooted in memory and rich in painterly expression. His precise technique, often characterized by abstract flourishes and gestural swipes, can be traced to influence from New York’s Neo-Expressionists. In this playful manipulation of form, Gokita injects a sense of humor into his work, warping the archetypal into the absurd. Gokita has been the subject of multiple solo exhibitions at many prominent museums and galleries, including the Kawamura Memorial DIC Museum of Art in Sakura, Japan. The artist continues to live and work in Tokyo.

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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

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1 212 940 1250

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Rebekah Bowling
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1 212 940 1250

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\nNew York

\n\n

1 212 940 1250

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Rebekah Bowling
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1 212 940 1250

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Rebekah Bowling
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Brazilian artist Ernesto Neto creates monumental installations and objects of diverse biomorphic shapes and forms that often occupy entire rooms. The works are primarily concerned with corporeality and visual seduction. Viewers are encouraged to participate with the works, and Neto engages the viewer's tactile and olfactory senses through different textures and scents, employing a myriad of synthetic non-traditional materials including nylon and polyamide fabrics, newspaper, nets and aromatic and boldly colored spices. Neto works around the space of the body, where the physical immersion into his works is like a continuation of his own body and mind.

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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

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Colen subsequently stepped away from paint as material and started using found objects as mediums with which to paint. Among these, Colen has used chewing gum, street trash, confetti, feathers, flowers and dirt. This methodology allows Colen to abandon control and create in a more free-form, subconscious manner.

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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

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Colen subsequently stepped away from paint as material and started using found objects as mediums with which to paint. Among these, Colen has used chewing gum, street trash, confetti, feathers, flowers and dirt. This methodology allows Colen to abandon control and create in a more free-form, subconscious manner.

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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

1 212 940 1250

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Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

\n\n

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