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拍賣 2022年10月24至26日
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晚間拍賣 10月24日下午5:00 (拍品 1 - 102)
\n日間拍賣 10月25日上午10:00 (拍品 103 - 210)
\n日間拍賣 10月25日下午2:00 (拍品 211 - 272)
\n日間拍賣 10月26日上午10:00 (拍品 273 - 402)
\n
\n紐約公園大道432號 10022（地圖）
\n
\n預展 2022年10月17至24日
\n星期一至六上午10:00-下午6:00
\n星期日下午12:00-下午6:00

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Editions@phillips.com

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212 940 1220

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Andy Warhol, Ten Portraits of Jews of the Twentieth Century (F. & S. 226-235), 1980. Editions & Works on Paper, New York.

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Written by Matthew F. Singer

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There are portraits in paint and portraits in words. Without semi-specialized Warholian knowledge, an American Jew of a certain age, like myself, could be forgiven for scanning the words “Ten Portraits of Jews of the Twentieth Century” and thinking it the title of a vaguely recalled Hebrew school primer published in the mid-twentieth century to promote ethnoreligious pride. I was born in 1963, the year Warhol made his first of hundreds of commissioned portraits, Ethel Scull Thirty-Six Times. In the context of discussing Andy Warhol’s Ten Portraits of Jews of the Twentieth Century, it cannot go unnoted that Mrs. Scull and her husband, Robert, were Jewish, leading early collectors of Pop Art — and often dismissed as arrivistes buying into society by acquiring art. The Sculls can, for the sake of this consideration, also be conceived as stand-ins for the parents and grandparents of people like me and my fellow Jewish Baby Boomers and early Gen Xers. We came of age in the 1960s, ‘70s, and ‘80s, when American Jewry was still struggling with how (for some, whether) to discuss the Holocaust, stunned and stirred by the establishment of Israel in 1948, and ambiently anxious over the series of wars that followed that founding.

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There was something else about us and our families. Most of my Jewish American contemporaries were grandchildren or great-grandchildren of Eastern European Jews who arrived in the US circa 1900, others were first-generation Americans born to parents who fled or survived the Shoah. There was to our parents and us a faded but not fully shed whiff of aspiring, determinedly upwardly mobile “immigrant stock.” We were wholly assimilated Americans yet, as Jews, we were “outsider insiders.” Our families had acculturated to the US, but many were newly acclimating to the ways of the American upper middle class and beyond — the socioeconomic strata most closely associated with artistic connoisseurship and patronage.

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Andy Warhol, Ten Portraits of Jews of the Twentieth Century (F. & S. 226-235) (Detail: Franz Kafka), 1980. Editions & Works on Paper, New York.

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Ours was the world of “insecure prosperity,” as labeled by Ewa Morawska in her 1997 book of the same name, subtitled Small-Town Jews in Industrial America, 1890–1940. Morawska’s book revealed the outer and inner lives of the Jews of Johnstown, Pennsylvania, little more than an hour’s drive from Warhol’s native Pittsburgh. But — per my best reckoning as a product of the period — “insecure prosperity” was the prevailing psychological state of American Jewry during the 1970s and ‘80s, the years when Warhol’s Hebraic magnum opus was conceived, created, and presented. The psyches of Europe’s Jews, of Israel’s Jews, were certainly, equally, or likely more, unstable and provisional as those of us Americans, with any tendency toward optimism tempered by trauma and sense of threat.

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Warhol’s Ten was fully part and parcel of — an expression of and response to — the fraught, pressurized, searching psychological state of the international Jewish community during the mid-twentieth century. With that said, his chosen roster of “Jewish geniuses” (Warhol’s own descriptor of the project) weren’t fully representative of global Jewry — all were Ashkenazi. Indeed, as recorded in the list of potential subjects assembled by art dealer Ronald Feldman, Sephardi and Mizrachi Jews weren’t even on the radar. Warhol’s Ten (twelve if counting the three Marx Brothers individually) were former dwellers (all deceased by 1980) of a triangle with corner-points planted in Central and Eastern Europe, the United States, and Israel. This intra-ethnic ethnocentrism was wholly characteristic of Western Jewry at mid-twentieth century and is only somewhat less pervasive now.

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We acknowledge, then, that Warhol’s portrait subjects, and the projected and realized audience for them, were members of the post-Holocaust Ashkenazi diaspora, specifically. We were a people whose self-esteem needed bolstering, who could use some assurance when it came to feeling safe, secure, and welcome (not that our Sephardi and Mizrachi coreligionists were no less needful in these regards) among the mammoth non-Jewish majority that engulfed us and set norms for us. Warhol’s Ten was ushered in to hearten us. As documented in Gabriel de Guzman’s essay and timeline in the 2008 exhibition catalogue Warhol’s Jews: Ten Portraits Reconsidered, an extensive and decidedly engaged network of Jewish collectors, gallerists, curators, and communal leaders contributed to and informed Warhol’s process and helped to steward the project. Albeit to differing degrees and in nuanced ways, they were united by a desire for a celebrated non-Jewish artist to create an artwork that was “good for the Jews.” Warhol’s Ten was, in fact, conceived by some and employed by many in the Jewish community to serve as a visual primer created “to inspire ethnoreligious pride.”

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Andy Warhol, Ten Portraits of Jews of the Twentieth Century (F. & S. 226-235) (Detail: The Marx Brothers), 1980. Editions & Works on Paper, New York.

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In 1980, Jews were 2.6% of the US population and not quite 0.3% of the world’s population. At the time, this infinitesimal minority had every reason to be unsure of its place in the world among an infinite majority for whom Jews had held outsize — ambivalent at best, malevolent at worst — interest for millennia. American Jews, in addition, were — due to their particular socioeconomic trajectory — struggling with how to understand themselves and present themselves in a culturally Christian society and class system that, in addition to holding other longstanding prejudices against Jews, kept socioeconomically rising Jewish Americans in a “less than” place by deriding them as grasping, pretentious, nouveau riche. Antisemitism collaborated with misogyny to launch the superficial, materialistic Jewish American Princess into the culture’s consciousness.

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How could a work like Warhol’s Ten, intended to represent such an unsettled and uncertain community, possibly be properly received and appreciated, or critiqued, according to its own merits or demerits? It could not, as indicated by the disparity between its critical reception — the (Jewish) New York Times art critic Hilton Kramer scathed: "[T]he show is vulgar, it reeks of commercialism," and "the way it exploits its Jewish subjects without showing the slightest grasp of their significance is offensive”— and the grateful, enthusiastic embrace it received from localized Jewish exhibiting institutions (synagogues, YM-YWHAs, JCCs, and college-campus Hillel centers) and their Jewish audiences. Warhol’s Ten struck a knee-jerking nerve upon its debut. Viewed in hindsight, Warhol’s renderings of “Jewish genius” were too much, too new, too Jewish to be dispassionately assessed by American Jews in 1980.

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The polarized initial response to Warhol’s Ten, and its continued reputation as a red herring in Warhol’s oeuvre, shines an unsparing searchlight on a contemporary Jewish conundrum. On one hand, there is a seemingly disproportionate Jewish prominence in spheres ranging from media, entertainment, and journalism, to literature, visual and performing arts, academia, law, business, and finance. On the other, there is a relative dearth of high-quality and high-profile cultural creation foregrounding Jews, Jewishness, and Judaism (literature and theater are possible exceptions to this rule).

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Jews have participated in the development of modern art as dealers, critics, collectors, patrons, and artists since before its protomodern beginnings. Could Gustav Klimt have realized the breadth and depth of his achievement and legacy without the patrons and portrait subjects that flocked to him from Vienna’s Jewish haute bourgeoisie? It seems telling that when, at last, a critical mass of Jewish modern artists came to prominence in the 1940s and ‘50s — including Gottlieb, Krasner, Louis, Nevelson, Newman, Rothko — they were abstractionists. Judaism and Jewishness may have informed their work, but the relationship isn’t visible to an unprimed viewer. Barnett Newman titled works Black Fire and White Fire — terms derived from mystical, metaphorical interpretations of the power found in the Torah’s words — but, without their titles and familiarity with the terms, the works’ Jewishness is inscrutable. Equally telling is the title, Too Jewish?, of the 1996 Jewish Museum, New York, exhibition of a phalanx of post-Pop, post-Warhol Jewish artists — among them Deborah Kass, Cary Leibowitz, Rhonda Lieberman, Art Spiegelman, and Hannah Wilke — who unapologetically, and/or with the specific intention to provoke, placed Jewishness front and center in their work.

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Andy Warhol, Ten Portraits of Jews of the Twentieth Century (F. & S. 226-235) (Detail: Sarah Bernhardt), 1980. Editions & Works on Paper, New York.

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From the vantage point of 2022, Jews are long established in the most rarefied spheres of contemporary art. Their work has been collected, exhibited, studied — lionized. But, apart from the cohort of artists highlighted in Too Jewish?, Jewishness has not — still. This is all the more surprising, and for some (like me) consternating, as this moment is one in which artists from traditionally marginalized groups and spheres — women, Blacks, Asians, Latinx, Native American, LGBTQIA+, the entire “Global South”— are asserting themselves unambiguously in art that has guided an art world turn to the figurative, the narrative, the textual — that which can be “read” and can’t be ignored. What’s more, museums, galleries, and academia are fervently playing catch-up in presenting the previously unrepresented after centuries of indifference, even dismissal.

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As noted, Jews are far from underrepresented among artists, curators, gallerists, critics, art historians, and art collectors and patrons. But Jewishness and Judaism remain, overwhelmingly, under wraps in the visual arts. BIPOC and Queer artists and others of the historically dispossessed are demanding to be seen. Jewish artists and arts professionals want to be seen, as well — but, apparently, not as Jews. They don’t want to be pigeonholed, don’t want to be deemed “too Jewish.” Their goal is universal, rather than Jewish particular, relevance and resonance. That is understandable, it’s worthy, yet it is also a lost opportunity, one that seems driven, in part, by discomfort and shame around projecting Jewish identity. In 1980, Warhol’s Ten Portraits of Jews of the Twentieth Century could not have been a stronger or more surprising departure from a creative and aesthetic sensibility that eschewed depictions of Jewishness — a sensibility perhaps most deeply held by Jews ourselves and continues to prevail.

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The above discussion is one of an internal Jewish dynamic. External dynamics, those generated among the non-Jewish majority but focused on Jews, specifically, continue to shape our lives and senses of self and well-being. The circumstances of American, European, Israeli, Asian, African Jews — the world’s Jews — have certainly evolved since 1980. However, to the degree that the contemporary Western Jewish condition is “prosperous” with past achievement and future possibility, that prosperity remains insecure. The association of Jews with pronounced acuity and accomplishment — “genius”— is as much a cause for conspiracy mongering as it is for pride among Jews and respect from non-Jews. This is another, potent cause for our persisting self-consciousness. We want to be represented and visible individually, and may harbor some pride in ourselves and fellow Jews as Jews, but it can’t be too much, it can’t be enough to draw too much attention — the wrong kind of attention — to ourselves as collectively overrepresented Jews. For this reason, along with its now better recognized visual and conceptual merits — and for remaining anomalous as a work of contemporary art with unmistakable Jewish content — Warhol’s Ten continues to speak to, for, and about us.

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Matthew F. Singer is editor-in-chief and interim co-director for Brandywine Workshop and Archives, Philadelphia, and its online portal for multicultural art and educational resources, Artura.org. He served for many years as curator for the Philadelphia Museum of Jewish Art at Congregation Rodeph Shalom and senior writer for the Philadelphia Museum of Art.

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\n","publishDate","2022-10-12T18:07:30.000000Z","authorCredit","Arian Murati","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/105871081/an-identity-comes-of-age-andy-warhols-ten-portraits-of-jews-of-the-twentieth-century","displayOrder",2,"auctionEditorialID",1655,"editorialID",3983,"flocklerID",105871081,"https://flockler.com/thumbs/sites/889/joan-miro-constellations-c0826bd2-0e0d-44d6-a197-79baca185857_s600x0.jpg","What would Miró make of our powerful new images of the universe? Astrophysicist Ravit Helled explores the artist's 'Constellation' series through the lens of the latest developments in space exploration. ","Joan Miró's Universe","

Joan Miró, Constellations (M. 260, C. bks 58), 1959. Editions & Works on Paper.

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Beginning in January 1940 and continuing over a period of 20 months, Joan Miró created a series of 23 oil and gouache paintings on paper, each measuring 15 x 18 inches containing related imagery of cosmic order — planets, suns, stars, crescent moons, birds, lovers — shining nocturnal jewels that became known as his 'Constellation' series. After the original exhibition of the paintings at Pierre Matisse’s gallery in early 1945, the individual gouaches of the Constellations were all sold, widely dispersed and not reunited until 1959, when Pierre Matisse, with Miró’s full support, decided to publish an elaborate facsimile with stenciling edition. The resulting prints are of such high quality that, excluding their slight difference in size from the originals, they are virtually indistinguishable from their models. This set on offer in Phillips' 24 - 26 October Editions & Works on Paper Auction in New York includes one lithograph in colors and 18 pochoir reproductions in colors after gouaches by the artist.

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Written by Ravit Helled

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“Where do we come from?”

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“How big is the Universe and what is its fate?”

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“How do stars and planets form?"

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“Are we alone?”

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Asked by astrophysicists and artists alike, these questions have kept humanity busy for a very long time. Even our ancestors tried to make sense of the night sky, connecting stars to create the constellations. Joan Miró’s 1959 Constellations reflect this attempt to create order from chaos and to give meaning to shapes and colors. Today, our understanding of the universe in all its different scales continues to improve thanks to new observations — yet many are so technical that they are interpreted and understood only by a small community of scientists. Despite their importance, often such exciting measurements don’t reach the attention of the general public. But there is another type of measurement that does impact nearly all of us: remarkable, overwhelming images of the universe captured by the recently launched James Webb Space Telescope (JWST).

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Joan Miró, Constellations (M. 260, C. bks 58), 1959. Editions & Works on Paper.

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While the effort of understanding the universe using advanced technology goes back several decades, a new era in the visualization of the beauty of astronomical objects began in 1990 with the launch of the Hubble Space Telescope (HST). (Interestingly, this telescope was named for Edwin Hubble in 1983, the same year Miró died.) This huge space-based observatory has revolutionized the field of astronomy. During its operation, spanning three decades and still ongoing today, Hubble has performed more than 1.5 million observations. But the HST not only influenced astronomy, it also impacted the imagination and curiosity of humanity. I still remember how the first astonishing images took my breath away. Their depth and complexity have encouraged me to discover the mysteries of space ever since. With Hubble, we could suddenly look into the universe from a different perspective, making space more reachable, or at least, something that is less surreal, and can be translated into structures and colors.

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Thousands of galaxies are visible in this image from the James Webb Space Telescope, seen in various stages of galactic evolution that span 13.2 billion years of galaxy development, scattered across a black backdrop of space. Courtesy NASA/JPL-Caltech.

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In December 2021, we entered a new phase in space exploration with the launch of the James Webb Space Telescope. The JWST, also known as Webb, “sees” in near-infrared and mid-infrared wavelengths, corresponding to light beyond the red end of the visible spectrum. The human eye perceives radiation at this wavelength as heat. Yet Webb's view in infrared allows us to detect cold objects that don’t emit much energy or objects that are not visible in other wavelengths. Its design also allows us to observe “dusty” environments, such as regions where stars and planets form. Observing at this wavelength reveals new details in images, providing a chance to explore many mysteries, including the early evolution of the universe and the formation of the first stars and galaxies.

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The initial data from JWST is freely available for all to look at and interpret. The first images arrived in July 2022, and again, we witnessed that reality goes way beyond imagination. These stunning images are much like abstract artworks. The first published JWST images, which only provide a glimpse toward its capability of exploring the universe, include various astrophysical objects covering large ranges of space and time: old galaxies, young nebulae, regions where star and planet formation takes place, the outer planets of the Solar system, and even observations of the atmospheric composition of gaseous planets orbiting other stars. Fascinatingly, Miró interpreted our earlier understanding in the 1950s of these dusty and gaseous, colorful regions of deep space through highly elaborate washes. When making his original Constellation paintings, he purposely worked the surface of the paper to produce texture, sometimes a bit grainy. I can only imagine the incredible creations Miró might have made if he had seen the images from our space telescopes.

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Joan Miró, Constellations (M. 260, C. bks 58), 1959. Editions & Works on Paper.

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The scientific discoveries associated with JWST have only just begun. Since Webb's expected lifetime is several decades, and based on our past experience with astronomical observations, we can't even predict the impact it will have on science and human knowledge. Surprises are yet to come! I, for one, look forward to the upcoming observations, new theories, and future challenges for science. Beyond its scientific contribution, Webb, like other large space telescopes, is expected to affect humanity. In addition to stimulating our imagination, it teaches us to be modest. After all, we are only a negligible piece of the cosmos, and lucky to be here for several decades, during a special time when we can take a deeper look into the universe and learn about our origins.

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Ravit Helled is a Professor of Theoretical Astrophysics at the Institute for Computational Science, Center for Theoretical Astrophysics & Cosmology, University of Zurich. Helled’s scientific work concentrates on planet formation and evolution, planetary interiors, and extrasolar planets. She is an international expert in planetary modeling, and uniquely addressing the link between planetary formation, evolution, and internal structure, as well as linking exoplanetary studies with solar system science. Professor Helled is strongly involved in space exploration and is a key member in several ESA and NASA space missions.

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Joan Miró: Prints to Rival Any Painting >

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\n","2022-10-03T19:51:02.000000Z","Phillip Crook","https://www.phillips.com/article/105127184/joan-miro-constellations-editions-phillips-auction",1,1656,3976,105127184,"https://flockler.com/thumbs/sites/889/roy-explosion-0337a553-58b4-419c-9387-3a5f7de3a7ec_s600x0.png","Our team highlights a selection of standout works from Phillips' 24-26 October Editions & Works on Paper auction. ","Specialist Picks: Editions New York ","

Roy Lichtenstein, Explosion, from Portfolio 9 (C. 49), 1967. Editions & Works on Paper, New York.

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Left: Frank Stella, Olyka (III), from the Paper Relief Project (T. 544, A. & K. 106.3), 1973. Editions & Works on Paper, New York. Right: Ed Ruscha, New Wood, Old Wood, 2007. Editions & Works on Paper, New York.

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Jason Osborne

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These two prints, even though divided by decades in their production and thousands of miles in their artists’ coastal residencies, somehow manage to find common ground in their sculptural qualities and reference to the elemental nature of wood. East Coast abstraction meets cool West Coast pop. And pop these works do, right off the paper into a three-dimensional space. Ed Ruscha’s New Wood, Old Wood (2007) relief print is a strikingly convincing trompe l’oeil depiction of a fresh piece of rough wood resting above an aged, cracked plank. Published by Mixografía®, known for their trademarked and involved relief print processes, the prints are uncanny in their likeness to actual pieces of wood and virtuosic in their craft and making. Frank Stella’s Olyka (III) (1975) from his Paper Relief Print series also rests in substantial relief. The titles of each work from the series reference specific places in Poland and the Soviet Union where centuries old, intricately constructed wooden synagogues were destroyed. One can see the homage to these lost synagogues in the tightly, carefully constructed and geometric composition of this hand-colored paper pulp relief.

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Clockwise from top left: Nan Goldin, Joan Crawford on Fire, Thanksgiving, New Jersey, 2005. Editions & Works on Paper, New York. Andy Warhol, Ten Portraits Of Jews Of The Twentieth Century (F. & S. 226-235), 1980. Editions & Works on Paper, New York. Andy Warhol, Mao (F. & S. 91), 1972. Editions & Works on Paper, New York. Andy Warhol, Joseph Beuys in Memoriam, from For Joseph Beuys (F. & S. 371), 1986. Editions & Works on Paper, New York.

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Cary Leibowitz

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Someone once said

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Or a billion people have said more than once

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Or like we say here on Park Avenue

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A picture is worth a thousand words

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But

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May I interject —

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Let’s do the math

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Nan

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Goldin

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Joan

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Crawford

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on Fire

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Thanksgiving

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New Jersey

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Here the 7-ish word title is worth it all (OK plus artist’s name)

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Don’t get me wrong

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It’s a great photo

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Here Nan Goldin captures a moment

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Really quite magical and it isn’t some smarty pants photo-shopped juxtaposition

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I confess

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I get FOMO (fear of missing out) with every every every single Nan Goldin photograph

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The glow of a roaring fire and an old Joan Crawford movie

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A belly full of turkey and pie

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Tomorrow Black Friday in New Jersey

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Speaking of missing out---

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Bear with me this will be shorter

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I never did meet Queen Elizabeth

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I realize that doesn’t get me a lot of sympathy and maybe she wasn’t in my top ten to meet but this is a perfect portrait.

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Right royal as they say — even with diamond dust — because it’s the royal edition

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It’s like the portrait of George Washington by Gilbert Stuart

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Or the Holbein portrait of Henry the VIII

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I mean — there are great portraits of other people too and don’t start talking about Goya!

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— BUT

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by Andy Warhol??

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How did he do this — and in a way he still does it as his ‘way of working’ has now been ‘adopted’ by everything everywhere all the time

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If I count the Warhol portraits in this auction there are 21 — including Mickey Mouse (which he already prefaced as a myth) and a self portrait

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I am totally back to my overwhelming FOMOF (fear of missing out FOREVER)

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I’ll never meet Marilyn Monroe

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I’ll never meet Elizabeth Taylor

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I’ll Never meet Sigmund Freud

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I’ll Never meet the Marx brothers

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I’ll never meet George Gershwin

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I will never meet Gertrude Stein (I do feel gipped)

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I’ll never meet Franz Kafka

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I’ll never meet Martin Buber

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I’ll never meet Justice Brandeis

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I’ll never meet Sarah Bernhardt

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I never met Albert Einstein

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I never met Golda Meir

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I’ll never meet Muhammad Ali

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I will probably never meet Mick Jagger although I did see him once

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I’ll never meet Mao (Tse Tung) (I’m very Ok with this)

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I never met Joseph Beuys

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I never met Andy Warhol (very very gipped!)

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Left: George Condo, Untitled, 2019. Editions & Works on Paper, New York. Right: Jake and Dinos Chapman, Dinos not Jake, Reworked and improved etching from Francisco de Goya's 'Los Caprichos', 2006. Editions & Works on Paper, New York.

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Sophie Shapiro

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It is an art lover’s dream when an artist can make historical references while simultaneously maintaining their own contemporary style, giving a wink and nod to those who recognize the artistic conventions of past movements. These etchings by George Condo and Jake and Dinos Chapman expertly reference Pablo Picasso and Francisco Goya. George Condo’s thin lines depict three, maybe four, cubically distorted bust length portraits that draw on the Mannerist style of the 16th century and Cubist style of the early 20th century. He has referred to his art as “fake old masters,” and despite these overt references, his prints are unmistakably Condo. Jake and Dinos Chapman modernized Francisco Goya’s 'Los Caprichos', a series of 80 etching and aquatints that critiqued society and the Spanish government. Goya included titles at the bottom of his prints illustrating Spanish proverbs and contemporary references. Jake and Dinos Chapman do the same, their simple title reading Francisco Goya y Lucientes: Pintor. These artists use their unique styles to add a contemporary spin on this historic medium, innovating and, as the Chapman brothers might argue, improving on the cornerstone of 19th and 20th century printmaking.

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Left: Robert Ryman, Four Aquatints and One Etching (S. RRG10/1-5), 1991. Editions & Works on Paper, New York. Right: Gene Davis, [Untitled], 1981. Editions & Works on Paper, New York.

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Sarah Browne

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Davis and Ryman's signature artistic repertoires convey movement and joy. Seemingly quiet and contemplative at first glance, each work has an electrical current running through the surface. The Smithsonian American Art Museum remarks, "Despite their calculated appearance, Davis’s stripe works were not based on conscious use of theories or formulas. Davis often compared himself to a jazz musician who plays by ear, describing his approach to painting as ‘playing by eye'." While Davis explores rhythmic color intervals, Ryman says "the real purpose of painting is to give pleasure." He compares painting to music and the joy one feels just listening to the sounds of a song, not being concerned with the score itself. Ryman too found inspiration from jazz; escaping the country music of his youth in pursuit of New York's bebop tunes.

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Two jazz aficionados finding pleasure in subtleties and familiar marks.

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Left: Alex Katz, Red Coat (S. 164), 1983. Editions & Works on Paper, New York. Right: Chuck Close, Leslie, 1986. Editions & Works on Paper, New York.

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Emma Pfeifer

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Just blocks away from our lovely Park Avenue saleroom are the 57th and 86th street subway stations. These new terminals opened to the public in 2017 and 2019 and have been used by thousands on their daily commutes and by tourists navigating the city. Alex Katz, a native New Yorker, has several monumental pieces in the 57th street station on the F line, depicting his iconic portraits and flowers. The recently deceased artist Chuck Close decorated the walls of the 86th street station with a series of kaleidoscope shapes that from a distance become a portrait. Our eagle-eyed visitors may recognize the same artists represented in our galleries with Alex Katz’s Red Coat and Chuck Close’s Leslie. Both artists are well-known for their portraits and have a distinctive aesthetic that makes their works recognizable to visitors, art enthusiasts, and auctioneers alike.

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Left: Ken Price, Chet (G. 1539), 1991. Editions & Works on Paper, New York. Right: Friedel Dzubas, Untitled, 1981. Editions & Works on Paper, New York.

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Audrey Bastian

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Of course, Ken Price admired Meret Oppenheim's famous fur-covered cup and saucer; in Price’s own words: "I just like the cup." Ken Price explored the subject of the cup through constant reinvention and whimsy. "The cup essentially presents a set of formal restrictions — sort of a preordained structure," said Price, "but it can be used as a vehicle for ideas.” Price’s sculptures explore his interest in the recesses of space, varied surfaces, and textures. In Chet, Price places his delicate ceramic on a tiny pedestal in a wooden display case, enticing the viewer in. Not entirely unlike color field painter Friedel Dzubas’ work, whose inventive and painterly gesture persuades with richly pigmented imagery. Dzubas’ monotype from 1987 makes for a large and vibrant pairing to Price’s brightly glazed cup. Full of naturally occurring phenomena and references to the experience of color, Dzubas utilizes the most painterly of prints to his advantage. As Dzubas once wrote, and despite my own undying defense of the multiple, “you cannot mechanically materialize spontaneity.”

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Left: David Shrigley, I've Got Your Lipstick; and Fuck, 2021. Editions & Works on Paper, New York. Right: Roy Lichtenstein, Explosion, from Portfolio 9 (C. 49), 1967. Editions & Works on Paper, New York.

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Fiona Fraser

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“The Heist”

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A kleptomaniac bird and an overly ambitious rooster awake before dawn, the unlikely duo team up to pull off a heist. The meet. The disastrous results. Someone should have checked their references.

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Shrigley sass meets Lichtenstein pop. British wit meets the American desire for action. Distilled to their bright primary colors and recognizable graphic motifs, the commercial appeal of these prints draws the viewer into a storyboard that no one asked for — but a little humor never hurt anyone. Both artists find cartoons at the center of their artistic practice, Shrigley’s deadpan humor offering balance to Lichtenstein’s idealized Americana, both beckoning you to look a bit deeper beneath the surface. Eye-catching and effective, don’t let these simple motifs fool you, there is more than meets the eye and if you don’t watch out, a little birdie might just steal your lipstick when you aren’t looking.

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Left: Marc Chagall, Poèmes (Poems) (C. bks 74), 1968. Editions & Works on Paper, New York. Right: Ugo Rondinone, Poems, 2006. Editions & Works on Paper, New York.

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Kelly Troester

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The Romantic Tradition - nature and the human condition. Chagall and Rondinone, a few generations apart, two Romantics who had/have similar need to wander in those special personal inner worlds expressed through art and poetry.

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Chagall thought of himself as much of a poet as a painter and preferred the company of fellow poets. He composed many poems and illustrated tales, people, and places in a truly poetic style of drawing. Rondinone creates poems as part of an extended artistic lexicon, his breathing. With their artistic fullness in media and techniques, these two artists both afford us a wonderful coincidence here with their choice of woodcuts used to illustrate their words. And neither have used carved wood blocks in printmaking really that much. Chagall adorns his poems with elaborate woodcut imagery, Rondinone carves out his words and marks in the blocks using them as his elegant forest. Both embrace the earthy, spiritual texture of the wood and papers they are printed on.

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The poems Chagall wrote in this set span a lifetime of creativity, and Rondinone’s collection feels as if they do, too; their words giving us just enough to grasp, relate to, yet we are left to decipher more of their experiences and visions.

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Beautiful chance, I see

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Beautiful rhymes and reasoning.

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Discover More from Editions >

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Recommended Reading

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The Prompt: David Hockney >

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Roy Lichtenstein: Pop Art Impressionist >

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