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拍賣 2025年2月28日
\n東部時間上午10:00
\n

\n\n

第一部分：上午10:00
\n（拍品 1 - 94）
\n第二部分：下午2:00
\n（拍品 95 - 219）
\n

\n\n

美國紐約公園大道432號10022（地圖）
\n

\n\n

預展 2月22至27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5:00
\n

\n\n

請聯絡bidsnewyork@phillips.com，以協助登記進行現場、書面或電話競投。
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參閱富藝斯業務規定 >
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\n","auctionDetailsSmall","紐約拍賣 2025年2月28日","extraInfo","

Avery Semjen
\nNew Now拍賣主管暨專家
\nT +1 212 940 1207
\nasemjen@phillips.com
\n

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Ernie Barnes, Dance Studio, 2002. New Now: Modern & Contemporary Art New York.

\n\n

Your Rider is Still in Transit

\n\n

— Written by Kaj Tanaka

\n\n

I live uptown, I work downtown, my kid’s daycare is across town, and my dance studio is in the opposite direction of the rest. It’s fine I suppose, if you enjoy spending time on the train, only I do not. I count the minutes and calculate my wasted days and months. There’s so much I want to do and so little time. It’s dizzying. I try not to think about it.

\n\n

Perhaps my stress drew the woman on the subway to me. She handed me a card: “Tired of the train?” it said. “Let us ride for you.” It had a QR code.

\n\n

“We’re in beta,” the woman said. “That code qualifies you for a free account.”

\n\n

After putting my kid to sleep that night–pulling out the card and sitting there in the dim of my tiny living room, the trains screaming by outside — I scanned the QR code, entered my personal information and the details of my commute. A few minutes later there was an email confirmation.

\n\n

The Rider arrived at 6:45 the next morning, just as my daughter and I were heading out. He wore an old-fashioned gray flannel suit and matching hat. “I’m your rider,” he said.

\n\n

I didn’t understand, so I nodded.

\n\n

The Rider knelt on the hard floor to take my daughter’s hands in his, gently, as if she were made of glass. Then he got up and told her not to follow him — “following me is not part of the experience,” he said — and he walked out the door.

\n\n

I figured this was all part of the thing I’d signed up for, so instead of rushing to the train like usual, my daughter and I made breakfast. But halfway through making pancakes, I noticed my daughter had disappeared.

\n\n

The Rider returned for me about a half hour later. “So that’s how it works?” I asked. “You come and touch our hands, and then we just — poof?”

\n\n

“Your daughter is at daycare,” he said, showing me a picture on his phone of her waving at the camera. “I do the commuting. You show up.”

\n\n

“What if I sent you out,” I said, “to my work, for example, and then I changed my mind and went to the airport instead?”

\n\n

“You can’t do that,” he said. “It won’t work. There can only ever be one rider in transit.”

\n\n

\n\n

Ernie Barnes, Dance Studio (detail), 2002. New Now: Modern & Contemporary Art New York.

\n\n

It was an odd stipulation, but why dwell on little details when over the next month, my life became a paradise. My daughter and I had breakfast together every morning, I had extra time at the dance studio, and I got to work early enough to apply for better jobs. I widened my job search because if the Rider could take me downtown in a split second, could he not also take me to Atlanta or Seattle?

\n\n

The Rider said he supposed he could do a longer commute. “There isn’t a rule,” he said hesitantly, “If, however, you consider,” he paused to choose his words carefully, “the strain such a commute would take on the rider — ” but then he just trailed off — clearly he didn’t have a point.

\n\n

I took a job in London. Even with the cost of a daily round trip flight across the Atlantic, it was worth it — the money they were offering! I explained the new job to my Rider at the dance studio that night.

\n\n

Here’s how it would go, I said: At noon EST, I would step out of my living room and into my new office in London, where the time change would make it 7 AM GMT. The Rider would touch my hands again right away, so that twelve hours later, midnight back home, I would arrive back at my apartment, ready for bed, just in time for the Rider to touch my hands and begin his return trip to London for the next day’s work, and so on.

\n\n

But when I finished, he just stepped away without a word, putting the piano between us. A group of professional dancers were finishing up practice—the mahogany floor—green lights overhead casting shadows that mingled with the sunset crossing the open windows as their bodies moved in perfect synchrony—their reflections on the newly polished floor seemed to make them taller, the sound of their feet, all meeting ground at once, and again, and again — their regularity hitting me like the passing of days, of all the life I’d wasted, and not just time spent in transit. This was my chance to make things right for my daughter, to make her proud of me, to give her a story she could remember me by.

\n\n

When the dancers finished, the Rider came over. He took my hands to begin his commute to my daughter’s daycare. I asked if everything was okay. “Everything,” he said with an automatic smile. The new schedule wouldn’t bother him, even if the commutes were a tad longer? “I know you’ll just be flying back and forth from London,” I said. “That’s probably annoying for you, but just think what it’ll mean for me — don’t be selfish.”

\n\n

Something unkind moved beneath his blank expression. “No, of course. It’s fine,” he clasped my hands to begin the commute. “Everything is fine.”

\n\n

After class, I checked the app — my Rider was still on commute, but that didn’t make sense. He’d left long ago. I waited in the dark hallway outside the studio. Everyone had gone home.

\n\n

I checked the app again and again. Same message: “Your rider is still in transit. It is vital to remain where you are. Thank you for your patience.”

\n\n

Eventually, I had to leave. My daughter’s daycare was calling me. I had to catch the train to get her. He left me no choice — rules or not, I had to go.

\n\n

But when I opened the door to leave, I didn’t see the familiar storefronts. In fact, there were no streets at all. The door swung open to reveal a narrow tunnel leading into darkness, curving away from me and descending.

\n\n

It felt as though the world had shifted beneath my feet.

\n\n

What should I have done? I followed the tunnel. The flashlight on my phone led the way, step by careful step. The walls were damp and cold, the air thick with decay. As I went deeper, the tunnel seemed to close around me, the darkness pressing against my skin.

\n\n

Eventually, my phone died, and I entered a sightless void. My panicked breaths came in short, ragged gasps. I reached out, feeling the rough, uneven walls, my fingers scraping against the cold material — not stone — not earth — something else. The tunnel seemed to stretch on forever.

\n\n

And I kept seeing flickers of the Rider, his gray suit and matching hat dancing before my useless eyes — playing tricks on me — the promise of a better life where I had enough of everything — a life of all marrow and no bone. I knew if I kept going forward, eventually I would find it. It was so close now. I would find him and I would make him understand. My new life was waiting for me. I could already taste it.

\n\n

Kaj Tanaka’s fiction has appeared in New South, New Ohio Review, Hobart and Tin House. His stories have been selected for Best Small Fictions, Best Microfiction, and Wigleaf’s top 50 stories. He lives in Shiprock, NM

\n\n

Discover More from New Now: Modern & Contemporary Art >

\n\n

Recommended Reading

\n\n

Reintroducing The Prompt >

\n\n

Basquiat Around the World: St. Moritz >

\n\n

\n","publishDate","2025-02-19T13:08:05.000000Z","authorCredit","Arian Murati","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/155281434/your-rider-is-still-in-transit","displayOrder","auctionEditorialID",2371,"editorialID",4824,"flocklerID",155281434,"https://flockler.com/thumbs/sites/889/basquiat-lead-copyright-pending-22869884-587e-403f-99f4-4077cf369700_s600x0.jpg","Discover a stunning Basquiat collage work made in Switzerland in 1983 — on offer in our New York New Now: Modern & Contemporary Art sale this February.","Basquiat Around the World: St. Moritz","

Jean-Michel Basquiat, Brook Bartlett, and Bruno Bischofberger at the Cresta Klubhaus in St. Moritz on January 30, 1983. Photo: Christina Bischofberger © Galerie Bruno Bischofberger, Männedorf-Zurich, Switzerland.

\n\n

Jean-Michel Basquiat is so intertwined with New York’s 1980s downtown scene that it’s easy to forget how well-traveled he was. Often spending time in Hawaii to escape the bustle of New York, Basquiat also frequented Los Angeles and Europe and visited Asia. This is not an artist who merely ambled around the same few blocks of the Lower East Side for sights and inspiration. Rather, alongside his meteoric rise to fame, he became a world citizen, making art as he traveled the globe, reflecting the various influences and observations he discovered along the way.

\n\n

One such work, made on a 1983 trip to St. Moritz, Switzerland, is Feng Yao — sold in Phillips’ New Now: Modern & Contemporary Art auction in New York. Basquiat visited Switzerland frequently at the invitation of his gallerist, Bruno Bischofberger, who began representing the artist in 1983. In his works made abroad, including in Switzerland, we see much of what intrigues Basquiat wherever he worked — how an exchange between African and European visual and cultural traditions can be used to explore racial and class lines developed in America and throughout the world. Switzerland was also a place for Basquiat to escape the noise associated with his growing fame, giving him time and space to relax and make large-scale works while at ease. As Bischofberger recounted to Hauser & Wirth gallery last year, “Jean-Michel visited me in Switzerland, where he particularly liked it. About half a dozen times in Zurich and exactly seven times in St. Moritz, four of them in the summer.”

\n\n

Feng Yao

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Jean-Michel Basquiat, Feng Yao, 1983. New Now: Modern & Contemporary Art New York. Sold for $825,500.

\n\n

Powerfully striking at approximately five feet square, this work speaks with a combination of text and image, freely merging fine art with Kitsch elements and the visual quickness of graffiti as is so characteristic of Basquiat. Composed of a rectangular paper collage element pasted asymmetrically to a primed canvas, the surface shows two imperfect squares with the text SQUARE DANCES written above. We see the impression of hand smudges along the margins that resonate against this text, as does the square shape of the canvas itself. The text is partially written a third time, misspelled, and struck through like an accented “blue” note in a music score. Completing the composition is the visage of a freckled man with closely cropped, spikey hair. Ultimately, it’s a somewhat humorous work that reveals its depth the longer you spend in front of it. Not only does the work exemplify Basquiat’s signature visual language presented in the artist’s casual way, but it also probes at tensions that would have been in the air in the early 1980s around race, culture, music, and dance — all subjects Basquiat explored fervently.

\n\n

Square Dancing in the ‘80s

\n\n

Little is known about what drew Basquiat to include this text in this work; however, given that at least nine Square Dance clubs are still active in Switzerland today, it’s quite possible that the artist was exposed to the dance while visiting the country. If so, we can imagine how striking this would be to an artist so interested in dance and cultural traditions ranging from Caribbean Voodoo ceremonies to the downtown New York dance clubs where he performed.

\n\n

But there might be more to the story here. American readers may remember Square Dances being taught in gym classes in public schools, as it has been a pervasive practice since the late 1920s. As such, we could assume Basquiat would have experienced this as well. Looking back at how this practice emerged, we uncover the alarming ideas of the industrialist Henry Ford, who began an influence and lobbying campaign in the 1920s with the intention of making the Square Dance the national dance. His reasons were reactionary against jazz music and dance, which he felt were corrupting the morals of his workforce and the nation’s youth. Others took up Ford’s campaign over the years, and it culminated in a Bill to recognize the Square Dance as the “National Folk Dance of the United States,” which was authored by the late West Virginia Senator Robert Byrd and signed into law by President Ronald Reagan in June 1982 — less than twelve months before the creation of this work.

\n\n

One can imagine even a quick news flash about this topic could catch Basquiat’s ear as he worked in his Lower East Side studio with the television on in the background. At any rate, it’s hard to imagine that Basquiat isn’t making a racially and culturally charged statement here while working amid the snowy landscape of St. Moritz.

\n\n

Jean-Michel Basquiat, Feng Yao, 1983. New Now: Modern & Contemporary Art New York.

\n\n

Much of this work remains a mystery, but with its commanding presence and intricate themes, we can’t deny its charged nature and communicative ability. In addition to references to the Square Dance, Basquiat seems to have intriguingly given the work a title in Mandarin. Further, it was executed at an important time in his career, having presented his first solo exhibition at Annina Nosei Gallery in 1982 and that same year participating in documenta in Kassel, Germany — and later becoming the youngest artist included in the 1983 Whitney Biennial. All told, this work is a testament to how widely Basquiat’s eyes looked, ears heard, mind wandered, and feet traveled.

\n\n

Discover More from Modern & Contemporary Art >

\n\n

Recommended Reading

\n\n

How Lee Jaffe Ended Up in Thailand with Basquiat >

\n\n

The Icons of an Icon >

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159

Claes Oldenburg

《習作：軟薩斯風》

完整圖錄內容

Claes Oldenburg