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Hong Kong
\nHighlights Preview 2-3 June
\nViewing 4-8 June
\n

\n\n

International Tour
\n

\n\n

Beijing

\n\n

3-4 May, 10am-6pm
\nRosewood Beijing
\nJing Guang Center, Hujialou, Chaoyang District Beijing
\nPavilion Ballroom
\nOpen to Public

\n\n

Shanghai
\n8-9 May, 10am-6pm
\nJing An Shangri-La, West Shanghai
\n1218 Middle Yan’an Road, Jing An District, Shanghai
\nJing An Grand Ballroom I
\nOpen to Public
\nshanghaioffice@phillips.com

\n\n

Shenzhen
\n22-23 May, 10am-6pm
\nRaffles Shenzhen
\nT7, One Shenzhen Bay, 3008 Zhongxin Road
\nNanshan District, Shenzhen, Guangdong
\nHai Yue, Wu Tong, Xiang Mi, Guan Lan
\nOpen to Public

\n","auctionDetailsSmall","Hong Kong Auction 8 June 2021","extraInfo","

Charlotte Raybaud
\nHead of Evening Sale, 20th Century & Contemporary Art
\nCharlotteRaybaud@phillips.com

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喬治·康多(George Condo)《吉恩‧路易斯素描》，2006年作，油彩畫布，215.6 x 203.5 公分。
\n估價10,000,000 - 15,000,000港元
\n二十世紀及當代藝術晚間拍賣，6月8日。

\n\n

喬治·康多(George Condo)獨特的聲音已經成為近三十年來美國和歐洲藝術的基石。自1980年代初期紐約生機勃勃的藝術圈嶄露頭角以來，康多形成了一種獨特且具有挑釁性的繪畫風格，作品曾在紐約大都會藝術博物館、美國華盛頓國家美術館、倫敦泰特現代藝術館和巴黎龐畢度現代藝術中心等著名機構的收藏中。

\n\n

作於2006年的《吉恩‧路易斯素描》是仿真現實主義的典型代表，康多在1980年代後期率先提出如此哲學，從此將其應用在形而上的人體肖像畫中，主要包括虛構的法國人物吉恩‧路易。仿真現實主義的定義是人造事物的現實展現，亦是康多的作品核心，令他建構多樣的神秘英雄。在藝術家的幻想中，這些英雄的生活體驗是一面反映人性的鏡子，為當代世界提供了如幻似夢的娛樂。

\n\n

\n
誰是吉恩‧路易斯? 他是服務生、廚師還是司機? 他是否真有其人?
\n

\n\n

《吉恩‧路易斯素描》不僅穿梭和廢除抽象與具象之間的邊界，更是康多扭曲現實展現的絕佳典範。作品背景充滿不同透明度的筆觸，而畫中主角尚路易以破碎面貌呈現，富有立體主義影響，極具戲劇意味。同時，尚路易面容扭曲的臉龐亦展現了一系列東歪西倒的面部特徵。

\n\n

喬治·康多曾經擔任安迪．沃荷的助手，見證了多個重要藝術運動的演變。他與凱斯‧哈林、巴斯奇亞、朱利安‧施納貝爾等成為好友，影響了喬治·康多本身的創作，這可從他對線條運用和質感演繹中可見一斑。

\n\n

\n","publishDate","2021-05-20T08:41:14.000000Z","authorCredit","Veronica Chow","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/75919653/first-reveal-george-condos-sketches-of-jean-louis-cn","displayOrder",14,"auctionEditorialID",1246,"editorialID",3523,"flocklerID",75919653,"https://flockler.com/thumbs/sites/889/153488_uc351218-0d7fdfac-c2aa-4033-b6fd-b81e80ebf1cf-25592434-8832-4f11-8611-006e5ca9cfbd_s600x0.jpg","Few artists have dedicated their careers as singularly to one genre as George Condo has to portraiture. ‘Sketches of Jean Louis’ is an exceptional example of his cherished black-and-white portraits. Charlotte Raybaud, our head of evening sale in Hong Kong, explains the mysterious figure behind the work.","First Reveal: George Condo’s ‘Sketches of Jean Louis’","

George Condo, Sketches of Jean Louis, 2006. Estimate HK$10,000,000 - 15,000,000. 20th Century & Contemporary Art Evening Sale Hong Kong.

\n\n

Recognized as one of the most inventive and prolific artists of his generation, George Condo has exhibited extensively throughout his career. His work is housed in many prestigious collections worldwide, including the Metropolitan Museum of Art in New York, The National Gallery of Art in Washington D.C., the Tate Modern in London and the Centre Georges Pompidou in Paris.

\n\n

Created in 2006, Sketches of Jean Louis is a quintessential example of the “artificial realism” philosophy that Condo pioneered in the late 1980s and has applied to his portraits of metaphysical mannequins ever since. Defined as the realistic representation of that which is artificial, the philosophy is central to Condo’s work, guiding his construction of mythic heroes whose imagined lives serve as a mirror for human nature, providing a fanciful recreation of our contemporary world.

\n\n

\n
What is Jean Louis? Is he a waiter, a chef, a driver? Is he a real person?
\n

\n\n

His most frequent icon is Jean Louis, is a fictitious French character often presented as a butler, maid, chef or banker. His depiction nods to both a kaleidoscopic array of art historical references whilst also feeling conspicuously contemporary. In the past, Condo has playfully said the question is not “who is Jean Louis” but “what is Jean Louis.”

\n\n

Condo’s distinct aesthetic is the result of his standing at the intersection of several major art movements. At the age of 21, he was an assistant in Andy Warhol’s Factory, where he befriended other New York artists such as Jean-Michel Basquiat, Keith Haring and Julian Schnabel. Their influence can be traced in Condo’s scrawling, bold lines and adroit understanding of texture.

\n\n

Discover More from 20th Century & Contemporary Art & Design Sale >

\n\n

\n\n

Recommended Reading
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\nThe Legendary Origins of a 'Grecque' Table Lamp >

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NFTs, Past and Future >

\n\n

\n","2021-05-17T09:48:05.000000Z","https://www.phillips.com/article/75666888/first-reveal-george-condos-sketches-of-jean-louis",13,1245,3517,75666888,"https://flockler.com/thumbs/sites/889/151978_uc347899-deafcb0e-f9b9-4073-9484-33a6e42bddc5_s600x0_c837x490_l0x173.jpg","每年均有不同類型的藝術展覽在世界各地出現，今年在亞洲舉行的一系列藝術家個展更加備受關注，而這群藝術家的作品亦不約而同地出現在二十世紀及當代藝術和設計春季拍賣之中。","從美術館到拍賣場，他們都是耀眼焦點","

喬治·康多(George Condo)《紅色椅子上的女人》，2007年作，油彩畫布，76.5 x 61 公分。
\n估價2,500,000 - 3,000,000 港元
\n拍品193，二十世紀及當代藝術和設計日間拍賣，6月7日。

\n\n

喬治·康多

\n\n

著名美國藝術家喬治·康多(George Condo)的作品曾在紐約新當代藝術博物館、大都會藝術博物館等著名機構的收藏中，以及2019年的威尼斯雙年展上展出。今年9月至11月，上海龍美術館將舉行「喬治·康多：圖像殿堂」展覽，本次展覽是喬治·康多在亞洲迄今為止最大規模個展，由馬西米里亞諾·吉奧尼（Massimiliano Gioni）策展，呈現90餘件作品，聚焦於康多自1970年代末以來重要的周期創作與作品系列，並將首次展出一系列康多為本次展覽特別創作的大尺幅繪畫。展覽的名字來自藝術家2002年的作品，整個展覽將成為一座展示虛構肖像的殿堂。至於在即將舉行的二十世紀及當代藝術和設計拍賣亦呈獻多幅康多的重要作品。

\n\n

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喬治·康多(George Condo)《吉恩‧路易斯素描》，2006年作，油彩畫布，215.6 x 203.5 公分。
\n估價10,000,000 - 15,000,000港元
\n拍品28 ，二十世紀及當代藝術晚間拍賣，6月8日。

\n\n

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喬治·康多(George Condo) 《執行官》，2003年作，油彩畫布，61 x 50.8 公分。
\n估價2,200,000 - 3,200,000港元
\n拍品194，二十世紀及當代藝術和設計日間拍賣，6月7日。

\n\n

康多大部分的作品包含虛構人物的肖像，展現「以不同方式畫出各種心理狀態的複合體」。《執行官》展現了康多對心理肖像的敏銳理解，在細節的描繪上真實且細緻入微，同時卻又充滿怪誕和荒謬的元素，體現出「日常生活中的瘋狂」。這位年輕、風度翩翩的執行官在康多的畫筆下，身穿1980年代的尖領權力西裝，急不可待地盯著懸在眼前觸手可及的資本主義胡蘿蔔，與電影《美國殺人魔》(American Psycho)中的反英雄主角帕特里克·貝特曼有著驚人的相似之處。康多長期迷戀描繪複雜且精神狀態岌岌可危的虛構人物完整體現在《執行官》一畫中。他對《美國殺人魔》的主角年輕股票經紀人詼諧、挑釁的描繪，極端深入人類的心理。

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喬治·康多(George Condo)《紅色椅子上的女人》，2007年作，油彩畫布，76.5 x 61 公分。
\n估價2,500,000 - 3,000,000 港元
\n拍品193，二十世紀及當代藝術和設計日間拍賣，6月7日。

\n\n

康多的《紅色椅子上的女人》是向畢卡索的1932年傑作《紅色椅子上的女人》。在1920年代中期，畢卡索畫筆下的女性形象開始強烈地展現出扭曲和變形的形態，其中部分原因是出於藝術家個人生活境況的變化。畢卡索與俄羅斯芭蕾舞女演員奧爾加·科赫洛娃的婚姻開始出現緊張狀況，也正是在這個時候，超現實主義運動及其所強調的變形正發展得如火如荼。畢卡索所創造的空間上和情感上的錯位感預示著康多標誌性的「心理立體主義」的問世，這在《紅色椅子上的女人》中得到了最佳體現。空間並非康多作品中唯一的主題，他同時也試圖捕捉人物的情感在某一瞬間的各個方面，創作出「以不同方式繪畫的各種心理狀態的複合體」的虛構人物肖像。康多的人物是一位端坐的新古典主義美人，雙手交疊於腿上，而她的面容卻被一絲驟然而至的陰翳所掩蓋。

\n\n

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喬治·康多(George Condo)《面孔和表情》，2009年作，壓克力粉筆粉彩紙本，126x111.5公分
\n估價1,500,000 - 2,500,000港元
\n拍品192，二十世紀及當代藝術和設計日間拍賣，6月7日。

\n\n

\n《面孔和表情》是康多於1980年代後期率先提出的人造現實主義哲學的一個絕佳範例，創作於2009年，這對康多來說是極為重要的一年，他開始研究一組獨特的「素描繪畫」，同時使用具象和抽象的元素用炭筆、鉛筆、粉彩和壓克力顏料在畫布上構造出複雜的層次組合。就這些作品的重要性，康多解釋道：「這些新畫或許讓某些東西離開了我的系統。我的意思是，所有這些我在過去十年裡創作的『pod人』、外圍生物，以及怪異人物。我現在開始回歸到更為自然的面孔和身體 […]這讓我很興奮。」

\n\n

西斯特·蓋茨

\n\n

生於芝加哥的西斯特·蓋茨 (Theaster Gates) 是一位跨媒介藝術家，通過作品探討種族和經濟平等的議題，因而廣受讚譽。上海的PRADA榮宅在今年3月11日至5月23日期間舉行名為「多寶閣」(China Cabinet) 的展覽，以藝術家的陶瓷作品構思了三幕敘事，隨著榮宅二層空間的漸次遞進，故事逐步展開。

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PRADA榮宅的西斯特·蓋茨展覽「多寶閣」。

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二十世紀及當代藝術晚間拍賣為亞洲拍賣市場首次帶來西斯特·蓋茨的作品。《暗紅色》來自《民權掛毯》系列，而該系列是由整齊排列的廢棄彩色消防喉縫合而成。靈感源自阿拉巴馬州伯明翰市的暴動，事件於1963年發生，當時民權示威者遭受水砲車攻擊、黑人教堂慘被焚毀、市內第十六街的浸信會教堂遭遇炸彈襲擊等。這些縫合而成的現成媒材展示其原本用途之餘，結合豐富的歷史背景，組成一面全新旗幟，而該旗幟的構圖則體現一些未被美國官方正視的史實。儘管這一系列作品基於過去，它們力證這些議題至今仍然存在。

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這件作品規模宏大，不僅是《民權掛毯》系列在拍賣市場上最大的作品，更是蓋茨史上最大的拍賣作品。鑑於其龐大的尺寸，觀者需要與作品保持距離以方便觀賞；而隨著距離越遠，其細節變得略為模糊。從遠處觀看，其美學酷似1960年代的美國抽象繪畫，讓人聯想到法蘭克．史特拉 (Frank Stella) 的幾何構圖。相反，隨著距離拉近，消防水帶暴露歲月痕跡，其民權鬥爭的象徵更為明顯，兩者之間的聯繫亦變得一目了然。

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拍品標題《暗紅色》暗示消防車的形象，也暗指泛貶義的俚語，而該俚語正是根據社會等級對人的外貌進行分類。同時，由於現成媒材 (廢棄消防喉) 隨著時間流逝而逐漸褪色，多年來累積不少污垢和殘留物，因此拍品本身亦符合標題的字面意思。2018年，蓋茨獲頒德州納舍爾雕塑中心 (Nasher Sculpture Center) 的著名納舍爾獎 (Nasher Prize) ，並於其後舉辦慶祝個展，而場上只有五件作品，當中包括《暗紅色》。

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西斯特·蓋茨(Theaster Gates)《暗紅色》(局部)， 2016年作，消防水帶木材
\n(一組五件)(i) 152.3 x 130.3 公分 (ii) 152.3 x 128.5 公分 (iii) 152.3 x 123 公分 (iv) 152.3 x 126 公分 (v) 152.3 x 153 公分，全幅 152.3 x 660.8 公分。
\n估價4,600,000 - 6,200,000港元
\n拍品 21，二十世紀及當代藝術晚間拍賣，6月8日。

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\n鹽田千春

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「塩田千春：撼動的靈魂」展覽。

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日本藝術家鹽田千春是近年備受注目的女性藝術家，其錯綜複雜、沈浸式的紗線裝置對過去與當下、物件與記憶之間的聯繫展開探討。僅管曾接受繪畫訓練卻發現自己在繪畫上停滯不前，她開始轉向使用紗線編織來進行創作，在澳洲求學那年她做了一個奇怪的夢：「我成了一件三維繪畫的一部分，並且無法呼吸，因為我渾身裹滿了顏料。在那之後，我知道要用自己的身體進行創作。」東京六本木森美術館宣布「塩田千春：撼動的靈魂」將在亞太地區巡迴，於即日起至8月22日在台北市立美術館展出。二十世紀及當代藝術和設計日間春拍將延續鹽田千春的神話，呈獻她的兩件作品。
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鹽田千春 《日常創傷》，2007年作，線鋼衣服壓克力，150 x 100 x 80 公分。
\n估價300,000 - 500,000港元
\n拍品183，二十世紀及當代藝術和設計日間拍賣，6月7日。

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鹽田千春的《日常創傷》系列融入了例如衣服、鞋、玩偶等現成日常物件。這些平常卻帶有強烈個人印記的物件成為了存放那些或愉悅或痛苦的深刻記憶的容器，象徵著日常生活中的詩意：「我能透過這些物件看到人。我能通過這些他們使用過的物件或讀過的書辨認出他們是，或曾經是怎樣的人。人們遷移、旅行、改變，但他們會在所有觸碰過或使用過的東西上留下痕跡：衣服、鞋、傢具、房子，甚至當他們已然離開。」

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鹽田千春 《生存的狀態 (木偶屋)》，2013年作，黑線木偶屋，34.6 x 60 x 50公分。
\n估價200,000 - 300,000 港元
\n拍品182，二十世紀及當代藝術和設計日間拍賣，6月7日。

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鹽田千春指出:「家是心之所在。當我看到一所房子，就能夠感受到它的記憶，在那裡我會發現人存在的痕跡。」她的另一作品《生存的狀態 (木偶屋)》有著尤為重要的個人意義，象徵著童年時的她在家中玩洋娃娃和木偶的美好回憶。

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洛伊‧霍洛韋爾

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龍美術館（西岸館）的「洛伊·霍洛韋爾：再校準」展覽。

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美國女性藝術家霍洛韋爾（Loie Hollowell）以探索身體景觀的繪畫廣為人知，介乎於抽象與具象的風格之中，她在每件作品中都將身體局部的大小與畫布相對應，身體每個細節都可能成為她描繪的主題。龍美術館（西岸館）將舉行「洛伊·霍洛韋爾：再校準」展覽，是她的中國首個美術館個展，展期由即日起至7月11日，展出15幅創作於2018至2020年間的大尺幅繪畫構成。

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路易斯·霍洛韋爾(Loie Hollowell )《首次接觸》，2018年作，油畫壓克力鋸末高密度泡沫麻布裱於木板，122.2 x 91.4 公分。
\n估價1,200,000 - 1,800,000 港元
\n拍品3 ，二十世紀及當代藝術晚間拍賣，6月8日。

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《首次接觸》是霍洛韋爾的上乘佳作，尺寸宏大，色彩鮮豔而漸變，採用油彩、壓克力、鋸末、高密度發泡板製成。作品伸入觀者的空間，將平坦的麻布表面比較觀者對於三維感的好奇。為了展示藝術家對於物理的敏銳理解，《首次接觸》的實體性迫使觀者圍繞作品四處移動，以確定其整個形狀，並且引入一個具表現力的有趣角度，以說明她對於表面和空間的精湛操縱。《首次接觸》遊走於繪畫和雕塑之間的界限，既親密又個人化，同時凸顯普遍人性的脆弱，清晰地展示霍洛韋爾對於性、生育能力、人體探索等令她廣受讚譽的創作主題。

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路易斯·霍洛韋爾 (Loie Hollowell )《連環林伽：藍綠色、紫色、黃色、藍色》，2016年作，
\n油彩麻布裱於木板， 71.1 x 53.3 公分，
\n估價500,000 - 700,000港元
\n拍品101，二十世紀及當代藝術和設計日間拍賣，6月7日。

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《連環林伽：藍綠色、紫色、黃色、藍色》的靈感源自印度教象徵神力、濕婆神（Shiva）的抽象代表，濕婆神是創造、保護和改造宇宙的王者，地位至高無上之。此外，畫作亦源於藝術家的個人生活體驗，如她的懷孕和分娩經歷。比例在她的作品中是關鍵元素，她所描繪的身體部位，不論是頭、胸、腹股溝或整個身體的大小，都與畫布互相對應。

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富藝斯與保利拍賣聯合舉行二十世紀及當代藝術和設計日間拍賣

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JW 萬豪酒店 | 6月7日
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富藝斯與保利拍賣聯合舉行二十世紀及當代藝術晚間拍賣

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JW 萬豪酒店 | 6月8日

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$\"\"$

\n","2021-05-11T09:44:56.000000Z","https://www.phillips.com/article/75155037/museum-exhibition-artists-tca-cn",12,1244,3507,75155037,"https://flockler.com/thumbs/sites/889/151978_uc347899-161e75d8-ea99-4979-b58a-18524fba0092_s600x0.jpg","This year, contemporary artists have had a strong showing in Asia, with solo exhibitions for renowned figures such as George Condo and Chiharu Shiota popping up from Shanghai to Seoul. Their works also appear in the upcoming Hong Kong auctions of 20th century and contemporary art.","From Gallery to Auction: 4 Contemporary Masters in the Upcoming Hong Kong Sales","

George Condo, Woman on Red Chair, 2007.
\nEstimate: HK$2,500,000 - 3,000,000
\nLot 193, 20th Century & Contemporary Art Day Sale, June 7.

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George Condo

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George Condo, Sketches of Jean Louis, 2006.
\nEstimate: HK$10,000,000 - 15,000,000
\nLot 28, 20th Century & Contemporary Art Evening Sale, June 8.

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Created in 2006, Sketches of Jean Louis is a quintessential example of the “artificial realism” philosophy that Condo pioneered in the late 1980s. Defined as the realistic representation of that which is artificial, the concept is central to Condo’s work, guiding his construction of mythic heroes whose imagined lives serve as a mirror for human nature and provide a fanciful recreation of our contemporary world.

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Both traversing and abolishing the border between abstraction and figuration, Sketches of Jean Louis is a superb example of Condo’s remarkable ability to warp the representational. Set against a backdrop of textured strokes in varying opacities, the melodramatic Jean Louis meets our gaze through the fractured facial landscape of Cubism, his warped visage revealing a distorted array of features.

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The fictitious French character is a recurring figure in Condo’s work, often presented as a butler, maid, chef or banker. In the past, the artist has quipped that the question is not who is Jean Louis, but what is Jean Louis.

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George Condo, The Executive, 2003.
\nEstimate: HK$2,200,000 - 3,200,000
\nLot 194, 20th Century & Contemporary Art Day Sale, June 7.

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The bulk of Condo’s oeuvre comprises portraits of invented characters presenting “composites of various psychological states painted in different ways.” The Executive showcases Condo’s acute understanding of psychological iconography epitomizing “the madness of everyday life,” with meticulous attention to naturalistic detail offset by elements of the grotesque and the absurd.

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The young, slick-haired executive, who is eagerly following a capitalist carrot, bears a striking resemblance to the legendary anti-hero Patrick Bateman in American Psycho. The original “wolf of Wall Street,” Bateman is a product of the 1980s pre-crash “greed is good” era, and a symbol of the American dream gone awry. American Psycho satirizes the ultimate stereotype of yuppie greed: rich, shallow, addicted to sex, drugs and conspicuous consumption.

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The Executive showcases Condo’s long fascination with portraying complex and precarious mental states in invented characters. His witty, provocative take on the character of the young banker pushes the furthest extremes of the human psyche.

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George Condo, Woman on Red Chair, 2007.
\nEstimate: HK$2,500,000 - 3,000,000
\nLot 193, 20th Century & Contemporary Art Day Sale, June 7.

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Woman on Red Chair pays tribute to the Pablo Picasso masterpiece Woman in a Red Armchair (1932). During the mid-1920s, Picasso’s representations of the female form began to manifest aggressively distorted and contorted forms, a change partially explained by the artist’s changing personal circumstances.

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Emerging tensions in Picasso’s marriage to the Russian ballerina Olga Khokhlova coincided with the rise of the Surrealist movement and its emphasis on metamorphosis. Picasso’s ability to create a sense of spatial and emotional dislocation prefigured Condo’s brand of “Psychological Cubism,” showcased at its best in Woman on Red Chair.

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Instead of space being his sole subject, Condo seeks to simultaneously capture all facets of a person’s emotional potentialities in one moment, creating portraits of invented characters which are “composites of various psychological states painted in different ways.” A neoclassical beauty demurely seated with her hands folded in her lap, the face of Condo’s subject is overshadowed by a momentary spasm of the malevolent.

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George Condo, Faces and Expressions, 2009.
\nEstimate: HK$1,500,000 - 2,500,000
\nLot 192, 20th Century & Contemporary Art Day Sale, June 7.

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Faces and Expressions is an excellent example of the artificial realism philosophy that Condo pioneered in the late 1980s. It was executed in 2009, an important year for Condo. He began working on a singular group of “drawing paintings” using charcoal, pencil, pastel and acrylic paint on canvas in complex layers of figurative and abstract elements.

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Regarding the significance of these works, Condo explained to The New Yorker in 2011, “The new paintings may be getting certain things out of my system. I mean, all those pods and peripheral beings and weird characters I’ve been working on over the last decade. I’m starting to bring back more naturalistic faces and bodies. That’s exciting to me.”

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Theaster Gates

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Born in Chicago, Theaster Gates is an acclaimed multimedia artist whose work explores issues of racial and economic inequality. In 2010, Gates was featured in the Whitney Biennial, a critical moment in his career when his work was shown to a wider audience.

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Since then, his pieces have been shown in many reputable galleries and museums around the world, including the Tate in London, the Brooklyn Museum and the Smithsonian in Washington, D.C. Most recently, his ceramic works were on display in an exhibition titled “China Cabinet” at the Prada Rong Zhai in Shanghai.

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“Theaster Gates: China Cabinet” at the Prada Rong Zhai in Shanghai.

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Phillips’ upcoming 20th Century & Contemporary Art Evening Sale in Hong Kong is the first time that Theaster Gates’ work is up for auction in Asia. Dirty Red belongs to one of Gates’ most important bodies of work, his Civil Tapestry series, and is made from strips of decommissioned fire hoses that the artist acquired in his hometown of Chicago.

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Theaster Gates, Dirty Red, 2016.
\nEstimate: HK$4,600,000 - 6,200,000
\nLot 21, 20th Century & Contemporary Art Evening Sale, June 8.

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The use of decommissioned fire hoses in this series is symbolic of the Civil Rights Movement in 1960s America, specifically the Birmingham campaign of 1963 in which high-pressure fire hoses were used against peaceful protestors, injuring men, women and children. It also alludes to the destruction of Black churches by fire, specifically the bombing of the 16th Street Baptist Church in Birmingham in September 1963, in which four young girls were tragically killed.

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Gates is well-known for his interest in materials, particularly what he has referred to as “humble” objects such as clay and tar that carry not only connections to his personal history and experiences, but heavy historical connotations. Aiming to reinvigorate objects that we tend to overlook, Gates imbues his materials with a new power in his sincere engagement with issues of race and gender. Images such as Dirty Red repurpose found materials that carry weighty historical connotations, placing it in a contemporary context for the consideration of present and future generations.

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Chiharu Shiota

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“Shiota Chiharu: The Soul Trembles” at the Taipei Fine Arts Museum.

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Berlin-based Japanese artist Chiharu Shiota has attracted attention in recent years for her intricate and immersive thread installations. Her works explore the connection between past and present, and object and memory. In Asia, her solo exhibition “Shiota Chiharu: The Soul Trembles” is ongoing at the Taipei Fine Arts Museum through Aug. 22. Last year, she had a solo run at Gana Art, a major gallery in Seoul, South Korea.

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Shiota’s work incorporates everyday found objects such as clothing, shoes or dolls. Unfulfilled by her training as a painter, she began working with woven yarn after a strange dream during her year studying in Australia. “I was part of a three-dimensional painting and couldn’t breathe because I was covered in paint,” she recalls. “After that, I knew I had to create art using my body.”
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Chiharu Shiota, Trauma / Alltag, 2007.
\nEstimate: HK$300,000 - 500,000
\nLot 183, 20th Century & Contemporary Art Day Sale, June 7.

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The objects in her Trauma / Alltag series act as containers for profound memories, both joyful and painful. These banal but intensely personal items symbolize the poetics of everyday life.

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“I can see people through these objects,” Shiota told Art Radar Journal in 2015. “I can recognize who they are or who they were through the objects they have used or the books they have read. People move, travel, change, but they leave something on everything they touch and use: clothes, shoes, furniture, houses, even after they have gone away.”

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Chiharu Shiota, State of Being (Puppet House), 2013.
\nEstimate: HK$200,000 - 300,000
\nLot 182, 20th Century & Contemporary Art Day Sale, June 7.

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“My creations with thread are reflections of my own feelings. A thread can be a cut, a knot or a loop, or can be loose or sometimes tangled. A thread to me is an analogy for feelings or human relationships. When using it, I do not know how to lie. If I weave something and it turns out to be ugly, twisted, or knotted, then such must have been my feelings when I was working.”

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Loie Hollowell

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“Loie Hollowell: Recalibrate” at the Long Museum in Shanghai.

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American artist Loie Hollowell is known for her radiant abstract paintings that draw upon human spirituality and sexuality. Her biomorphic landscapes, inspired by tantric painting traditions, have drawn comparisons to the sensual feminist imagery of Georgia O’Keeffe and Judy Chicago. “Loie Hollowell: Recalibrate” at the Long Museum in Shanghai marks her first solo exhibition in China.

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Loie Hollowell, First Contact, 2018.
\nEstimate: HK$1,200,000 - 1,800,000
\nLot 3, 20th Century & Contemporary Art Evening Sale, June 8.

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Hollowell’s paintings derive directly from the artist’s personal corporeal experiences, particularly her journey through pregnancy and giving birth. The scale of her work is significant and a direct correlation with the size of the body part depicted, be it the head, breasts, groin or entire body.

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Protruding forms blend seamlessly into the canvas, forcing the viewer to move around the work to determine whether the work’s tactile depth rings true or is simply a playful illusion. This performative aspect to Hollowell’s work speaks to her masterful manipulation of space, surface, light and shadow.

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Loie Hollowell, Linked Lingam in Green/Teal, Purple, Yellow, Blue, 2016.
\nEstimate: HK$500,000 - 700,000
\nLot 101, 20th Century & Contemporary Art Day Sale, June 7.

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Hollowell’s distinctive geometric compositions are also built upon spiritually symbolic shapes such as the mandorla, ogee and lingam. Linked Lingam is derived from the Hindu symbol of divine generative energy and is an abstract representation of the deity Shiva, who creates, protects and transforms the universe.

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In Hindu mythology, there are many depictions of Shiva, who can appear as an omniscient yogi living an ascetic life on Mount Kailash or as a fierce demon slayer in others. This ambivalent portrayal imbues Hollowell’s painting with dark, latent energy, and provides an apt metaphor for the polarized treatment of depictions of female iconography through the ages.

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Discover More from the 20th Century & Contemporary Art Sale >

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Recommended Reading

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8 Rising Stars to Watch in the Upcoming Hong Kong Sales >

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First Reveal: George Condo’s ‘Sketches of Jean Louis’ >

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\n","2021-05-12T10:28:24.000000Z","https://www.phillips.com/article/75237087/museum-exhibition-artists-tca",11,1252,3508,75237087,"https://flockler.com/thumbs/sites/889/zxg-488557b9-c5a8-4fc1-b0dd-3c404602ae65_s600x0_c811x475_l0x200.png","張曉剛憑藉其獨特立場向世人展示了中國當代藝術的發展，成為公認的這一代人中最著名的藝術家之一。 1990年代末則是張曉剛的藝術生涯中的重要時期，而這亦象徵了中國當代藝術在二十世紀末發展也到了成熟階段。","張曉剛的藝術大家庭","

張曉剛的1998年作品《全家福第13號》。

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張曉剛憑藉其獨特立場向世人展示了中國當代藝術的發展，成為公認的這一代人中最著名的藝術家之一。 1980年代末張曉剛開始創作了一系列反映該動盪時期心理衝擊的作品，影射那一時代情感隔絕的狀態。1990年代末則是張曉剛的藝術生涯中的重要時期，而這亦象徵了中國當代藝術在二十世紀末發展也到了成熟階段，今季二十世紀及當代藝術晚間拍賣正呈獻了張曉剛於1998年創作的作品《全家福第13號》。

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張曉剛 《全家福第13號》，1998年作，油彩畫布，150 x 150 公分。
\n估價8,000,000 - 12,000,000港元
\n拍品 16，二十世紀及當代藝術晚間拍賣，6月8日。

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《全家福第13號》是張曉剛的《血緣──大家庭》系列，是少數以正方形畫布呈現的作品，而且從未在拍賣會上出現過，極為罕有。作品上一次公開亮相是在巴黎法蘭西畫廊的《同志》（1999年）展覽，該展覽更是張曉剛在歐洲的首次個展，且獲得了廣泛好評，該作的現藏者正是從這個展覽中購得作品。跟《血緣──大家庭》系列的早期畫作不同，張曉剛從1998年開始加入時代背景和童年記憶的意象，在《全家福第13號》中，我們可以看到此前十年在藝術家心頭揮之不去的想法在這幅優美、細膩、動人、真誠的集體肖像中獲得了昇華和提煉。

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張曉剛的《血緣——大家庭》系列受到照相館舊照片的啟發，從而開始以一種柔和、輕盈的美學風格進行創作。在《血緣》系列簡約的集體肖像中，藝術家通過呈現個體家庭單位（這使人想起由國家分配的工作單位）以及他們的心理狀態的形式，去講述一個國家的歷史。正如藝術家所言：「每個個體都是他/她自己的一部歷史」。張曉剛在2018年4月接受富藝斯的獨家專訪時提到德國藝術家格哈特‧里希特(Gerhard Richter) 對他的影響，里希特在創作中「看到了照片背後的歷史和意義」，而非僅僅將其作為繪畫的參考。里希特於1971年創作的黑白照片畫《Wende一家》是最佳例子，僅管是以油畫作為媒介，他仍將照片本身的清晰與模糊的特質發揮得淋漓盡致。張曉剛在《全家福第13號》等作中幾乎不留任何筆觸的痕跡，使繪畫更添老照片般的質感，好像它正是從一本家庭相冊中抽出的一樣。由此看來，張曉剛對修飾和潤色的概念抱有極大興趣，不僅是對照本本身的修飾和潤色，也是對這些照片所隱含的歷史或記憶。

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格哈特‧里希特的作品為張曉剛帶來深遠影響，圖為里希特的1971年作品《Wende一家》。

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\n《全家福第13號》帶著中國1960年代和1970年代照相館肖像照的印記，在這些照相館裡，家庭成員或單位同事往往在空白背景前或坐或站，直視相機。全景景觀也成為當時時髦的背景，而融合了霧濛濛的白色與較冷的灰色的畫面背景，則讓人很難分辨張曉剛在作品中是要還原照相館的背景板還是要呈現雲朵密佈的天空。《全家福第13號》獨特的正方形形式象徵著當時正方形照片的流行。

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至於作品其他值得留意的地方是畫中人物的服飾，前景中的兩個人物身著小學生的標準校服象徵著張曉剛的童年，亦喚起一種懷舊的情緒，也激起一種集體回憶。《全家福第13號》中清晰可見的深紅色血緣線穿越畫面中柔和的濛霧，成為畫中人物之間以及他們與過去之間的有形連結，同時也進一步體現了張曉剛這幅畫作的魔幻特質，證實了張曉剛確為一代藝術巨匠。用色方面，紅色和黃色出現在張曉剛所有作品中，且具有重要的文化意義。黃色傳統上被視為中國的皇室色彩，紅色被認為是吉祥、明亮，充滿溫暖和生命力，張曉剛用顏料對原本單色構圖的渲染達到了一種驚人的效果。

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張曉剛的《血緣》系列使藝術家在國際藝壇聲名鵲起，吸引了評論界和大眾的諸多讚譽，並奠定了他作為中國當代藝壇最重要藝術家之一的地位。1994年6月，該系列中的4幅畫作在聖保羅雙年展上展出，這是藝術家職業生涯中的一大壯舉，並繼而因這些作品獲得銅牌。次年，張曉剛在威尼斯雙年展上展出了13件大尺幅《大家庭》繪畫作品，這標誌著他在國際上的廣泛展覽、以及多產的藝術生涯的開端。

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富藝斯與保利拍賣聯合舉行二十世紀及當代藝術和設計日間拍賣

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JW 萬豪酒店 | 6月7日
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富藝斯與保利拍賣聯合舉行二十世紀及當代藝術晚間拍賣

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JW 萬豪酒店 | 6月8日

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相關專題

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從美術館到拍賣場，他們都是耀眼焦點 >

\n","2021-05-14T10:41:05.000000Z","https://www.phillips.com/article/75412725/zhang-xiao-gang-family-portrait-thirteen-cn",10,1255,3513,75412725,"https://flockler.com/thumbs/sites/889/zxg-44798bf5-7221-4d7c-8490-9cfd790a800b_s600x0.png","The artist’s paintings are based on studio photographs from a turbulent period in Chinese history.","Behind the Family Portraits of Zhang Xiaogang","

Zhang Xiaogang, Family Portrait No. 13, 1998.
\nEstimate: HK$8,000,000 - 12,000,000
\nLot 16, 20th Century & Contemporary Art Evening Sale, June 8.

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Known for his unique and eerie family portraits, Zhang Xiaogang is widely regarded as one of the greats in contemporary Chinese art. In the late 1980s, he began working on the series that would make him famous.

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Bloodline - Family Portraits is a series of portraits that reflect on the psychological impact of a turbulent period in Chinese history known as the Cultural Revolution. This season’s 20th Century & Contemporary Art Evening Sale includes an exemplar of this series: Family Portrait No. 13, painted in 1998.

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One of a small number of Family Portraits executed on square canvas, this work is exceedingly rare and has never previously been offered at auction. It was last publicly exhibited in 1999 at the critically acclaimed Les Camarades exhibition at the Galerie de France in Paris. It was Zhang’s first solo show in Europe.

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The late 1990s were a significant time in the artist’s career. It was only in 1998 that Zhang began to incorporate hints of a backdrop and engage with childhood imagery in his Family Portraits, differentiating this work from earlier paintings of the series. In Family Portrait No. 13, we see the culmination and refinement of the ideas that had consumed the artist for the past decade in a beautifully sensitive yet arrestingly earnest group portrait.

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Zhang Xiaogang, Family Portrait No. 13, 1998.
\nEstimate: HK$8,000,000 - 12,000,000
\nLot 16, 20th Century & Contemporary Art Evening Sale, June 8.

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Family Portrait No. 13 invokes the studio portraits of the 1960s and 1970s in China, where families or work units typically sat or stood against a blank background and stared directly at the camera. These private portrats were to be taken according to a formula that satisfied an official sense of public aesthetics under leader Mao Zedong.

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Zhang engages in this conflict between the inner and outer lives of Chinese people through his portraits. Working from his own family’s photographs, he draws from personal experience and uses his mother as the basis for all the figures in this series. The square canvas of Family Portrait No. 13 evokes the medium-format photography that was popular at the time.

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The artist has also cited Gerhard Richter as an influence. In an exclusive interview with Phillips in April 2018, Zhang spoke about the way in which Richter used photographs as more than mere reference points to painting. “He saw their history and their meaning,” he said. Richter’s black-and-white photograph-paintings are imbued with a sense of reality and truthfulness. Despite their medium of oil on canvas, they play with the sharpness and blur of an actual photograph.

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Gerhard Richter, The Wende Family, 1971.

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Zhang’s Bloodlines serues catapulted the artist onto the international stage, attracting both critical and popular acclaim. In June 1994, four paintings from the series were exhibited at the São Paulo Biennale, a major feat for the artist.

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The following year Zhang exhibited 13 large Big Family paintings at the Venice Biennale, marking the beginning of extensive international exhibitions and a distinguished and prolific career.

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\n","2021-05-25T07:48:16.000000Z","https://www.phillips.com/article/76307853/zhang-xiaogang-family-portrait-13-auction",9,1258,3530,76307853,"https://flockler.com/thumbs/sites/889/150196_uc349108-30dcc853-2db7-4ba2-97fb-b1d4b677feb3_s600x0.jpg","新晉創意人才從來不缺，然而在芸芸後起之秀當中，我們從今季二十世紀及當代藝術和設計拍賣中細選8位最值得注意的年輕藝術家。","今季當代藝術拍賣中須認識的8位後起之秀","

薩爾曼·托爾(Salman Toor) ，《女孩與司機》，2013年作，油彩畫布，142 x 200 公分。
\n估價1,200,000 - 2,200,000 港元
\n拍品1，二十世紀及當代藝術晚間拍賣，6月8日。

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薩爾曼·托爾

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\n生於巴基斯坦的薩爾曼·托爾是近年來強勢嶄露頭角的具象畫家之一，他被《紐約時報》譽為12位「2020年成績斐然之星」之一，同時被《華爾街日報》稱為12位「將定義2021年的藝人和藝術家」之一，並入列《時代雜誌》2021年度百大塑造未來新銳領袖，其豐饒的油畫作品以細膩的筆觸展現日常生活中的內在微妙而聞名，引起了藝術世界的關注。

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創作於2013年的《女孩與司機》最初於藝術家在紐約Aicon畫廊的個展《快樂的僕人》中亮相，是托爾通過色彩和形式來傳遞敘事的精湛技藝的動人典範；他將藝術史的傳統與自己在南亞及紐約的個人體驗提煉所得的當代文化進行完美結合，這件作品出色地展現了藝術家對這些題材的獨特融合。

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阿莫阿科·博阿佛

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阿莫阿科·博阿佛 (Amoako Boafo)，《凝視1號》，2018年作，油彩紙本，140 x 100 公分。
\n估價 600,000 - 800,000港元
\n拍品5，二十世紀及當代藝術晚間拍賣，6月8日。

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在那一批重新燃起人們對具象繪畫熱情的新晉藝術家之中，再沒有人能像當代畫家阿莫阿科·博阿佛那樣以如此迅猛之勢走紅國際藝壇。出生於加納、常駐奧地利的波阿佛被Artsy評選為「2020年度最具影響力的藝術家」之一，又被《時代》雜誌列入塑造未來的「2021下一代影響力人物榜」。博阿佛所創作的大型黑人肖像線條明朗、紋理清晰，使觀者沈浸在畫中人那懾人心魂的目光之中，並引起了藝術世界的廣泛關注。

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《凝視1號》創作於2018年，正值博阿佛藝術生涯的關鍵時期。藝術家的自畫像由一片充滿活力的赭石色和焦赭色以及絲絲深藍色繪製而成，與背景中濃密、色彩鮮豔的筆觸形成鮮明的對比。儘管他看起來很放鬆，但當他那充滿故事的目光在不經意間與我們相遇時，卻散發出一種自信、沉著的氣息。

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\n桑亞·康塔洛夫斯基

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桑亞·康塔洛夫斯基 (Sanya Kantarovsky)，《溫度》，2016年作，油彩水彩畫布，152.5 x 114.5 公分。
\n估價550,000 - 750,000 港元
\n拍品104，二十世紀及當代藝術和設計日間拍賣，6月7日。

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\n出生於莫斯科的紐約藝術家桑亞·康塔洛夫斯基的超現實主義、復雜、獨特的具像繪畫獲得了全球範圍的廣泛關注。近期，他在巴塞爾美術館和莫斯科車庫當代美術館舉辦個展，其作品亦獲得了全世界許多著名機構的收藏，包括華盛頓的赫希洪博物館和雕塑園、倫敦泰特現代美術館，以及紐約惠特尼美國藝術博物館。康塔洛夫斯基從民間故事、兒童故事和卡通畫中汲取元素，融入其繪畫之中。坎塔羅夫斯基曾間接表示自己著迷於生活中那些同時發生且經常相互矛盾的真理，比如殘忍與愛、或暴力與美之間糾纏不清的本質，這種哲學充分體現在今季拍品《溫度》之中。《溫度》體現了康塔洛夫斯基描繪人性的精湛技巧，人性之中善惡的交疊無處不在，並且有時甚至無從分辨。

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\n馬德琳·格林

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馬德琳·格林 (Madelynn Mae Green)，《騎單車》，2018年作，壓克力畫布，91 x 122 公分。
\n估價50,000 - 70,000 港元
\n拍品117，二十世紀及當代藝術和設計日間拍賣，6月7日。
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馬德琳·格林原先在美國學習政治學，後前往英國中央聖馬丁學習藝術，她的作品於2019年被列入英國政府藝術收藏中。今季拍品《騎單車》捕捉了一個女孩在家門口準備騎單車出行的場景，女孩穿上棉花糖粉紅的衣服，與樹木、汽車和郊區車道背景融為一體，呈現轉瞬即逝、甜蜜且快樂的童年時光。格林的作品通過家庭照片和檔案影像和照片素材，體現了這類缺乏代表性的歷史。美國中西部和南部的成長背景奠定了格林的視角，作品中以攝影為重要元素。受惠於其普及性，攝影成為黑人藝術傳統的重要形式，使黑人能夠在政治、歷史、文化和經濟權利被剝奪的情況下去創造自己的圖像。

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\n亞歷克斯·加德納

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亞歷克斯·加德納 (Alex Gardner)，《已經好幾年了》，2019年作，壓克力畫布，91.4 x 91.4 公分。
\n估價150,000 - 250,000 港元
\n拍品122，二十世紀及當代藝術和設計日間拍賣，6月7日。

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有著非裔日本血統的加德納的超現實主義繪畫描繪了雌雄同體、面目模糊的輪廓。烏木般光滑的黑色身體，沒有任何面部特徵，不折射任何種族背景，卻又令人信服地折射了任一種族。性感、優美，沒有性別、膚色、服飾和環境等任何常見的文化標誌，《已經好幾年了》中對溫柔擁抱的動人描繪展現了一個親密的瞬間。相互交纏的四肢和毫無特徵的光滑面孔同時喚起來自熟悉事物的愉悅和異乎尋常的黑暗詭異，對諸如身分、慾望、道德和焦慮等議題展開探討。在微妙的漸變色彩和細緻的色調轉換的背景前，加德納畫筆下的神秘人物訴說著人類的普遍經驗，並召喚著觀者進入他們的神秘世界。

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艾莉森·祖克曼

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艾莉森·祖克曼(Allison Zuckerman)，《蘇珊娜和她的追求者》，2019年作，各 182 x 171 公分，共 182 x 342 公分。
\n估價300,000 - 500,000 港元
\n拍品140，二十世紀及當代藝術和設計日間拍賣，6月7日。

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美國當代藝術家和畫家艾莉森·祖克曼是當代最激動人心的年輕藝術家之一。2015年在芝加哥藝術學院獲得藝術創作碩士學位後不久，祖克曼就在Instagram上被發現，並受邀參加了Kravets Wehby畫廊的展覽。她的作品吸引了極具影響力的藝術贊助人唐·盧貝爾和梅拉·盧貝爾夫婦的注意，他們直接從她手中購入了22幅作品。

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她的作品以歷史繪畫和互聯網文化為出發點，同時利用顏料和數字處理的圖像，創作出一系列洋溢著對文化和社會的尖刻批判的混合肖像。她的素材來源甚廣，從古典大師的肖像畫到表情符號，但祖克曼將其在藝術史和流行文化上的淵博知識以狡黠、模棱兩可的方式運用在作品中，呈現出時而畢恭畢敬，時而尖酸刻薄的效果。

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艾略特·格林瓦爾德

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艾略特·格林瓦爾德 (Eliot Greenwald)，《夜車（高大的樹木）》， 2020年作，壓克力畫布，137 x 76.2 公分。
\n估價80,000 - 120,000港元
\n拍品147，二十世紀及當代藝術和設計日間拍賣，6月7日。

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艾略特·格林瓦爾德是一名來自緬因州波特蘭的自學成才的視覺藝術家。《夜車（高大的樹木）》是他的《夜行的汽車》系列的一部分，在這個系列中，每件作品都描繪了行駛在黑夜的汽車，車頭燈一路照亮了汽車駛過的奇特、詭異的風景。色彩鮮麗、構圖簡潔，每一件作品都描繪了兩顆行星照耀下的空曠、高聳的森林。畫面特意以第三人稱視角進行描繪，而超出比例的高聳樹林和令人生畏的陰影給人們所熟悉的駕車夜行時的畫面注入了一種詭異、神秘的氛圍。作品引領著觀者進入一個扭曲、變形的宇宙之中，其間誇張的邏輯錯亂反映了格林瓦爾德對人類思維之荒誕和扭曲的迷戀。

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\nKYNE

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KYNE，《無題》，2018年作，壓克力成形畫布，100 x 62 公分。
\n估價300,000 - 500,000 港元
\n拍品154，二十世紀及當代藝術和設計日間拍賣，6月7日。

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KYNE作品中的人物有著獨特的魅力，能夠激起觀者心中意想不到卻又熟悉的情感。作為亞洲當代藝壇冉冉上升的新星，KYNE畫筆下目光堅定、冷酷的無名女子黑白肖像給人留下過目不忘的深刻印象。結合當代日本動漫流行文化與日本傳統浮世繪木刻版畫扁平、簡約的圖像元素（尤其是當時流行描繪著名藝妓和町人女性等的美人畫），KYNE的女性形象源自他過去在學校所繪畫的女性肖像，她們一反塗鴉界一貫以陽剛和男性視角為創作為主導的方式：「我一向都畫女性肖像，甚至在學校時也是。這確實是藝術中常見的主題。但是在塗鴉界，更為常見的則是陽剛和情色的主題。在這個充滿是這些的世界裡，我覺得呈現目光酷酷的女性是一種不一樣的、嶄新的實踐。」今次更是KYNE作品首次在拍賣中亮相。

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富藝斯與保利拍賣聯合舉行二十世紀及當代藝術和設計日間拍賣

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JW 萬豪酒店 | 6月7日
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富藝斯與保利拍賣聯合舉行二十世紀及當代藝術晚間拍賣

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JW 萬豪酒店 | 6月8日

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相關專題

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從美術館到拍賣場，他們都是耀眼焦點 >
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\n張曉剛的藝術大家庭 >

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\n","2021-05-27T04:38:04.000000Z","https://www.phillips.com/article/76467182/eight-emerging-artists-sp21-tca-cn",8,1260,3537,76467182,"https://flockler.com/thumbs/sites/889/150196_uc349108-30dcc853-2db7-4ba2-97fb-b1d4b677feb3-f7968091-a80f-431d-9800-a821218b8ddf_s600x0.jpeg","When it comes to up-and-coming artists, there’s no shortage of talent. These are the ones to watch from our upcoming 20th century and contemporary art sales in Hong Kong.","8 Rising Stars to Watch in the Upcoming Hong Kong Sales","

Salman Toor, Girl with Driver, 2013.
\nEstimate: HK$1,200,000 - 2,200,000
\nLot 1, 20th Century & Contemporary Art Evening Sale, June 8.

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Salman Toor

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The New York Times hailed him as one of the “breakout stars of 2020.” The Wall Street Journal called him one of the “entertainers and artists who will define 2021.” And Time magazine included him on its list of 100 emerging leaders shaping the future. Pakistan-born artist Salman Toor is one of the most exciting figurative painters to emerge over the past few years. His tender brushstrokes of luscious oil paint are celebrated and intimately present the introspective nuances of everyday life.

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Painted in 2013 and unveiled at the artist’s solo show “The Happy Servant” at the Aicon Gallery in New York, Girl with Driver is an enchanting example of Toor’s masterful ability to convey narrative through color and form. The painting brilliantly showcases the artist’s unique amalgamation of references that seamlessly blend art-historical traditions with contemporary culture drawn from his experiences in both South Asia and New York.

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Amoako Boafo

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Amoako Boafo, Gaze I, 2018.
\nEstimate: HK$600,000 - 800,000
\nLot 5, 20th Century & Contemporary Art Evening Sale, June 8.

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Among the cohort of emerging artists who have brought figurative art back into fanfare, few have enjoyed such a meteoric rise as Ghana-born and Austria-based contemporary painter Amoako Boafo. Recongized by Artsy as one of the “most influential artists of 2020” and included in Time’s “100 Next” list, Boafo is known for his large-scale portrayals of Black figures rendered in bold, gestural, finger-applied strokes.

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Gaze I was executed in 2018 at a pivotal point in Boafo’s career. With dense brushstrokes that drench the backdrop in color, the painting is actually a self-portrait of the artist rendered in energetic whirls of ochre, burnt sienna and hints of deep blue. Although he is relaxed, the figure exudes confidence and poise as his stare meets the viewer’s with a casual intimacy.

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Sanya Kantarovsky

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Sanya Kantarovsky, Temperature, 2016.
\nEstimate: HK$550,000 - 750,000
\nLot 104, 20th Century & Contemporary Art & Design Day Sale, June 7.

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Surreal and complex, the distinctive figurative paintings of Moscow-born, New York-based artist Sanya Kantarovsky have drawn significant attention across the globe. The artist recently held solo shows at Kunsthalle Basel and the Garage Museum of Contemporary Art in Moscow. His works can be found in esteemed collections around the world, including the Hirshhorn Museum in Washington, D.C.; the Tate Modern in London; and the Whitney Museum of American Art in New York.

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Kantarovsky has previously alluded to a fascination with the simultaneous and often contradictory truths in life, such as the intertwined nature of cruelty and love, and violence and beauty. This philosophy is manifested in Temperature. The clever and subtle ambiguity at play reflects Kantarovsky’s ability to portray human nature, with the overlap of good and bad ubiquitous and at times indistinguishable.

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Madelynn Green

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Madelynn Green, Biking, 2018.
\nEstimate: HK$50,000 - 70,000
\nLot 117, 20th Century & Contemporary Art & Design Day Sale, June 7.

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A student of political science before she moved to the UK to study art, Milwaukee-born artist Madelynn Green roots her practice in themes of memory, family and domesticity. Capturing the ambiguity of fading memories, Green’s canvases present alternate visions of reality, with faces blurred, obscured and capturing fleeting emotions of tenderness, nostalgia and loss.

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Green’s works embody underrepresented histories, incorporating family photographs, archival video and photo footage. Biking captures a young girl at the threshold of her door about to take her bicycle out for a ride. Her candyfloss pink outfit melts into a saccharine glow bathing the trees, car and suburban driveway — a moment of sweet, fleeting childhood joy.

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Alex Gardner

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Alex Gardner, It’s Been Years, 2019.
\nEstimate: HK$150,000 - 250,000
\nLot 122, 20th Century & Contemporary Art & Design Day Sale, June 7.

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California-based figurative artist Alex Gardner has held solo exhibitions in New York, Los Angeles, Hong Kong and London. The Afro-Japanese artist’s surreal paintings portray androgynous, faceless silhouettes. Polished ebony black bodies, devoid of any facial features, reflect no race and yet every race convincingly.

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The moving depiction of a gentle embrace in It’s Been Years offers a snapshot of an intimate moment. Entangled limbs and smooth featureless faces simultaneously evoke pleasurable feelings of the familiar and the dark twinge of the uncanny, speaking to issues of identity, desire, ethics and anxiety. Against subtle color gradients and thoughtful tonal shifts, Gardner’s enigmatic subjects speak to universal human experience and invite viewers into their mysterious world.

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Allison Zuckerman

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Allison Zuckerman, Susanna and her Suitors, 2019.
\nEstimate: HK$300,000 - 500,000
\nLot 140, 20th Century & Contemporary Art & Design Day Sale, June 7.

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One of the most exciting young artists working today, Allison Zuckerman was discovered on Instagram shortly after getting her MFA at the School of the Art Institute of Chicago in 2015. She was invited to exhibit at Kravets Wehby Gallery and attracted the interest of influential art patrons Don and Mera Rubell, who purchased 22 pieces directly from her.

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Her works take historical paintings and internet culture as their point of departure, utilizing both paint and digitally manipulated images to create acerbic, hybrid portraits brimming with cultural and societal critique. Her source material ranges from Old Master portraits to emojis, but Zuckerman’s accomplished knowledge of art history and popular culture is deployed with sly ambiguity, alternating between reverence and shrewd criticism.

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Eliot Greenwald

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Eliot Greenwald, Night Car (Tall Tree), 2020.
\nEstimate: HK$80,000 - 120,000
\nLot 147, 20th Century & Contemporary Art & Design Day Sale, June 7.

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Eliot Greenwald is a self-taught visual artist from Portland, Maine,whose work has been featured in various publications including Artmaze Mag, ARTnews, Hyperallergic and Juxtapoz. Some of his exhibitions include most recently “Night Car” at Hesse Flatow in New York, “PAREIDOLIA” at the Emmanuel Barbault Gallery and “Year Zero” at Cunsthaus/Tempus Projects in Tampa.

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Night Car (Tall Tree) is part of his Night Car series, wherein each work depicts a car in the dark of the night, its headlights beaming and illuminating its travels through strange, uncanny sceneries. Vibrant but simply composed, each piece depicts tall, vacant forests, illuminated by the glow of twin planets. Intentionally portrayed from a third-person angle, the disproportionately tall trees and daunting silhouettes lend both an eerie sense of mystery and familiarity as they bring to mind the scenes of a night drive. The exaggerated illogicality of his Night Car scenes reflect Greenwald’s fascination with the absurdity and distortions of the human mind.

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KYNE

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KYNE, Untitled, 2018.
\nEstimate: HK$300,000 - 500,000
\nLot 154, 20th Century & Contemporary Art & Design Day Sale, June 7.

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A rising star in the contemporary Asian art scene, Japanese street artist KYNE is known for his anonymous monochrome women with their steady, ice-cool gaze. Combining contemporary Japanese manga and anime culture with the flat, graphic simplicity of traditional Japanese woodblock prints, KYNE is able to provoke feelings of both the uncanny and the familiar.

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Untitled is the artist’s first work to appear at auction. With a nod to the pre-digital culture of the 1980s, KYNE’s pieces embody the craftsmanship and visual beauty of the analog age, balancing its feel and brushwork with the simplicity of his graphics. The artist followed in his mother’s footsteps, training in traditional Japanese painting, particularly with mineral pigment on washi paper.

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Intrigued by the tunnels and underpasses of Fukuoka, Japan, and the work of graffiti artist ESK, KYNE developed a love of graffiti, which grew into an exploration of sticker culture and a decisive pivot toward a monochromatic two-tone style – a decision that would come to define his work.

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Discover More from the 20th Century & Contemporary Art & Design Sale >

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Recommended Reading

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From Gallery to Auction: 4 Contemporary Masters in the Upcoming Hong Kong Sales >

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Behind the Family Portraits of Zhang Xiaogang >

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\n","2021-05-28T06:42:29.000000Z","https://www.phillips.com/article/76545403/artists-to-watch-8-rising-stars-in-the-upcoming-hong-kong-sales",7,1262,3542,76545403,"https://flockler.com/thumbs/sites/889/153229_uc348476-8de78eb3-bc3a-4f6e-8aa8-c8679bc5d782_s600x0.jpg","從一系列女性藝術家作品閱讀她們獨有的視覺語言。","女性藝術視覺 - 她們眼中的虛實世界","

塞西麗·布朗 (Cecily Brown)，《終結》，2006年作，油彩麻布，216.2 x 226.4 公分。
\n估價4,000,000 - 6,000,000 港元
\n拍品26，二十世紀及當代藝術晚間拍賣，6月8日。

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富藝斯一向致力呈獻多元化藝術品，將於6月7和8日舉行的二十世紀及當代藝術和設計日間拍賣和二十世紀及當代藝術晚間拍賣繼續帶來不同類別拍品，其中亮點為女性藝術家的一系列創作，她們成長於不同年代和背景，受不同文化影響，各自以獨特藝術語彙締造鮮明的個人風格。

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\n塞西麗·布朗

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塞西麗·布朗是當代最重要的藝術家之一，是藝術界的現象級人物。憑藉其作品中充滿動感且生動的手勢而聞名，她的繪畫在具象和抽象之間不斷轉換。《終結》是藝術家一件引人注目的作品，畫面中的形式與人物不斷演變，展現了一場喧鬧晚宴的落幕——盤子、杯子散落一地，鼓起的桌布下露出一個女人穿著高跟鞋的腳，暗示著桌布下面的人。這幅尺幅宏大，意象華麗的《終結》，在創作完成後曾在藝術家於2006年末在波士頓美術館舉辦的大型回顧展中展出，這證明了該作之重要性。

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草間彌生

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草間彌生，《網之迷戀》，2004年作，壓克力畫布，162.3 x 162.3 公分。
\n估價8,000,000 - 12,000,000 港元
\n拍品25，二十世紀及當代藝術晚間拍賣，6月8日。

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草間彌生或許是當代最受追捧的在世藝術家之一，她不斷吸引著數以百萬計希望親身體驗她沈浸式作品的人們來到她在全世界各國美術館和畫廊舉辦的展覽。她的作品具有一種普世的吸引力，受到全球不同年齡和背景的觀眾的喜愛。《網之迷戀》（2004年）是草間彌生最著名的系列《無限之網》中一幅動人的典範之作，她將一系列白色、編織狀的浪捲細緻地排列於午夜藍的表面之上，畫面的色調隨著白色與背景相互交融而起伏不定，創造出一種變幻莫測的動態意象。這幅畫看起來像是一片珊瑚礁，以潛水者在水中自上朝下的視角，觀看海底世界和珊瑚蟲在水流之中輕輕搖擺。

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草間彌生，《南瓜》，1990年作，壓克力畫布，53 x 45.5 公分。
\n估價4,800,000 - 6,800,000 港元
\n拍品179，二十世紀及當代藝術和設計日間拍賣，6月7日。

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南瓜或許是草間彌生最具標誌性的主題，七十多年來，南瓜作為一種寓言和一種本能形式的自我寫照，被這位日本藝術家運用在其繪畫、素描、雕塑和裝置作品中。在日間拍賣亮相的《南瓜》是草間在1990年創作的作品此，當時她重新回歸公眾視野，於1989年在紐約國際當代藝術中心舉辦了首個回顧大展，當時她亦是首位出現在《Art in America》雜誌封面的日本藝術家。創作《南瓜》僅一年之後，草間成為歷史上首位在威尼斯雙年展舉辦個展的日本藝術家。這一連串舉動令歐美和草間的家鄉日本注視並重新認識她的作品。

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此場日間拍賣呈獻了其他草間彌生的作品，包括拍品180《未來之道》 (估價1,200,000 - 2,200,000港元) 和拍品181《檸檬蘇打水》 (估價1,500,000 - 2,500,000港元)。

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艾米莉·梅·史密斯

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艾米莉·梅·史密斯 (Emily Mae Smith) ，《掃帚人生》，2014年作，油彩麻布， 122 x 94 公分。
\n估價400,000 - 600,000 港元
\n拍品25，二十世紀及當代藝術晚間拍賣，6月8日。

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艾米莉·梅·史密斯 (Emily Mae Smith) ，《五項苦難》，2019年作，油彩麻布，96.5 x 76.2 公分。
\n估價240,000 - 440,000 港元
\n拍品103，二十世紀及當代藝術和設計日間拍賣，6月7日。

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艾米莉·梅·史密斯精緻美妙的繪畫可以用充滿像徵主義、諷刺和異想天開來形容其特點。在過去的二十年裡，她的創作在國際上讚譽不斷。代表了藝術家的畫筆，同時也是女性從事家務的象徵，史密斯常用的掃帚人形象靈感來自迪士尼《幻想曲》中跳舞的魔法掃帚，而史密斯正希望將它「從電影中幹粗活和負責生育的角色」中解放出來。

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《掃帚人生》生動鮮豔的用色、融化一地的冷藍色調，還有溫暖的橘子棒冰色日落，都即刻給人留下深刻印象。在構圖的中心，一個擬人化女性掃帚坐在一大塊冰上，她戴著一頂漂染金色假髮和圓形摩德女孩太陽鏡，塗著豐盛的紅唇，悠閒地捧著一杯雞尾酒，讓人感覺她正在陽光下放鬆愉悅地度假。史密斯幽默和發人深省的作品不斷在全世界範圍內吸引著大眾和學術界的關注。

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莎芭拉拉·塞爾弗

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莎芭拉拉·塞爾弗  (Tschabalala Self) 《KLK》，2017年作，壓克力布料上色畫布畫布， 243.8 x 213.4 公分
\n估價1,500,000 - 2,500,000港元
\n拍品4，二十世紀及當代藝術晚間拍賣，6月8日。

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美國藝術家莎芭拉拉·塞爾弗的創作跨越素描、繪畫、縫紉和版畫製作等多種媒介，其作品富有表現力和觸感，以各種形式和敘述方式探索性別與種族之間的交匯點而著稱。作品《KLK》展現了塞爾弗標誌性的創作方式，從家中的雜物到重新利用的織物和回收的作品，她每一個拼貼人物身分的構造過程是對情感、情緒和想法的累積的一種強大隱喻，當中亦代表了「自我」的多面性。主角臉上有著柔和的輪廓，通過高光和陰影建立起一種結構感，塞爾弗將人物特徵縫製在一起的線，成為整幅作品的組成部分，鬆散的針腳形成了散亂於人物面部的毛髮，他穿著時髦的綠色夾克和紅藍相間的New Balance運動鞋，渾身散發著酷潮的氣質。作品標題中「KLK」是西班牙語「Que Lo Que？」的縮寫，意為「你怎麼樣？」，常出現於朋友間之短訊，就像藝術家透過畫中人物友善地向我們問好。

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賈黛·法多朱蒂米

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賈黛·法多朱蒂米(Jade Fadojutimi)《隱蔽性：因缺乏陰影所產生的必要條件》，2019年3月作，油彩畫布
\n200.5 x 140 公分
\n估價600,000 - 800,000 港元
\n拍品7，二十世紀及當代藝術晚間拍賣，6月8日。

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出生於倫敦的畫家賈黛·法多朱蒂米目前正受到藝術界的觀注，她被譽為是一股不可忽視的藝術力量，她的畫作充滿了活力和情感，富有表現力。《隱蔽性：因缺乏陰影所產生的必要條件》是她首次出現在亞洲拍場上的作品，這件作品是藝術家強烈的圖像觸覺和畫意的最好例子，展示了法多朱蒂米精湛的痕跡創作技法，打破了對其媒介的所有限制。在創作《隱蔽性：因缺乏陰影所產生的必要條件》時，法多朱蒂米首先通過刷、推和塗抹來建立色層，然後再刮掉，藉此法多朱蒂米創造了一個多層次的、沉浸式的畫面，讓觀眾參與當中的內省深度對話，深入探討身份和對自我認同的追求，這是藝術家催眠式藝術實踐的核心。高度抽象的風格，可見法多朱蒂米深受眾多女性抽象藝術家如菲比·昂溫、艾米·西爾曼和塞西麗·布朗影響。

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瑪麗亞·法拉

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瑪麗亞·法拉(Maria Farrar) 《水手》，2016年作，油彩畫布，152 x 122 公分
\n估價240,000 - 440,000 港元
\n拍品103，二十世紀及當代藝術和設計日間拍賣，6月7日。

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瑪麗亞·法拉出生於菲律賓，成長於日本，在2012年獲得拉斯金美術學院的藝術學士學位，並於2016年獲得斯萊德美術學院的藝術創作碩士學位。法拉的繪畫用輕盈、有機的形式將東方與西方視覺語言中的古典主題融為一體。她畫筆下輕鬆愉快、動感十足的場景，從菲律賓的大湖到倫敦街頭的櫥窗，皆來自日常生活或回憶中的片段。將東方的漫畫和書法與西方的藝術史和油畫顏料進行結合，法拉用敏銳的色彩感和充滿動感的構圖捕捉住了那些具體卻又同時極為微妙的瞬間，以及那些無限漂浮、擴張的世界之碎片。

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除以上述女性藝術家，今季拍賣亦會呈獻珍尼維·菲吉斯 (Genieve Figgis) 、莎拉‧休斯 (Shara Hughes) 、克萊爾·特伯萊 (Claire Tabouret) 、尚塔爾·約菲 (Chantal Joffe) 和六角彩子等的精彩作品，更多詳情可瀏覽拍賣專頁。

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富藝斯與保利拍賣聯合舉行二十世紀及當代藝術和設計日間拍賣

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JW 萬豪酒店 | 6月7日
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富藝斯與保利拍賣聯合舉行二十世紀及當代藝術晚間拍賣

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JW 萬豪酒店 | 6月8日

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$\"\"$

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相關專題

\n\n

從美術館到拍賣場，他們都是耀眼焦點 >
\n
\n張曉剛的藝術大家庭 >

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今季當代藝術拍賣中須認識的8位後起之秀>

\n","2021-05-28T08:24:20.000000Z","https://www.phillips.com/article/76557315/female-artist-tca-spring21-cn",6,1273,3544,76557315,"https://flockler.com/thumbs/sites/889/153229_uc348476-8de78eb3-bc3a-4f6e-8aa8-c8679bc5d782-7abf1932-7a96-46bd-9b8c-867de6ca2aac_s600x0.jpeg","Phillips is proud to present a diverse curation of works in the upcoming 20th century and contemporary art sales in Hong Kong. This season, we are highlighting female artists from all walks of life, with a selection spanning decades of visual language and culture.","The Female Gaze: 6 Women Artists in the Upcoming Hong Kong Sales","

Cecily Brown, The End, 2006
\nEstimate: HK$4,000,000-6,000,000 (US$513,000-769,000)
\nLot 26, 20th Century & Contemporary Art Evening Sale, June 8

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Cecily Brown

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One of the most important artists of her generation, British-born Cecily Brown is an art world phenomenon, famous for her dynamic and vividly gestural works that shift between the figurative and abstract. The End is a spectacular work from the artist’s oeuvre in which forms and figures emerge and evolve in a state of flux.

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The piece reveals the conclusion of a raucous dinner party, with plates and glasses strewn in disarray. The heeled foot of a woman emerging from the billowing table cloth suggests the presence of figures underneath. Grand in scale and teeming with ravishing imagery, The End was included in the artist’s major solo retrospective at the Museum of Fine Art in Boston in late 2006 just after its creation, a testament to the significance of the work.

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Yayoi Kusama

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Yayoi Kusama, Nets Obsession, 2004
\nEstimate: HK$8,000,000-12,000,000 (US$1,030,000-1,540,000)
\nLot 25, 20th Century & Contemporary Art Evening Sale, June 8

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One of the most celebrated artists in contemporary art, Yayoi Kusama continues to dazzle the global art scene. In Nets Obsession, Kusama delicately places an array of white, weave-like curls onto a surface of midnight blue, creating a capricious, animate image as white mixes with the background to create fluctuating tonality. The painting appears to resemble a coral reef, viewed from the perspective of a diver swimming above.

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Yayoi Kusama, Pumpkin, 1990
\nEstimate: HK$4,800,000-6,800,000 (US$615,000-872,000)
\nLot 179, 20th Century & Contemporary Art & Design Day Sale, June 7

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The pumpkin is perhaps Kusama’s most iconic motif. She has deployed it as both an allegory and instinctive form of self-portraiture for over seven decades across paintings, drawings, sculptures and installations.

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Pumpkin, painted in 1990, coincided with a very public resurgence for the artist. In 1989, she held her first New York retrospective at the Center for International Contemporary Arts and became the first Japanese artist to grace the cover of Art in America.

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Paralleling this revival was a reevaluation of her work in Japan. Kusama went on to exhibit at the 1993 Venice Biennale, making her the first Japanese artist in the event’s history to be granted a solo exhibition.

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Emily Mae Smith

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Emily Mae Smith, Broom Life, 2014
\nEstimate: HK$400,000-600,000 (US$51,300-76,900)
\nLot 25, 20th Century & Contemporary Art Evening Sale, June 8

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Wry, whimsical and tangled in symbolism characterize the meticulous paintings of Emily Mae Smith. She has earned significant international praise over the past two decades as her popularity continues to grow. Looking to pop culture, surrealism and revisionist historiography, Smith devours and reformulates a wide variety of references to create her unique, intricate fantasy worlds.

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With inspiration taken from the dancing broomsticks in Disney’s Fantasia, Broom Life aims to liberate “from the film’s menial labor and reproduction role.” At the center of the composition, an effeminate, anthropomorphic broomstick sits on top of a large block of ice, lounging with a cocktail drink in hand and evoking the joy and relaxation of a holiday in the sun.

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Emily Mae Smith, Five of Seven Sorrows, 2019
\nEstimate: HK$240,000-440,000 (US$30,800-56,400)
\nLot 103, 20th Century & Contemporary Art & Design Day Sale, June 7

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Smith’s paintings act as a reflexive response to the social, cultural and emotional connotations associated with the iconography of the figurative paintings she refers to, but also to the portrayal of women in popular culture today. Her humorous and thought-provoking body of work continues to attract popular and critical attention around the world.

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Tschabalala Self

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Tschabalala Self, KLK, 2017
\nEstimate: HK$1,500,000-2,500,000 (US$192,000-321,000)
\nLot 4, 20th Century & Contemporary Art Evening Sale, June 8

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Working across a range of mediums including drawing, painting, sewing and printmaking, American artist Tschabalala Self is celebrated for her expressive, tactile artworks that explore the confluence of gender and race through a variety of forms and narratives.

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Showcasing Self’s trademark method of art execution, KLK is composed of acrylic, fabric and painted canvas that has been sewn onto the work with a variety of colored thread. The material is sourced from all aspects of her day-to-day life, from the debris of her family home to repurposed fabric and recycled works.

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With his stylized beard, fashionable green jacket, and red and blue New Balance sneakers, the KLK man exudes an air of coolness. The work’s title comes from a short form used in texting for the Spanish phrase “que lo que,” meaning “what’s up.”

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Jadé Fadojutimi

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Jadé Fadojutimi, Concealment: An essential generated by the lack of shade, 2019
\nEstimate: HK$600,000-800,000 (US$76,900-103,000)
\nLot 7, 20th Century & Contemporary Art Evening Sale, June 8

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With expressive canvases that are charged with energy and emotion, London-born painter Jadé Fadojutimi has captured the attention of the art world. Concealment: An essential generated by the lack of shade is the first work by the artist to be offered at auction in Asia, and a prime example of the artist’s strong graphic impulse and painterly touch.

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The piece showcases Fadojutimi’s masterful approach to mark-making that defies all expectations of her medium. She began by building up color through brushing, pushing and smearing, before then also scraping it away, Fadojutimi creates a multilayered, immersive surface that engages the viewer in a deep dialogue of introspection, delving into the themes of identity and a quest for self-knowledge that are at the heart of her hypnotic practice.

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Maria Farrar

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Maria Farrar, Sailor, 2016
\nEstimate: HK$240,000-440,000 (US$19,200-32,100)
\nLot 116, 20th Century & Contemporary Art & Design Day Sale, June 7

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Born in the Philippines and raised in Japan, Maria Farrar weaves together classical themes of Eastern and Western visual language in supple, organic forms. Her light-hearted, dynamic scenes derive from everyday life and fragments of memories, spanning the grand lakes of the Philippines to the shop windows lining the streets of London.

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Connecting the pictorial language of manga and calligraphy with Western art history and oil pigments, Farrar’s acute sense of color and dynamic compositions capture moments that are concrete and yet simultaneously elusive, fragments of a floating and expanding world.

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\n","2021-06-02T06:02:34.000000Z","https://www.phillips.com/article/76906077/the-female-gaze-6-women-artists-in-the-in-the-upcoming-hong-kong-sales",5,1274,3552,76906077,"https://flockler.com/thumbs/sites/889/banksy-b0dea1cc-b66e-4b20-99e7-c0f792875b95_s600x0_c337x197_l244x189.png","班克斯作品《笑在當下層板A》將亮相二十世紀及當代藝術晚間拍賣，成為富藝斯在亞洲首件接受買家以虛擬貨幣交易的拍品。","班克斯與加密世界的聯繫","

富藝斯觀察到敏銳的亞洲藏家對於科技與創新概念有極高的接受度，將在6月8日舉行的二十世紀及當代藝術晚間拍賣呈獻首件接受買家以虛擬貨幣交易的拍品 ─ 班克斯的《笑在當下 - 層板 A》。拍賣舉行前，富藝斯資深專家Rebekah Bowling專訪一直緊貼加密世界與藝術發展的英國畫廊家兼藏家Amir Soleymani。

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Amir Soleymani又稱Mondoir是英國著名畫廊創辦人兼藏家，收藏門類包括傳統和數碼藝術。

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\nRebekah Bowling : 你何時開始關注NFT或加密貨幣？
\nAmir Soleymani : 我在 2010 年首次接觸加密貨幣，當時也是首次認識比特幣。我較遲關注NFT，到了2021 年 2 月才開始投資。

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\nRB : 你最初如何認識NFT？
\nAS : 由我的香港藝術經紀介紹。
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RB : 你從何開始收藏班克斯的作品？
\nAS : 我一直非常喜歡班克斯的作品，但其價格實在高不可攀。某天我還是逃不過想要收藏作品的心態，所以出標競投了。
\n

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RB : 你看到班克斯與加密世界之間有著任何關聯嗎？
\nAS : 班克斯經常通過他的藝術，抗議政治、社會和經濟不公，而加密貨幣的出現也是為了對抗中央貨幣體系。此外，班克斯和著名比特幣創辦人中本聰一樣神秘匿名。

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RB : 加密領域人士如何看待班克斯這位藝術家？
\nAS : 班克斯是備受景仰的國際人物，也是一個早期NFT活動以班克斯為主的原因。當時，有人掃描一件班克斯的版本作品，把它數碼化並且製成「燒毀班克斯（Burnt Banksy）」，其後燒毀原作和以NFT形式出售。

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RB : 你有遇過一些對投資加密貨幣或收藏NFT感興趣的傳統藝術藏家嗎？
\nAS : 以我所見，只有少數藏家願意參與數碼藝術其中。我相信一般藝術藏家還需要一段時間來信任這種「新奇事物」。

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RB : 你認為專門收藏NFT的人士可能會對收藏實體藝術品感興趣嗎？你認為收藏 NFT 和收藏實體藝術品之間有何主要區別？AS : 於我而言，NFT應該是一件實體的代表，而該實體可以是印刷品、雕塑、繪畫或任何其他物件。作為藏家，我更喜歡收藏附有實物的 NFT。不少數碼藝術家提供影像顯示框作為實物的代表，而實物總是廣受藏家歡迎。

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RB : 越來越多拍賣行進入NFT市場，或試圖與加密社區互動，你對於這個現象有何看法？
\nAS : 傳統拍賣行，藝術拍賣行尤甚，是藝術界最保守的機構之一，而他們接受數碼藝術復興，對於整個行業十分有利。

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班克斯(Banksy)《笑在當下 - 層板 A》，2002年作，噴漆乳膠漆石膏板裱於藝術家畫框。
\n作品 178.5 x 74 公分，
\n藝術家畫框 192.3 x 87.5 公分
\n估價22,000,000 - 32,000,000港元
\n拍品22，二十世紀及當代藝術晚間拍賣，6月8日。

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《笑在當下 - 層板 A》作於2002年，出自於隱姓埋名卻享譽國際的神秘街頭藝術家班克斯最令人趨之若鶩的《笑在當下》系列。在過去二十年裡，他結合諷刺性幽默和塗鴉的創作風格席捲了整個藝術界，本作品中的猴子形像是藝術家作品中不斷出現的主題，畫中猴子身前的告示板寫著「笑吧，但有一天會是我們當家」有意將其塑造為具有諷刺意味的角色，涵蓋了他標誌性街頭塗鴉創作方式。藝術家在他設計的模板上作紙板噴漆，呈現出他的“犯罪手法”之餘，也在這漫畫式的作品上帶出沉重的主題元素。

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班克斯是顛覆破格的創作者，以其富有黑色幽默、諷刺和實事評論的獨特作品席捲了整個藝術世界。作為這個時代一名敏銳的社會評論者，班克斯的街頭藝術已經名副其實地成為了一股不可阻擋的文化力量。藝術家將其許多標誌性的壁畫原作轉化為布面作品和限量版畫，使他具有玩味和諷刺意義的信息能夠傳播給更廣的觀眾群體。富藝斯今次接受班克斯作品《笑在當下 - 層板 A》的買家用虛擬貨幣付款，意在結合顛覆常規的創作思維與科技創新。

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\n瀏覽以下視頻重溫由亞洲協會香港中心舉辦的「Finding Art, NFTs and Tech's Place in the Future」講座或
\n點擊此處從富藝斯亞洲區主席陳遵文(Jonathan Crockett)的彭博專訪中了解更多加密世界與藝術的詳情：

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富藝斯與保利拍賣聯合舉行二十世紀及當代藝術和設計日間拍賣

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JW 萬豪酒店 | 6月7日
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富藝斯與保利拍賣聯合舉行二十世紀及當代藝術晚間拍賣

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JW 萬豪酒店 | 6月8日

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$\"\"$

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相關專題

\n\n

從美術館到拍賣場，他們都是耀眼焦點 >
\n
\n張曉剛的藝術大家庭 >

\n\n

今季當代藝術拍賣中須認識的8位後起之秀>

\n","2021-06-02T04:02:15.000000Z","https://www.phillips.com/article/76908143/banksy-nft-tca-sp-cn",4,1276,3551,76908143,"https://flockler.com/thumbs/sites/889/banksy-e10873d3-49a6-49dc-ac47-972be4b3bc83_s600x0_c336x196_l245x188.png","Banksy’s “Laugh Now Panel A” is the first lot in Asia to be auctioned with cryptocurrency as payment.","Banksy and Cryptocurrency","

Banksy, Laugh Now Panel A, 2002
\nEstimate: HK$22,000,000-32,000,000 (US$2,820,000-4,100,000)
\nLot 22, 20th Century & Contemporary Art Evening Sale, June 8

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Phillips is proud to announce that it will accept cryptocurrency as payment for Banksy’s Laugh Now Panel A in our upcoming 20th Century and Contemporary Art Evening Sale on June 8. Before the sale, Phillips senior specialist Rebekah Bowling spoke with British gallerist and collector Amir Soleymani to learn more about crypto and the art world.

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Amir Soleymani is a gallerist and collector of fine and digital.

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\nRebekah Bowling: When did you first start paying attention to NFTs and/or cryptocurrency?
\nAmir Soleymani: My first interaction with cryptos was in 2010 when I learned about Bitcoin. For NFT’s I was late and just started to invest in them in Feb 2021.
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\nRB: How did you first become aware of NFTs?
\nAS: My art broker in Hong Kong told me about them.
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\nRB: How did you come to collect Banksy’s work?
\nAS: I’ve always loved Banksy works but couldn’t afford to pay a large sum for one piece. One day I decided to do the inevitable to bid.
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\nRB: Do you see any connections between Banksy and the crypto-world, perhaps?
\nAS: Banksy always protested against political, social & economical injustice through his art. Crypto came into existence to protest against central monetary systems. Banksy is as anonymous as the famous Bitcoin inventor, Satoshi Nakamura.

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RB: How do those in the crypto-world view the artist?
\nAS: Banksy is an internationally recognized & well-respected figure that’s why one of the early acts in NFT space was the Burnt Banksy where someone scanned & digitized a Banksy print edition, burnt the print and sold the NFT.
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\nRB: Have you met any traditional art collectors who are interested in investing in cryptocurrency or collecting NFTs?
\nAS: I saw only a handful of collectors willing to get involved in the digital art movement and I believe it takes time for general fine art collector to trust this new “thing"
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\nRB: Do you think people who collect NFTs exclusively might be interested in collecting physical artworks at any point? What do you view as the main differences between collecting NFTs and physical works of art?
\nAS: In my view, NFT should be a representation of a physical object being a print, sculpture, painting, or any other object. As a collector, I prefer to acquire NFTs that are accompanied by a physical piece. Many digital artists are offering a video display frame as a physical representation. A physical piece is always appreciated by the collectors.
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RB: More and more auction houses are entering the NFT market or trying to engage with the crypto community. What is your view on this phenomenon?
\nAS: Traditional and especially fine art auction houses are amongst the most conservative institutions in art world and them accepting the digital art renaissance is very positive for the space in general.

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Banksy, Laugh Now Panel A , 2002
\nEstimate: HK$22,000,000-32,000,000 (US$2,820,000-4,100,000)
\nLot 22, 20th Century and Contemporary Art Evening Sale, June 8

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Laugh Now Panel A is a quintessential Banksy picture that shares its imagery with Laugh Now, a different work that also created in the watershed year of 2002 which marked the first public appearance of the chimpanzee in Banksy’s oeuvre. For the past two decades, his signature monochrome stenciled style combined with dark humour took the art scene by storm.

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The iconic motif of the forlorn monkey with a slumped shoulder wearing a sandwich board that bears the foreboding pledge ‘Laugh now, but one day we’ll be in charge is another demonstration of the artist’s satirical touch and encapsulates the influences of graffiti in his art form. Crafted with spray paint and cardboard stencils, the same method used for street art, his work distills complex statements into the playful artistic expression.

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Celebrated for pushing the boundaries with his street art interventions and distinctive studio practice, his oeuvre is characterized by dark humour, satire, and subversive epigrams that provide tongue-in-cheek yet poignant commentaries on social or political aspects of contemporary society. Banksy is no longer known just for his street art but a leading cultural force. We all get to share a piece of his brilliant mind through his canvas and screen-print renditions of his signature wall art. Phillips is accepting cryptocurrency as payment for Banksy’s Laugh Now Panel A.

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Watch the panel discussion “Finding Art, NFTs and Tech’s Place in the Future” held by the Asia Society Hong Kong Centre below.

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\n","2021-06-03T04:08:30.000000Z","https://www.phillips.com/article/76989415/banksy-nft-tca-sp",3,1282,3554,76989415,"https://flockler.com/thumbs/sites/889/richter-a8ac0b2f-825d-4719-8900-b0ef00a4c5ef_s600x0.png","二十世紀及當代藝術晚間拍賣主管雪鸞(Charlotte Raybaud)與香港大學藝術學系的Derek Collins一同拆解《抽象畫940-7號》的重要元素和里希特成為二十世紀及當代藝術殿堂級大師背後之原因。","藝術大師格哈特‧里希特抽象畫的發展軌跡","

格哈特‧里希特(Gerhard Richter)《抽象畫940-7號》，2015年作。
\n估價75,000,000-95,000,000港元/ 9,620,000-12,180,000美元
\n拍品13，二十世紀及當代藝術晚間拍賣，6月8日。

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從達芬奇和拉斐爾，到米開朗基羅、倫勃朗、特納、畢加索、莫奈和羅斯科，只有極少數藝術家成功地留下了如此具有影響力的文化遺產，並徹底改變了藝術歷史。在格哈特‧里希特(Gerhard Richter)超過半個世紀的藝術生涯中，他創作了數量驚人、形式多樣的作品，其中有40%如今被全世界各大博物館所收藏，毫無疑問，他是當代最偉大的藝術家之一。

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作為他最受讚譽的系列中不可動搖的上乘之作，《抽象畫940-7號》是為里希特(在繪畫形式可能性的畢生探索中的極盛巔峰，這一漫長歷程可謂有史以來對繪畫抽象性之界限所展開的最廣泛的探究。

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二十世紀及當代藝術晚間拍賣主管雪鸞(Charlotte Raybaud)與香港大學藝術學系的Derek Collins一同拆解《抽象畫940-7號》的重要元素和里希特成為二十世紀及當代藝術殿堂級大師背後之原因。

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\n","2021-06-05T05:13:08.000000Z","https://www.phillips.com/article/77146098/gerhard-richter-abstraktes-bild-cn",2,1290,3562,77146098,"https://flockler.com/thumbs/sites/889/152206-6_uc343245-1a78e035-c1d4-4032-840a-f740ffb380a4_s600x0.jpg","Charlotte Raybaud, our head of evening sale in Hong Kong, and Prof. Derek Collins, dean of the faculty of arts at the University of Hong Kong, break down what makes Richter such a monumental figure in 20th century and contemporary art.","Why Gerhard Richter Is One of the Greatest Artists of Our Time","

Gerhard Richter , Abstraktes Bild (940-7), 2015
\nEstimate: HK$75,000,000-95,000,000 (US$9,620,000-12,180,000)
\nLot 13, 20th Century & Contemporary Art Evening Sale, June 8

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Leonardo, Raphael, Michelangelo, Rembrandt, Turner, Picasso, Monet, Rothko — ever since the concept of a hierarchy in art genres was established by the great European academies in the 16th century, only few have succeeded in leaving behind legacies so influential that they have revolutionized the course of art history. Gerhard Richter is, without a doubt, another artist to add to that list.

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With an astoundingly vast and versatile body of work that spans over half a century, Richter is one of the most celebrated living artists. Around 40% of his work is housed in museum collections around the world. Owning a Richter is akin to owning a part of art history.

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Firmly placed within the highest tier of his most prized series, Abstraktes Bild (940-7) stands as the ultimate culmination of Richter’s career-long investigation into the formal possibilities of painting. His Abstraktes Bild series is one of the most extensive inquiries into the bounds of painterly abstraction ever produced.

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Charlotte Raybaud, our head of evening sale in Hong Kong, and Prof. Derek Collins, dean of the faculty of arts at the University of Hong Kong, break down the elements of this piece and what makes Richter such a monumental figure in 20th century and contemporary art.

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\n","2021-06-04T08:06:03.000000Z","https://www.phillips.com/article/77078725/gerhard-richter-abstraktes-bild",1287,3560,77078725,"https://flockler.com/thumbs/sites/889/kit_9671-7653260f-1b5c-4c43-9c84-466aee566176_s600x0.jpg","Join us for a virtual walkthrough from the JW Marriott Hotel of our Hong Kong 20th Century & Contemporary Art Sales, in association with Poly Auction. On view: Yoshitomo Nara, Banksy, Emily Mae Smith, George Condo, and more. ","VR Walkthrough | 20th Century & Contemporary Art, Hong Kong","

Travel through our Hong Kong 20th Century & Contemporary Art auction preview at the JW Marriott Hotel, and browse highlights from our upcoming auction.

\n\n

Featuring sought-after works by Gerhard Richter, Banksy, Yayoi Kusama, Yoshitomo Nara, Genieve Figgis, KAWS, Matthew Wong, Emily Mae Smith, George Condo, Zhang Xiaogang, and more.

\n\n

Our 20th Century & Contemporary Art Evening Sale and 20th Century & Contemporary Art and Design Day Sale, in association with Poly Auction, will take place 7-8 June at the JW Mariott Hotel in Hong Kong.

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$\"\"$

\n\n

Print advertisement created by Fred & Farid for Orangina, France
\n

\n\n

Notably, the composition of Broom Life shares distinct similarities to the widely successful, global ad campaign ran by French beverage company Orangina in the mid-2000s, which sparked massive controversy, later to be banned in America. Designed by acclaimed advertising agency Fred & Farid, the TV commercial featured a menagerie of buxom, scantily clad animals and plants, who shimmied, jiggled, and danced together in an animated, forest world. These creatures were then put into the spotlight over a series of printed adverts, with each portraying a different pin-up subject, sat atop a melting block of ice. Bursting from the bottom corner of each advert is an Orangina bottle, spraying the popular orange-flavoured fizzy soda over the figure and into the background where the tagline ‘Naturally Juicy’ is printed – a wordplay that contributes to the overall raunchy allusion whilst also juxtaposing the Orangina animals’ humanised forms. Feeling the adverts did not set a good example to the carbonated beverage’s main consumer base of children, teenagers, and young adults, complaints were made due to the sexualised depictions of the animal and plant xiforms, such as the cactus who, despite appearing without a face or eyes to confront the advert’s audience, is depicted with long legs that are covered in lacy stockings and have been shaved to remove all the plant’s prickly spines.

\n\n

The broomstick in Broom Life is too, sat atop a melting ice cube with a drink in hand, under the rays of the hot sun which shines out from the top corner of the composition. Using the historical format of the nude as a starting point but also humorously nodding to contemporary references, Smith subsequently subverts any sensual expectations by injecting the broomstick character into the scene, replacing the passive female subject with a personal, active voice of the artist. The broomstick motif transforms across Smith's oeuvre, mischievously masquerading in its lexicon of symbolic imagery and detailed scenery. As such, Smith’s painting act as a reflexive response to the social, cultural, and emotional connotations associated with the iconography of both the figurative paintings she refers to, but also the portrayal of women in popular culture today.

\n\n

$\"\"$

\n\n

\nDetail of the present work

\n\n

Moreover, Broom Life is personal to the artist, as whilst the broom motif recalls the form of a paintbrush, it also emulates the voice of a female artist, destabilising historically dominant social narratives of gender roles and notions of power found within art, in Smith’s playful, tongue-in-cheek way. The highly finished quality of this painting and the confidence in its strong, polished appearance further disrupts any expectations of a soft femininity, reinforcing the image of feminine strength and independence that is notably displayed across Smith’s acclaimed oeuvre.

\n\n

Collectors Digest

\n\n

Smith’s humorous and thought-provoking body of work continues to attract popular and critical attention around the world. She has been honoured with solo exhibitions at Galerie Perrotin, New York; Galerie Rodolphe Janssen, Belgium; Le Consortium, Dijon; and the Wadsworth Atheneum Museum of Art, Connecticut, and her works are now in the major collections of the Whitney Museum of American Art, New York; the Blanton Museum of Art, Texas; and Arsenal Contemporary Art, Montreal. Most recently, Smith presented a solo exhibition titled Speculative Objects at Galerie Rodolphe Janssen in Belgium, which ran from 27 February – 30 March 2021.

\n\n

ⁱEmily Mae Smith, quoted in Maurizio Cattelan, ‘Emily Mae Smith’, Purple MAGAZINE, S/S, issue 25, 2016, online

\n\n

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\"\" — Guerilla Girls, *Do Women Have To Be Naked To Get Into the Met Museum?*, 1989
\nCourtesy of Tate, London

\n\n

Overall, the way in which Smith removes the figure but keeps the attributes, such as pose, of famous odalisques is similar to the Guerilla Girls’ reinterpretation of Ingres’ La Grande Odalisque (1814), firmly establishing Smith amongst the ranks of some of the most notable feminist artists of our time. Pointing out the extreme inequalities in the art world and canons of art history, whilst naming themselves the ‘conscience of the art world’, the Guerilla Girls used posters, billboards and fliers to disseminate startling discrepancies and injustices that went untold. Particularly, Do Women Have To Be Naked To Get Into the Met Museum? (1989) takes Ingres as its model, placing a gorilla head onto the reclining nude, declaring ‘less than 5% of the artists in the Modern Art Sections are women, but 85% of the nudes are female’, a sad statistic highlighting the prevalent, perhaps sometimes subconscious, belief that women are objects to be looked at, rather than artists whose work ought to be admired.

\n",5695,"

\"\" — Cindy Sherman, *Untitled #94*, 1981
\nCollection of The Board Museum, Los Angeles

\n\n

Like Smith, Cindy Sherman references the historic models of Titian’s Venus of Urbino (1538) and Manet’s Olympia (1863) in her influential Centerfolds series from 1981, critiquing the historical examples of framing the woman as a passive object to be consumed by the male gaze. In Untitled #94 (1981), sold by Phillips New York in May 2012, Sherman is depicted as distant and unavailable, reclining but fully clothed, her placement on the floor next to a wooden chair very different to the soft silk sheets of Titian’s Venus. Overall, Sherman’s practice of changing her appearance in different guises reinforces her reclamation of the agency of women, declaring that women can be many things— they are not passive objects of the male gaze, but instead should have the right to be who they want to be and portray themselves how they desire.

\n\n

“I wanted to comment on the nature of centerfolds, where you see a woman lying there, and then you look at it closer and suddenly realize, Oops, I didn’t mean to invade this private moment. I wanted to make people feel uncomfortable.” — Cindy Sherman

\n",5693,"

\"\" — Alice Neel, *Pregnant Woman*, 1971

\n\n

Smith’s oeuvre situates itself amongst the feminist artists of our contemporary times, including the likes of Alice Neel, Cindy Sherman and the Guerilla Girls. For example, working in the 20th Century, Alice Neel was a pioneer American artist whose sincere interest in humanity led her to depict friends, family, neighbours and acquaintances in her paintings. With her work, she aimed to repudiate traditional gender roles and stereotypes, depicting people, especially women, as she saw them. Pregnant Woman (1971) portrays a heavily pregnant woman in a startling raw and honest way. The focus of this painting is not the sexual appeal of this woman, the nude sitter, but instead on the toll pregnancy is taking on her body. There is nothing erotic about this painting, with Neel purposefully employing musty tones of a sickly green and harsh lines that are more reminiscent of Manet’s Olympia than they are of the deities of the Old Masters.

\n",5692,"

\"\" — Yasumasa Morimura, *Portrait (Futago)*, 1988
\nCollection of the San Francisco Museum of Modern Art

\n\n

In 1988, the Japanese conceptual photographer and filmmaker, Yasumasa Morimura, known for his self-transformation and insertion into iconic works often from the Western cultural canon, transformed himself into Manet’s Olympia, taking the reinvention of iconic female characters further in the context of the late 20th Century. In doing so, he creates a space for the alternate depiction of gender, race and ethnicity, inverting the male gaze and playing with the notion of objectivity and subjectivity, as he himself becomes subject, object, looker and maker.

\n",5691,"

\"\" — Édouard Manet, *Olympia*, 1863
\nCollection of Musée d'Orsay, Paris

\n\n

Significantly in 1863, Édouard Manet turned Titian’s model on its head, stripping away its mythology and representing instead the image of a courtesan in Olympia (1863), not idealised or airbrushed in any way, and staring out directly at the viewer instead of avoiding our gaze. Olympia was a common name for a prostitute at the time, and thus through this depiction of the female nude, Manet was challenging the expected ideals of female representation in Academic art. Due to the way the viewer is confronted by Olympia’s sexuality, the painting was considered very vulgar to the 19th Century Parisian audience, with critics saying her pale skin outlined in black resembled a corpse, and the shadows of her hands made her appearance dirty. To the ire of the public, Manet did not present the illusion of perfection, his brushstrokes are visible and the female figure is not fully modelled.

\n",5690,"

\"\" — Jean-Auguste-Dominique Ingres, *Grande Odalisque,* 1814
\nCollection of the Louvre, Paris

\n\n

The French Neoclassical painter, Jean-Auguste-Dominique Ingres continued this precedent set years earlier by Titian, depicting his odalisque with an elongated torso looking seductively over her shoulder, and the romanticised curvatures of form as seen in the lengthened curve of her spine.

\n",5689,"

\"\" — Titian, *Venus of Urbino*, 1583
\nCollection of the Uffizi Gallery, Florence

\n\n

Titian’s Venus of Urbino (1583) is perhaps the typification of the female nude that Smith is critiquing and reformulating in Broom Life, portraying a lady stretched out on her bed, looking seductively out at the viewer. The sitters of such paintings were usually presented as passive objects for the pleasure of the spectator, who is presumed to be male, especially as women were not allowed into Salons at the time of Venus of Urbino’s creation. This painting oozes sensuality and is highly suggestive in the way Venus places her hand to cover her modesty while enclosing flowers in the other. Titian’s skilled application of a soft, incandescent paint further adds to the eroticism, as like the Venus of Botticelli’s creation, she is perfect. At the time, the work was greatly celebrated for its skilled depiction of the goddess, elevating the female form beyond the realms of reality.

\n",5688,"

\"\" — Sandro Botticelli, *The Birth of Venus,* 1485-1486
\nCollection of the Uffizi Gallery, Florence

\n\n

Initially under the guise of mythology, the female form has been depicted in the nude for centuries, referred to as the goddess of love in order to free the male gaze from any notions of indecency. Sculptures of Aphrodite and Venus inspired the works of early artists, such as the early Italian Renaissance painter, Sandro Botticelli’s The Birth of Venus (1485-1486), novel at the time for its reproduction of the nude in painting, but embraced for years to come as the ideal depiction of glorified beauty.

\n\n

In The Birth of Venus, Venus, the goddess of love, is blown onto the beach by wind billowing in from the left, where she is welcomed by the maiden on the right. There is a softness to her gaze, not confronting the viewer but instead shyly looking away, passively allowing the viewer to take in the entirety of her appearance. Her almost translucent, ivory skin is strikingly unblemished, and her long flowing locks cascade over her shoulders as if liquid gold, covering her modesty and thus arousing an air of respectability.

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“The broom has become this really handy tool for me to work around the gendered connotations that you might get from painting the naked female figure. The broom is nude but you don’t really think about it. And this enables me to place her in all sorts of scenarios.”
\n— Emily Mae Smith

\n\n

Tangled in symbolism, wry and whimsical characterise the meticulous paintings by Emily Mae Smith, a Texas-born, Brooklyn-based artist who has earned significant international praise over the past two decades that only continues to grow. Looking to Pop culture, Surrealism, and revisionist historiography, Smith devours and reformulates a wide variety of references to create her unique, intricate fantasy worlds within which her iconic Broomstick character resides. Its image nods to that of the artist’s paintbrush and as a symbol of women-oriented domestic labour, with inspiration specifically taken from the dancing broomsticks in Disney’s Fantasia whom Smith aims to liberate ‘from the film’s menial labour and reproduction role’ⁱ.

\n\n

\nMagic Brooms, Fantasia, Disney, 1940
\n

\n\n

Employed in her work as a tongue-in-cheek way to draw attention to the prevalent objectification of the female form throughout the history of art, Smith explores the motif of the broomstick to engage with the themes of feminism, gender-related complexities, and representation. Forcibly stepping into a tradition of painting that has relegated women to the sidelines for centuries, Smith is widely celebrated for her imaginative visual universe, as exquisitely encapsulated in Broom Life, whereby pervasive parameters are dismantled through wit and humour to reveal her subject matter’s deeper ramifications.

\n\n

Broom Life

\n\n

Broom Life immediately strikes us with its vivid use of colours, rendered in icy blue hues that melt and pool at the bottom of the canvas, under the radiant warmth of the clementine sherbet sunset. At the centre of the composition, an effeminate, anthropomorphic broomstick sits on top of a large block of ice, illustrated in a bleached blonde wig with circular mod girl sunglasses, lush red lips, and lounging with a cocktail drink in hand, evoking the joy and relaxation of a holiday in the sun.

\n\n

$\"\"$

\n\n

Emily Mae Smith, Dust, 2019
\nSold at Phillips in Association with Poly Auction, Hong Kong, on 3 December 2020
\nEstimate HK$200,000 – 300,000 / Sold for HK$1,134,000

\n\n

\nThe protagonist of the painting draws an instant comparison to the subject of Dust (2019), a canvas created by Smith five years later that sold on 3 December 2020 at Phillips Hong Kong in Association with Poly Auction, far surpassing its pre-sale estimates. In both works the broomstick subject is depicted seated at the centre of the work, however, in Dust, their figure is cast in a silhouette shadow, turned away from the viewer as if our presence is unknown. Similarly, in Alien Shores (2018), Smith’s current auction record work which Phillips London achieved in 2020, the broom gazes out at a Surrealist sunset with their back also turned. Contrasting both Dust and Alien Shores, in the present painting, the subject exudes confidence and charisma, looking directly at the viewer as she confronts us from behind her white, circular frames, enticing us to join with her drink raised out as if toasting a ‘cheers’.

\n\n

\nA Contemporary Voice Within the Realms of Traditional Portraiture
\n

\n\n

With Broom Life, Smith follows a long tradition of representing the female nude in the history of art, engaging with the provocative parameters of traditional portraiture in a light-hearted, witty manner, challenging the historical notions of fetishisation and the voyeuristic male gaze. From the early portrayals by the Old Masters, of coy deities who are cloaked in mythology with an impeccable beauty, the representation of the female form has slowly transformed over the centuries as more artists have challenged the expectations of eroticism in association with the nude. Indeed, the image of the passive female sitter has since been interrogated by artists from Manet to contemporary feminist icons including Cindy Sherman and the Guerilla Girls, who critique in their art power constructs, reclaiming sovereignty over the representation of women.

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6EX","2026-10-29T00:00:00.000000Z","2026-11-04T00:00:00.000000Z",{"_155":814,"_156":815,"_158":816,"_162":806,"_661":817},[822,823],{"_674":681,"_676":682,"_677":683,"_679":824},{"_674":675,"_676":675,"_677":678,"_679":824},"18:00:00",{"_168":321,"_170":805,"_172":805},"NY011726",2107,"Rema Hort Mann Fund 30th Anniversary Auction: Launching Artists Living With Cancer Grant","LIVE","https://www.phillips.com/auction/NY011726","2026-10-19T16:00:00.000000Z","2026-10-29T02:00:00.000000Z",[835],"https://assets.phillips.com/image/upload/t_Website_AuctionPageHero/v1/auctions/NY011726/NY011726.jpg",{"_168":169,"_170":171,"_172":173},"NY031026",2098,"Editions & Works on Paper: No Reserve Online Auction","https://www.phillips.com/auction/NY031026","2026-10-20T16:00:00.000000Z","2026-10-28T16:00:00.000000Z",[844],"https://assets.phillips.com/image/upload/t_Website_AuctionPageHero/v1/auctions/NY031026/NY031026.jpg",{"_168":301,"_170":845,"_172":845},"Editions","NY030726",2045,"Editions & Works on 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喬治·康多

喬治·康多(George Condo)《吉恩‧路易斯素描》，2006年作 ，油彩畫布，215.6 x 203.5 公分 。\n估價10,000,000 - 15,000,000港元\n拍品28 ，二十世紀及當代藝術晚間拍賣，6月8日。

喬治·康多(George Condo) 《執行官》，2003年作，油彩 畫布，61 x 50.8 公分 。\n估價2,200,000 - 3,200,000港元\n拍品194，二十世紀及當代藝術和設計日間拍賣，6月7日。

喬治·康多(George Condo)《紅色椅子上的女人》，2007年作，油彩 畫布，76.5 x 61 公分 。\n估價2,500,000 - 3,000,000 港元\n拍品193，二十世紀及當代藝術和設計日間拍賣，6月7日。

喬治·康多(George Condo)《面孔和表情》，2009年作，壓克力 粉筆 粉彩 紙本，126x111.5公分 \n估價1,500,000 - 2,500,000港元\n拍品192，二十世紀及當代藝術和設計日間拍賣，6月7日。

西斯特·蓋茨

PRADA榮宅的西斯特·蓋茨展覽「多寶閣」。

\n鹽田千春

「塩田千春：撼動的靈魂」展覽。

鹽田千春《日常創傷》，2007年作，線 鋼 衣服 壓克力，150 x 100 x 80 公分 。\n估價300,000 - 500,000港元\n拍品183，二十世紀及當代藝術和設計日間拍賣，6月7日。

鹽田千春《生存的狀態 (木偶屋)》，2013年作，黑線 木偶屋，34.6 x 60 x 50公分 。\n估價200,000 - 300,000 港元\n拍品182，二十世紀及當代藝術和設計日間拍賣，6月7日。

洛伊‧霍洛韋爾

龍美術館（西岸館）的「洛伊·霍洛韋爾：再校準」展覽。

路易斯·霍洛韋爾(Loie Hollowell )《首次接觸》 ，2018年作，油畫 壓克力 鋸末 高密度泡沫 麻布 裱於木板，122.2 x 91.4 公分。\n估價1,200,000 - 1,800,000 港元\n拍品3 ，二十世紀及當代藝術晚間拍賣，6月8日。

路易斯·霍洛韋爾 (Loie Hollowell )《連環林伽：藍綠色、紫色、黃色、藍色》，2016年作，\n油彩 麻布 裱於木板， 71.1 x 53.3 公分，\n估價500,000 - 700,000港元\n拍品101，二十世紀及當代藝術和設計日間拍賣，6月7日。

George Condo

George Condo, Sketches of Jean Louis, 2006.\nEstimate: HK$10,000,000 - 15,000,000\nLot 28, 20th Century & Contemporary Art Evening Sale, June 8.

George Condo, The Executive, 2003.\nEstimate: HK$2,200,000 - 3,200,000\nLot 194, 20th Century & Contemporary Art Day Sale, June 7.

George Condo, Woman on Red Chair, 2007.\nEstimate: HK$2,500,000 - 3,000,000\nLot 193, 20th Century & Contemporary Art Day Sale, June 7.

George Condo, Faces and Expressions, 2009.\nEstimate: HK$1,500,000 - 2,500,000\nLot 192, 20th Century & Contemporary Art Day Sale, June 7.

Theaster Gates

“Theaster Gates: China Cabinet” at the Prada Rong Zhai in Shanghai.

Theaster Gates, Dirty Red, 2016.\nEstimate: HK$4,600,000 - 6,200,000\nLot 21, 20th Century & Contemporary Art Evening Sale, June 8.

Chiharu Shiota

“Shiota Chiharu: The Soul Trembles” at the Taipei Fine Arts Museum.

Chiharu Shiota, Trauma / Alltag, 2007.\nEstimate: HK$300,000 - 500,000\nLot 183, 20th Century & Contemporary Art Day Sale, June 7.

Chiharu Shiota, State of Being (Puppet House), 2013.\nEstimate: HK$200,000 - 300,000\nLot 182, 20th Century & Contemporary Art Day Sale, June 7.

Loie Hollowell

“Loie Hollowell: Recalibrate” at the Long Museum in Shanghai.

Loie Hollowell, First Contact, 2018.\nEstimate: HK$1,200,000 - 1,800,000\nLot 3, 20th Century & Contemporary Art Evening Sale, June 8.

Loie Hollowell, Linked Lingam in Green/Teal, Purple, Yellow, Blue, 2016.\nEstimate: HK$500,000 - 700,000\nLot 101, 20th Century & Contemporary Art Day Sale, June 7.

張曉剛 《全家福第13號》 ，1998年作，油彩 畫布，150 x 150 公分。\n估價8,000,000 - 12,000,000港元\n拍品 16，二十世紀及當代藝術晚間拍賣，6月8日。

格哈特‧里希特的作品為張曉剛帶來深遠影響，圖為里希特的1971年作品《Wende一家》。

Zhang Xiaogang, Family Portrait No. 13, 1998.\nEstimate: HK$8,000,000 - 12,000,000\nLot 16, 20th Century & Contemporary Art Evening Sale, June 8.

Gerhard Richter, The Wende Family, 1971.

薩爾曼·托爾

阿莫阿科·博阿佛

阿莫阿科·博阿佛 (Amoako Boafo)，《凝視1號》 ，2018年作，油彩 紙本，140 x 100 公分。\n估價 600,000 - 800,000港元\n拍品5，二十世紀及當代藝術晚間拍賣，6月8日。

\n桑亞·康塔洛夫斯基

桑亞·康塔洛夫斯基 (Sanya Kantarovsky)，《溫度》，2016年作， 油彩 水彩 畫布，152.5 x 114.5 公分 。\n估價550,000 - 750,000 港元\n拍品104，二十世紀及當代藝術和設計日間拍賣，6月7日。

\n馬德琳·格林

馬德琳·格林 (Madelynn Mae Green)，《騎單車》，2018年作，壓克力 畫布，91 x 122 公分。\n估價50,000 - 70,000 港元\n拍品117，二十世紀及當代藝術和設計日間拍賣，6月7日。\n

\n\n\n亞歷克斯·加德納

亞歷克斯·加德納 (Alex Gardner)， 《已經好幾年了》，2019年作， 壓克力 畫布，91.4 x 91.4 公分。\n估價150,000 - 250,000 港元\n拍品122，二十世紀及當代藝術和設計日間拍賣，6月7日。

艾莉森·祖克曼

艾莉森·祖克曼(Allison Zuckerman)，《蘇珊娜和她的追求者》，2019年作，各 182 x 171 公分 ，共 182 x 342 公分。\n估價300,000 - 500,000 港元\n拍品140，二十世紀及當代藝術和設計日間拍賣，6月7日。

\n\n

艾略特·格林瓦爾德

艾略特·格林瓦爾德 (Eliot Greenwald)，《夜車（高大的樹木）》， 2020年作，壓克力 畫布，137 x 76.2 公分。\n估價80,000 - 120,000港元\n拍品147，二十世紀及當代藝術和設計日間拍賣，6月7日。

\nKYNE

KYNE，《無題》，2018年作，壓克力 成形畫布 ，100 x 62 公分 。\n估價300,000 - 500,000 港元\n拍品154，二十世紀及當代藝術和設計日間拍賣，6月7日。

Salman Toor

Amoako Boafo

Amoako Boafo, Gaze I, 2018.\nEstimate: HK$600,000 - 800,000\nLot 5, 20th Century & Contemporary Art Evening Sale, June 8.

Sanya Kantarovsky

Sanya Kantarovsky, Temperature, 2016.\nEstimate: HK$550,000 - 750,000\nLot 104, 20th Century & Contemporary Art & Design Day Sale, June 7.

Madelynn Green

Madelynn Green, Biking, 2018.\nEstimate: HK$50,000 - 70,000\nLot 117, 20th Century & Contemporary Art & Design Day Sale, June 7.

Alex Gardner

Alex Gardner, It’s Been Years, 2019.\nEstimate: HK$150,000 - 250,000\nLot 122, 20th Century & Contemporary Art & Design Day Sale, June 7.

Allison Zuckerman

Allison Zuckerman, Susanna and her Suitors, 2019.\nEstimate: HK$300,000 - 500,000\nLot 140, 20th Century & Contemporary Art & Design Day Sale, June 7.

Eliot Greenwald

Eliot Greenwald, Night Car (Tall Tree), 2020.\nEstimate: HK$80,000 - 120,000\nLot 147, 20th Century & Contemporary Art & Design Day Sale, June 7.

KYNE

KYNE, Untitled, 2018.\nEstimate: HK$300,000 - 500,000\nLot 154, 20th Century & Contemporary Art & Design Day Sale, June 7.

\n塞西麗·布朗

草間彌生

草間彌生，《網之迷戀》 ，2004年作，壓克力 畫布，162.3 x 162.3 公分 。\n估價8,000,000 - 12,000,000 港元\n拍品25，二十世紀及當代藝術晚間拍賣，6月8日。

草間彌生，《南瓜》，1990年作， 壓克力 畫布，53 x 45.5 公分 。\n估價4,800,000 - 6,800,000 港元\n拍品179，二十世紀及當代藝術和設計日間拍賣，6月7日。

艾米莉·梅·史密斯

艾米莉·梅·史密斯 (Emily Mae Smith) ，《掃帚人生》，2014年作 ，油彩 麻布， 122 x 94 公分 。\n估價400,000 - 600,000 港元\n拍品25，二十世紀及當代藝術晚間拍賣，6月8日。

艾米莉·梅·史密斯 (Emily Mae Smith) ，《五項苦難》，2019年作，油彩 麻布，96.5 x 76.2 公分 。\n估價240,000 - 440,000 港元\n拍品103，二十世紀及當代藝術和設計日間拍賣，6月7日。

莎芭拉拉·塞爾弗

莎芭拉拉·塞爾弗 (Tschabalala Self) 《KLK》，2017年作 ，壓克力 布料 上色畫布 畫布， 243.8 x 213.4 公分\n估價1,500,000 - 2,500,000港元\n拍品4，二十世紀及當代藝術晚間拍賣，6月8日。

賈黛·法多朱蒂米

賈黛·法多朱蒂米(Jade Fadojutimi)《隱蔽性：因缺乏陰影所產生的必要條件》，2019年3月作，油彩 畫布\n200.5 x 140 公分\n估價600,000 - 800,000 港元\n拍品7，二十世紀及當代藝術晚間拍賣，6月8日。

瑪麗亞·法拉

瑪麗亞·法拉(Maria Farrar) 《水手》，2016年作，油彩 畫布，152 x 122 公分\n估價240,000 - 440,000 港元\n拍品103，二十世紀及當代藝術和設計日間拍賣，6月7日。

Cecily Brown

喬治·康多(George Condo)《吉恩‧路易斯素描》，2006年作，油彩畫布，215.6 x 203.5 公分。
\n估價10,000,000 - 15,000,000港元
\n拍品28 ，二十世紀及當代藝術晚間拍賣，6月8日。

喬治·康多(George Condo) 《執行官》，2003年作，油彩畫布，61 x 50.8 公分。
\n估價2,200,000 - 3,200,000港元
\n拍品194，二十世紀及當代藝術和設計日間拍賣，6月7日。

喬治·康多(George Condo)《紅色椅子上的女人》，2007年作，油彩畫布，76.5 x 61 公分。
\n估價2,500,000 - 3,000,000 港元
\n拍品193，二十世紀及當代藝術和設計日間拍賣，6月7日。

喬治·康多(George Condo)《面孔和表情》，2009年作，壓克力粉筆粉彩紙本，126x111.5公分
\n估價1,500,000 - 2,500,000港元
\n拍品192，二十世紀及當代藝術和設計日間拍賣，6月7日。

鹽田千春《日常創傷》，2007年作，線鋼衣服壓克力，150 x 100 x 80 公分。
\n估價300,000 - 500,000港元
\n拍品183，二十世紀及當代藝術和設計日間拍賣，6月7日。

鹽田千春《生存的狀態 (木偶屋)》，2013年作，黑線木偶屋，34.6 x 60 x 50公分。
\n估價200,000 - 300,000 港元
\n拍品182，二十世紀及當代藝術和設計日間拍賣，6月7日。

路易斯·霍洛韋爾(Loie Hollowell )《首次接觸》，2018年作，油畫壓克力鋸末高密度泡沫麻布裱於木板，122.2 x 91.4 公分。
\n估價1,200,000 - 1,800,000 港元
\n拍品3 ，二十世紀及當代藝術晚間拍賣，6月8日。

路易斯·霍洛韋爾 (Loie Hollowell )《連環林伽：藍綠色、紫色、黃色、藍色》，2016年作，
\n油彩麻布裱於木板， 71.1 x 53.3 公分，
\n估價500,000 - 700,000港元
\n拍品101，二十世紀及當代藝術和設計日間拍賣，6月7日。

George Condo, Sketches of Jean Louis, 2006.
\nEstimate: HK$10,000,000 - 15,000,000
\nLot 28, 20th Century & Contemporary Art Evening Sale, June 8.

George Condo, The Executive, 2003.
\nEstimate: HK$2,200,000 - 3,200,000
\nLot 194, 20th Century & Contemporary Art Day Sale, June 7.

George Condo, Woman on Red Chair, 2007.
\nEstimate: HK$2,500,000 - 3,000,000
\nLot 193, 20th Century & Contemporary Art Day Sale, June 7.

George Condo, Faces and Expressions, 2009.
\nEstimate: HK$1,500,000 - 2,500,000
\nLot 192, 20th Century & Contemporary Art Day Sale, June 7.

Theaster Gates, Dirty Red, 2016.
\nEstimate: HK$4,600,000 - 6,200,000
\nLot 21, 20th Century & Contemporary Art Evening Sale, June 8.

Chiharu Shiota, Trauma / Alltag, 2007.
\nEstimate: HK$300,000 - 500,000
\nLot 183, 20th Century & Contemporary Art Day Sale, June 7.

Chiharu Shiota, State of Being (Puppet House), 2013.
\nEstimate: HK$200,000 - 300,000
\nLot 182, 20th Century & Contemporary Art Day Sale, June 7.

Loie Hollowell, First Contact, 2018.
\nEstimate: HK$1,200,000 - 1,800,000
\nLot 3, 20th Century & Contemporary Art Evening Sale, June 8.

Loie Hollowell, Linked Lingam in Green/Teal, Purple, Yellow, Blue, 2016.
\nEstimate: HK$500,000 - 700,000
\nLot 101, 20th Century & Contemporary Art Day Sale, June 7.

張曉剛《全家福第13號》，1998年作，油彩畫布，150 x 150 公分。
\n估價8,000,000 - 12,000,000港元
\n拍品 16，二十世紀及當代藝術晚間拍賣，6月8日。

Zhang Xiaogang, Family Portrait No. 13, 1998.
\nEstimate: HK$8,000,000 - 12,000,000
\nLot 16, 20th Century & Contemporary Art Evening Sale, June 8.

阿莫阿科·博阿佛 (Amoako Boafo)，《凝視1號》，2018年作，油彩紙本，140 x 100 公分。
\n估價 600,000 - 800,000港元
\n拍品5，二十世紀及當代藝術晚間拍賣，6月8日。

桑亞·康塔洛夫斯基 (Sanya Kantarovsky)，《溫度》，2016年作，油彩水彩畫布，152.5 x 114.5 公分。
\n估價550,000 - 750,000 港元
\n拍品104，二十世紀及當代藝術和設計日間拍賣，6月7日。

馬德琳·格林 (Madelynn Mae Green)，《騎單車》，2018年作，壓克力畫布，91 x 122 公分。
\n估價50,000 - 70,000 港元
\n拍品117，二十世紀及當代藝術和設計日間拍賣，6月7日。
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\n亞歷克斯·加德納

亞歷克斯·加德納 (Alex Gardner)，《已經好幾年了》，2019年作，壓克力畫布，91.4 x 91.4 公分。
\n估價150,000 - 250,000 港元
\n拍品122，二十世紀及當代藝術和設計日間拍賣，6月7日。

艾莉森·祖克曼(Allison Zuckerman)，《蘇珊娜和她的追求者》，2019年作，各 182 x 171 公分，共 182 x 342 公分。
\n估價300,000 - 500,000 港元
\n拍品140，二十世紀及當代藝術和設計日間拍賣，6月7日。

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艾略特·格林瓦爾德 (Eliot Greenwald)，《夜車（高大的樹木）》， 2020年作，壓克力畫布，137 x 76.2 公分。
\n估價80,000 - 120,000港元
\n拍品147，二十世紀及當代藝術和設計日間拍賣，6月7日。

KYNE，《無題》，2018年作，壓克力成形畫布，100 x 62 公分。
\n估價300,000 - 500,000 港元
\n拍品154，二十世紀及當代藝術和設計日間拍賣，6月7日。

Amoako Boafo, Gaze I, 2018.
\nEstimate: HK$600,000 - 800,000
\nLot 5, 20th Century & Contemporary Art Evening Sale, June 8.

Sanya Kantarovsky, Temperature, 2016.
\nEstimate: HK$550,000 - 750,000
\nLot 104, 20th Century & Contemporary Art & Design Day Sale, June 7.

Madelynn Green, Biking, 2018.
\nEstimate: HK$50,000 - 70,000
\nLot 117, 20th Century & Contemporary Art & Design Day Sale, June 7.

Alex Gardner, It’s Been Years, 2019.
\nEstimate: HK$150,000 - 250,000
\nLot 122, 20th Century & Contemporary Art & Design Day Sale, June 7.

Allison Zuckerman, Susanna and her Suitors, 2019.
\nEstimate: HK$300,000 - 500,000
\nLot 140, 20th Century & Contemporary Art & Design Day Sale, June 7.

Eliot Greenwald, Night Car (Tall Tree), 2020.
\nEstimate: HK$80,000 - 120,000
\nLot 147, 20th Century & Contemporary Art & Design Day Sale, June 7.

KYNE, Untitled, 2018.
\nEstimate: HK$300,000 - 500,000
\nLot 154, 20th Century & Contemporary Art & Design Day Sale, June 7.

草間彌生，《網之迷戀》，2004年作，壓克力畫布，162.3 x 162.3 公分。
\n估價8,000,000 - 12,000,000 港元
\n拍品25，二十世紀及當代藝術晚間拍賣，6月8日。

草間彌生，《南瓜》，1990年作，壓克力畫布，53 x 45.5 公分。
\n估價4,800,000 - 6,800,000 港元
\n拍品179，二十世紀及當代藝術和設計日間拍賣，6月7日。

艾米莉·梅·史密斯 (Emily Mae Smith) ，《掃帚人生》，2014年作，油彩麻布， 122 x 94 公分。
\n估價400,000 - 600,000 港元
\n拍品25，二十世紀及當代藝術晚間拍賣，6月8日。

艾米莉·梅·史密斯 (Emily Mae Smith) ，《五項苦難》，2019年作，油彩麻布，96.5 x 76.2 公分。
\n估價240,000 - 440,000 港元
\n拍品103，二十世紀及當代藝術和設計日間拍賣，6月7日。

莎芭拉拉·塞爾弗 (Tschabalala Self) 《KLK》，2017年作，壓克力布料上色畫布畫布， 243.8 x 213.4 公分
\n估價1,500,000 - 2,500,000港元
\n拍品4，二十世紀及當代藝術晚間拍賣，6月8日。

賈黛·法多朱蒂米(Jade Fadojutimi)《隱蔽性：因缺乏陰影所產生的必要條件》，2019年3月作，油彩畫布
\n200.5 x 140 公分
\n估價600,000 - 800,000 港元
\n拍品7，二十世紀及當代藝術晚間拍賣，6月8日。

瑪麗亞·法拉(Maria Farrar) 《水手》，2016年作，油彩畫布，152 x 122 公分
\n估價240,000 - 440,000 港元
\n拍品103，二十世紀及當代藝術和設計日間拍賣，6月7日。

Yayoi Kusama, Nets Obsession, 2004
\nEstimate: HK$8,000,000-12,000,000 (US$1,030,000-1,540,000)
\nLot 25, 20th Century & Contemporary Art Evening Sale, June 8

Yayoi Kusama, Pumpkin, 1990
\nEstimate: HK$4,800,000-6,800,000 (US$615,000-872,000)
\nLot 179, 20th Century & Contemporary Art & Design Day Sale, June 7

Emily Mae Smith, Broom Life, 2014
\nEstimate: HK$400,000-600,000 (US$51,300-76,900)
\nLot 25, 20th Century & Contemporary Art Evening Sale, June 8

Emily Mae Smith, Five of Seven Sorrows, 2019
\nEstimate: HK$240,000-440,000 (US$30,800-56,400)
\nLot 103, 20th Century & Contemporary Art & Design Day Sale, June 7

Tschabalala Self, KLK, 2017
\nEstimate: HK$1,500,000-2,500,000 (US$192,000-321,000)
\nLot 4, 20th Century & Contemporary Art Evening Sale, June 8

Jadé Fadojutimi, Concealment: An essential generated by the lack of shade, 2019
\nEstimate: HK$600,000-800,000 (US$76,900-103,000)
\nLot 7, 20th Century & Contemporary Art Evening Sale, June 8

Maria Farrar, Sailor, 2016
\nEstimate: HK$240,000-440,000 (US$19,200-32,100)
\nLot 116, 20th Century & Contemporary Art & Design Day Sale, June 7

班克斯(Banksy)《笑在當下 - 層板 A》，2002年作，噴漆乳膠漆石膏板裱於藝術家畫框。
\n作品 178.5 x 74 公分，
\n藝術家畫框 192.3 x 87.5 公分
\n估價22,000,000 - 32,000,000港元
\n拍品22，二十世紀及當代藝術晚間拍賣，6月8日。

Banksy, Laugh Now Panel A , 2002
\nEstimate: HK$22,000,000-32,000,000 (US$2,820,000-4,100,000)
\nLot 22, 20th Century and Contemporary Art Evening Sale, June 8

\nA Contemporary Voice Within the Realms of Traditional Portraiture
\n

2

Emily Mae Smith

Broom Life

Further Details

Full-Cataloguing

Emily Mae Smith