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30 Berkeley Square, London, United Kingdom, W1J 6EX (map)
\n
\nViewing Schedule
\n
\nLondon
\n5-14 October
\nMonday - Saturday 10:00am-6:00pm
\nSunday 12:00pm-6:00pm
\nclientserviceslondon@phillips.com
\n
\nAdmission to this sale is by ticket only. Please email tickets@phillips.com

\n","auctionDetailsSmall","London Auction 14 October 2022","extraInfo","

Rosanna Widén
\nSenior Specialist, Head of Evening Sale
\n+44 20 7318 4060
\nrwiden@phillips.com
\n
\nOlivia Thornton
\nHead of 20th Century & Contemporary Art, Europe
\n+44 20 7318 4099
\nothornton@phillips.com

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Georg Baselitz, Dr. Dumouchel (Remix), 2007. 20th Century & Contemporary Art Evening Sale, London.

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Georg Baselitz

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Reflecting on his Remix paintings, Georg Baselitz has explained that “I try to retain one thing. The original stimulus. It was a different painter who did those earlier works. It was me, to be sure, but in a different spirit with a different intention.” Executed in 2007, the large-scale Dr. Dumouchel (Remix) is a key work from the series. Revisiting some of his most provocative compositions via photographs and catalogues, the German artist generated an innovative new body of work which addressed questions of permanence and change, originality and our relationship to history. This self-conscious approach to reference evokes an almost Hegelian approach to repetition: over time, and through the dialectic process of revisiting and recombining forms and negating others, Baselitz’s work continues to resolve itself. Featuring a caricature of Marcel Duchamp, Dr. Dumouchel (Remix) is an update of an earlier body of paintings, including Frisch verliebt – M. D, Melodie, and Im Walde von Blainville. In revising this motif over several iterations across the small series, Baselitz paired the amorous couple with patterned backgrounds that seem to nod to certain art historical touchstones: here, perhaps, a reference to another great self-revisionist, Edvard Munch, who returned to the purple-flecked wallpaper of his Weeping Women composition several times over his career.

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Cecily Brown, Untitled, 2012. 20th Century & Contemporary Art Evening Sale, London.

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Cecily Brown

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Key to the musical concept of the remix is how the contemporary artist interprets their predecessors – something British painter Cecily Brown examines brilliantly in the dialogue struck between Untitled and a visual history of the female nude. As the artist explains, “You’ve got the same old materials – just oils and a canvas – and you’re trying to do something that’s been done for centuries. And yet, within those limits, you have to make something new or exciting.” The traditional nude ensemble gives Brown remarkable scope for a promiscuous blend of Old Master and Pop culture references, synthesized through the artist’s sensual textures. Taking clear pleasure in the physical properties of oil paint itself, Brown transforms her canvases into restless and shifting surfaces that hover between figuration and abstraction, producing fluid forms that combine the fleshy excess of Peter Paul Rubens and the gestural immediacy of Willem de Kooning. This approach eschews critical distance in favor of immediacy, encountering these traditional images and their creators head-on with new, reimagined significance.

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Sarah Ball, Untitled, 2017. 20th Century & Contemporary Art Day Sale, London.

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Sarah Ball

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An underappreciated aspect of any remix is rediscovery, and a constituent element of that rediscovery stems from an artist finding the universal appeal of something which was previously forgotten, disused, or out of favor. It is often the process by which life returns to what never had time to become a ghost, and this alchemy is readily apparent in Sarah Ball’s phantasmic work. Her portraits of anonymous sitters feature evasive, implacable facial expressions. Her choice of muted palettes and monochrome backgrounds work in contrast to the presence of her subjects, which the artist often sources from newspaper archives and social media. This ambiguity between time and space, together with the way Ball renders their features – some in lifelike detail, some blended into the background – gives an otherworldly feel to her work, and yet, still retains the human elements that transcend their stillness. The male figure in Untitled comes to us from an old baseball card, a family photograph in the attic, or an immigration card, and his past and future are a mystery to the viewer, but given its almost archetypical style, we can layer our own narratives over the image, creating an identity that Ball’s practice compels us to confront – how the uncanny comes about is just as much a cultural reference point as how we interpret it.

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Elizabeth Peyton, Evan at the Reading Festival 1993, 1997. 20th Century & Contemporary Art Evening Sale, London.

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Elizabeth Peyton

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A portrait of Evan Dando, the frontman of ‘90s grunge band the Lemonheads, Evan at the Reading Festival 1993 is emblematic of Elizabeth Peyton’s lyrical work. Incorporating sweeping brushwork, intimate sincerity, and emotional verve, the work collapses distinctions between realism and expressionist styles, and also between the public performance of celebrity and the deeply personal relationships that we forge with them. One of several portraits of Dando, he is shown here quietly contemplative, his long hair swept from his luminous face as he reads from the red book in his hands. Elbows leaning on crossed legs, his shoulders gently curved in concentration it is an image of quiet introspection and unguarded honesty that takes on the ethereal quality of a Pre-Raphaelite masterpiece. Using second-had images of our most iconic musicians, Peyton’s approach to her compositions suits this musical analogy, remixing her found material in new, personally meaningful ways. Peyton’s use of celebrities as idealized forms brilliantly discerns no real distinction between those she knows personally and those she knows from history. Classical art, particularly the mythmaking aspect of sublime but fictional subjects, creates larger-than-life fantasy, whereas Peyton brings the living legend – the rock star – and places them in their cultural milieu in a quiet, unshrouded manner, far from Andy Warhol’s fascination with celebrity, or the unimaginable perfection of the Pre-Raphaelite model in favor of history and its place in the now. “[People] are the way the world moves,” she explains, “and they contain their time.”

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Emily Mae Smith, Raft on Siren Sea, 2017. 20th Century & Contemporary Art Evening Sale, London.

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Emily Mae Smith

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Placing itself in direct dialogue with the fin de siècle arts periodical The Studio through the appropriation of its title and typeface, Raft on Siren Sea highlights American artist Emily Mae Smith’s subversive response to established art historical narratives with another element of remixing that requires a mix of deft skill and clarity of purpose: the parody. The work blends the graphic quality of Surrealism and the Chicago Imagists in a manner that feeds into Smith’s distinctive brand of “feminist pop,” which employs sharp humor as a means of deflating and reframing assumptions related to women, class, and divisions between high and low culture. Smith notes: “ […] instead of going with whatever the canon of art history says, I actually just developed deeply personal relationships with specific paintings, giving them my read. In a sense my paintings are a response to these paintings and the web of social, cultural and emotional weight they carry instead of a reference to them.” Smith's siren is able to move across art historical space and time, parodying the narratives she finds there and rewriting them in her own visual style. Sailing under a silent moon, at first glance the ship here seems empty, the lapping waves driving it on. Upon closer inspection though, we see the sea itself contains the unmistaken forms of female bodies, the rise and fall of the waves echoing a feminine silhouette. Replacing the hero Odysseus and his all-male crew, Smith places a female protagonist at the helm, the literal and symbolic figurehead for an alternative version of this canonical story.

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Ouattara Watts, Cosmic, 2002. 20th Century & Contemporary Art Day Sale, London.

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Ouattara Watts

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With Ouattara Watts’ work, the idea of remixing is baked into the conceptual basis of his practice – the Ivory Coast-born artist navigates a sea of cultures, symbols, patterns, numerals, and qualitative ideas not in search of, but rather in service to creating a universe on its own terms. “While I use identifiable pictorial elements to be better understood,” Watts notes, “this project is nevertheless about something much wider. I am painting the Cosmos.” There is a machine-like quality to the artist’s style, yet his figures of seemingly impractical items nurture a connective human aspiration, one that reveals the fundamental necessity of converging disparate images to create new landscapes. To Watts, the DJ and the metaphysician are exploring the same ideas; as are the skull or the chandelier or the flower in the artist’s system of objects. In Cosmic, Watts diagrams a darkened, mysterious figure with humanlike dimensions and several points of output with labels such as “Vision” and “Manifest” – and there is an unidentified input source, marked by its direction but its prompt just out of the scope of the canvas, coming from elsewhere in Watts’ interconnected macrocosm, almost in the form of an unsolved formula. There is always an unknown quantity which invites the remix to occur in the first place, and the artist experiments with any and all possibilities in order to arrive at the latest reach of the cosmos.

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\n","publishDate","2022-10-04T17:39:50.000000Z","authorCredit","Arian Murati","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/105195287/the-art-of-the-remix","displayOrder",2,"auctionEditorialID",1654,"editorialID",3977,"flocklerID",105195287,"https://flockler.com/thumbs/sites/889/scarpitta-phillips-auction-3-43e3e767-4976-4760-a9f0-c709c1a7901c_s600x0.jpg","Two canvases — one torn and scorched, the other wrapped and bandaged — bring both artists' experiences of World War II clearly into focus.","Wrapping the Wounds of War: Alberto Burri & Salvatore Scarpitta","

Salvatore Scarpitta, Red Freight, 1961. 20th Century & Contemporary Art Evening Sale, London.

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"Burri makes wounds, but you heal them,” Willem de Kooning once told Salvatore Scarpitta. Deeply affected by both artist’s experiences during World War II, two canvases bring that connection more clearly into focus — one torn and scorched, the other wrapped and bandaged — as part of Phillips’ upcoming 20th Century & Contemporary Art Evening Sale in London. Viewed together, the works speak to how both Italian artists responded to the experiences of war, harnessing a fundamental interest in materiality, compositional simplicity, and the emotive power of abstraction to convey the unspeakable.

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Alberto Burri, Sacco e Rosso, 1956. 20th Century & Contemporary Art Evening Sale, London.

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Alberto Burri trained as a surgeon before the war, instilling in him a practical understanding of the body’s vulnerability and of the tactile qualities of flesh and tissue — themes that would become emblematic in his later work. He served as a medic and saw action at Yugoslavia’s bloody front line in 1942, before his internment in an American prisoner of war camp in 1943. Like many other prisoners of war, Burri turned to art as a means of surviving the monotony and maltreatment of daily life in the camp, using whatever materials he found at hand. When he returned to Naples in 1946, Burri understood for the first time the scale and impact of the destruction the war had ravaged. Like the body on the battlefield, the city itself was blown apart, piles of dusty rubble and burnt-out apartment blocks littering the streets, while the skeletal remains of bombed Renaissance churches tore at the sky.

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Left: Church of San Pietro Martire, 1943. Image: Carlo Maggio / Alamy Stock Photo. Right: Alberto Burri, Sacco e Rosso, 1954, Tate, London. Image: © Tate, Artwork: © Fondazione Palazzo Albizzini Collezione Burri, Città di Castello / DACS 2022.

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Inflicting real damage onto his materials, Burri’s burlap Sacco e Rosso are deeply emblematic of both the individual body and the scorched realities of a European post-war world. A vital all-purpose material, burlap was used in the war effort in the construction of makeshift tents and camouflage, for the transportation of supplies and in the building of barricades on the front line. Burri’s stitched, torn, and burnt Sacchi are transformed under the artist’s hand from ubiquitous textile into powerful original medium, a metaphor that would have been viscerally felt in collective European memory of the 1950s.

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Undoubtably Burri’s most prized works, Sacco e Rosso are exceptionally rare today. The present Sacco e Rosso unfolds in sweeping passages of deep black, raw burlap, and blood red as color, form, and medium are perfectly synthesized in the composition. Riven with pockmarked wounds and burns, the coarse burlap gathers in elegant folds, its torn and frayed edges amplified in the contrast. Held in the same collection for over 30 years, this Socco e Rosso is one of only 15 in existence, one of which is held in the permanent collection of Tate Gallery in London.

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Salvatore Scarpitta, Red Freight (detail), 1961. 20th Century & Contemporary Art Evening Sale, London.

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Like Burri, Scarpitta had seen active service during World War II, although this was somewhat complicated given his status as an American citizen in Italy. American by birth and raised in Hollywood, in 1936 Scarpitta returned to his ancestral Italian home, studying and working in Rome throughout one of the city’s most artistically dynamic and exciting periods. Conceived, as he put it, under the cloud of World War I, Scarpitta came to maturation in the long shadow of World War II, where the “dramatic scenes and images of wounded or dead soldiers” that he had witnessed as a child came back to him with renewed force.

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Serving in the United States Navy, Scarpitta was also enlisted as a so-called “Monuments Man,” charged with identifying, recovering, and cataloguing art looted by the Nazis during this period. Such careful attention to the material life of paintings no doubt had a significant impact on Scarpitta, and it is certainly possible to read his careful wrapping of these post-war paintings as a direct echo of this important restitutional work, and as a sign of protection and recovery in the face of destruction and violence.

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The war had changed me... I wanted to come into contact with the hidden, most difficult nature of things. — Salvatore Scarpitta
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Scarpitta’s 1961 Red Freight is a rare and arresting example of the artist’s iconic three-dimensional wrapped paintings that brought him international renown. Composed of wide, sculptural bands of deep, wine-red strips of canvas dried leather-hard and wound in a sequence of alternating horizontal and diagonal directions like bandages across a body, the work captures the balance between tension, depth, and plasticity that characterizes Scarpitta’s most powerful work.

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Adding an especially emotionally charged element, the work’s title, Red Freight, compounds visual associations between the composition and the wooden boards of the red Deutsche Reischban freight trains repurposed under the Third Reich to transport weapons, goods, and — more tragically — people as the Nazi program of industrialized genocide intensified across Europe. In this respect, the corporeal dimensions of Scarpitta’s wrapped canvases take on an added poignancy. In its visual proximity to the wounded body, Red Freight not only underscores the impact of the events of World War II on Scarpitta’s artistic development, but also points to the optimistic note of healing and regeneration that these works strike in their post-war context.

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Left: Alberto Burri, Combustione plastica (Plastic combustion), 1958, Citta di Castello, Fondazione Burri, Italy. Image: Luisa Ricciarini / Bridgeman Images, Artwork: © Fondazione Palazzo Albizzini Collezione Burri, Città di Castello / DACS, London 2022. Right: Detail of the present work.

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Within its scars and sutures, Burri’s Sacco e Rosso carries itself with a quiet resilience and dignity equally evocative of the world from which it emerged. Ground-breaking at the time of its execution, in his Sacchi works Burri pioneered a highly personal style of Art Infomrel, and helped set the stage for Italy’s radical Arte Povera movement. Exhibited as early as 1952, Burri understood the significance of these works, and examples of his Sachhi are now held in the most eminent international institutions, including The Solomon R. Guggenheim Museum, the Musée National d’Art Moderne, Centre Pompidou, and the Tate Gallery in London.

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Six years after Burri's earliest exhibited Sachhi, Scarpitta presented his first "bandaged" paintings, which deeply impressed themselves on the legendary art dealer Leo Castelli when he visited the artist’s studio the same year. Spurred by this meeting to return to the United States, Scarpitta exhibited at the Dwan Gallery in Los Angeles shortly after the present work’s execution in 1961. Red Freight has also been included in significant retrospectives over the decades, including the 1977 survey exhibition at the Contemporary Art Museum in Houston, and the Leo Castelli Gallery’s extensive 1982 show Salvatore Scarpitta, American Cycle 1958-1982.

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\n","2022-09-23T22:19:58.000000Z","Phillip Crook","https://www.phillips.com/article/104430963/alberto-burri-salvatore-scarpitta-phillips-auction",1648,3972,104430963,"https://flockler.com/thumbs/sites/889/artists-to-watch-london-7-57c24ff6-dbb2-4c69-b928-a2486ebb5af7_s600x0.jpg","Introducing six of the most sought-after emerging artists in our London Evening and Day Sales.","Artists to Watch: In Demand in London","

Austyn Weiner, Working Through Not Knowing A Damn Thing About Any Thing, 2020. 20th Century & Contemporary Art Evening Sale, London.

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Austyn Weiner

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Executed on a monumental scale, Working Through Not Knowing a Damn Thing About Anything marks the Evening Sale debut of artist Austyn Weiner. With a background in photography, Weiner works across a wide range of mediums — including oil paint, crayon, and charcoal — to deconstruct physicality and feeling into sensual forms. Driven by an autobiographic urge, her supercharged palette references the richly saturated colors of her childhood in Miami. Weiner studied photography and painting at the University of Michigan before relocating to Los Angeles in 2016, where her painterly language embraced a more expressive mode of abstraction. "Most of the time, I approach a painting with no idea as to what it will be," she says. "But once in a while it hits like an arrow, and I know exactly what this work needs to become." Weiner’s work has been the subject of several solo shows, including her first solo show at Journal Gallery in New York in 2019, and most recently at Carl Kostyál in London and Bill Brady Gallery in Miami.

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Left: Issy Wood, General Sphinx, 2019. 20th Century & Contemporary Art Day Sale, London. Right: Issy Wood, The butter, 2019. 20th Century & Contemporary Art Evening Sale, London.

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Issy Wood

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An interdisciplinary artist at the vanguard of the 21st century’s revival and reinterpretation of Surrealist themes and motifs, London-based Issy Wood specializes in making the familiar strange. At once utterly contemporary and out of time, her canvases make surprising juxtapositions between temporalities, compounded by the artist’s use of her grandmother’s ornaments, old auction catalogues, iPhone photographs, and music as her source material. "Both painting and producing music deal with layers, scrapping the parts you don’t want, and happy accidents," she says. A child of the 1990s, she is well-schooled in the constant flow of decontextualized images and information that characterizes the digital age, resulting in darkly imaginative paintings that have brought notable critical acclaim. Wood earned her BA in Fine Art and History of Art at Goldsmith’s in 2015 and an MA from the Royal Academy Schools in 2018, during which time she staged her first solo show at Carlos/Ishikawa in 2017. Wood's work has since been shown at Beijing’s X Museum, as well as in a solo show at JTT in New York in 2020.

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Michaela Yearwood-Dan, Coping Mechanisms, 2021. 20th Century & Contemporary Art Evening Sale, London.

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Michaela Yearwood-Dan

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Diaristic and deeply personal, British artist Michaela Yearwood-Dan’s paintings record her reflections on race, class, and gender, and environmentalism. She incorporates botanical motifs and forms in lush, all-over environments that are as contemplative as they are visually compelling. Seen here, Coping Mechanisms is a work of high intensity that combines text and gestural mark-making in exuberant and expressive passages of vibrant color. Yearwood-Dan’s large-scale canvases nod to the all-over compositions of Cy Twombly, although where Twombly’s references looked back to a classical past, Yearwood-Dan’s are rooted firmly in the present moment, incorporating song lyrics, drafted notes of text messages never sent, and her "conversations" with Apple’s virtual assistant, Siri. "I’m most proud of my choice to move away from figurative work, to integrate text and make my vulnerability visible to my audience," she says. Yearwood-Dan has been celebrated with several solo exhibitions between New York and London. This year, Tiwani Contemporary celebrated the artist with a solo exhibition, and in 2021 she was the subject of another solo exhibition at Marianne Boesky Gallery.

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Cristina BanBan, Melting away, 2018. 20th Century & Contemporary Art Day Sale, London.

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Cristina Banban

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Spanish artist Cristina BanBan’s evocative portrayal of the female form celebrates women and the spaces they occupy. Depicting her subject’s bodies as enveloping the entirety of the canvas, BanBan subverts established notions of patriarchy and confronts the traditional male gaze. Her works combine classical training from the University of Barcelona with an interest in Japanese Anime to stylize and enlarge aspects of the body in an expressive representation of complex emotions. "Hands are my favourite part of the human body, after the teeth," she says. "Playing with hands brings movement into the painting. It doesn’t matter if the subjects are in relaxed positions, hands always create a dynamic composition." Currently based in New York City, BanBan has quickly attracted international praise with exhibitions worldwide, including multiple solo exhibitions at Perrotin in Shanghai in 2021 and Perrotin in Paris in 2022. BanBan recently set her personal auction record at Phillips's March 2022 auction in London.

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Julian Pace, Kanye, 2021. 20th Century & Contemporary Art Evening Sale, London.

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Julian Pace

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Based in Los Angeles, self-taught artist Julian Pace's interrogates themes of celebrity worship, identity, and self-absorption through large-scale portraiture. In both their treatment and content, Pace’s portraits clearly demonstrate his deep interest in art history and the figure of the artist, underpinned by several formative years spent in Florence. Working primarily in traditional mediums and within the historical contexts of the genre, Pace places his portraits of contemporary celebrities alongside reinterpretations of some of the most immediately recognizable images from the Western art historical canon. "I think I’m more interested in the human form and the people rather than who they are necessarily," Pace says. Marking the artist’s auction debut, the present work portrays Kanye West through Pace’s characteristically exaggerated proportions, bold angularity, and highly textured application of paint. Included in his recent exhibition "Julian Pace: Some Paintings" at Simon Simchowitz Gallery in October 2021, Pace’s portrait of West captures both the graphic quality of his practice and the intersection of traditional conventions of portraiture and mass media.

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Antonia Showering, I'm Not Saying, 2017. 20th Century & Contemporary Art Day Sale, London.

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Antonia Showering

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Stylistically recalling the dreamlike landscapes of Hurvin Anderson and Peter Doig, British artist Antonia Showering’s paintings play with personal memories, merging meaningful moments over into shifting emotional landscapes. "My paintings try and explore how memory works through stacking lots of recollections on top of one another," she says. Built up in velvety layers, her paintings often feature figures drawn from her family and those she has loved, not reflecting a physical likeness but recording the impressions of deep feelings and desires. Disarmingly intimate and pervaded by a poignant nostalgia, Showering balances emotion with an interpretative openness, endowing her figures with ambiguity. Living and working between London and Somerset, Showering earned an MFA from the Slade School of Art, London in 2018 and a BA (Hons) from City and Guilds of London Art School in 2016. Recent exhibitions of Showering’s work include an online solo presentation with White Cube in 2020 and this year's solo exhibition "Mixed Emotion" at the Timothy Taylor gallery.

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Discover More from 20th Century & Contemporary Art >

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Recommended Reading

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The Rothko Effect: Why Does Art Move Us? >

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New Now's Artists to Watch >

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"… instead of going with whatever the canon of art history says, I actually just developed deeply personal relationships with specific paintings, giving them my read. In a sense my paintings are a response to these paintings and the web of social, cultural and emotional weight they carry instead of a reference to them."
\n—Emily Mae SmithImmediately arresting in its clean, graphic quality and radically reduced palette, Raft on Siren Sea is a striking example of Texan-born Emily Mae Smith’s sophisticated blend of art historical reference, sharp-edged wit, and feminist revisionism. Belonging to a distinct body of work that places itself in direct dialogue with the fin de siècle arts periodical The Studio through the appropriation of its title and distinctive typeface, Raft on Siren Sea highlights Smith’s playfully subversive response to established art historical narratives. Blending visual references to Surrealism, the Chicago Imagists, and the various distinct movements associated with fin de siècle, Smith has developed her own, highly distinctive brand of ‘feminist pop’, introducing humour as a way of deflating and reframing assumptions related to women, class, and the imagined divisions between high and low culture.ⁱ

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The Studio

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"When I discovered it, I loved the idea that this word – ‘The Studio’ – would encapsulate everything you needed to know about art in some way […] The Studio becomes a container for me to write new myths and new stories."
\n—Emily Mae Smith

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Founded by Charles Holme with the utopian idea of bridging international communities by establishing and disseminating a shared visual language, The Studio was first published in 1893. Subtitled an ‘Illustrated Magazine of Fine and Applied Art’ it took the form of a monthly periodical – one of the first of its kind – and introduced the so-called Modern Style characterised by the likes of Aubrey Beardsley and Charles Rennie Mackintosh to both American and European audiences.
\nAs well as the title and its distinctive typography, Smith also borrows certain formal elements of the magazine, the simplified treatment of sinuous line and flat, broad contrasts of black and white so characteristic of Aubrey Beardsley’s illustrations and the limitations imposed by the printing process that are particularly obvious in Raft on Siren Sea.

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\"Aubrey — Left: Aubrey Beardsley, Design for the first issue of ‘The Studio’ An Illustrated Magazine of the Fine and Applied Arts, No. 30, September 1895, Victoria & Albert Museum, London. Image: V&A Images / Alamy Stock Photo
\nRight: Detail of the present work

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In her first institutional solo show held at Le Consortium, Dijon in 2019, Smith dedicated a room to a selection of these ‘Studio’ pieces, which she has continued to work on since 2014. Presenting an enormous range in the art historical touchstones referenced, they are united as a body of works by the obvious inclusion of the text, and by the broader ideas that Smith finds embedded in the concept of ‘The Studio’ itself. Developing the notion that as a magazine and a physical space it encapsulates both the practice of artmaking and a knowledge of its history, Smith appropriates and occupies ‘The Studio’, installing her broom avatar as a way of making visible the historically marginalised work of women artists. An active and autonomous agent rather than a passive muse, using the studio conceit the broom is able to move across art historical space and time, parodying the tropes and narratives she finds there and rewriting them in Smith’s own, distinct visual style.

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The Siren’s Story

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"… all that comes to pass on the fertile earth, we know it all"
\n—The OdysseyCreatures of classical myth and legend, the siren’s reputation is one of cruelty and destruction, using their beguiling voices to lure unsuspecting sailors to their deaths. Most famously appearing in Homer’s epic poem the Odyssey where the hero, desperate to hear their siren song, had himself strapped to the mast of his ship to restrain himself from the allure of their call, they have been historically presented as muses of the underworld – beautiful, but dangerous. A misogynistic cautionary tale illustrating the seductive powers of women to blind a man against his own interests and bind him to her will, the siren represents temptation, and the doomed fate of the men who weaken to it.

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Originally represented in early Greek art as a hybrid of woman and bird, the siren is now more commonly thought of as a sea creature, a figure who has endured in our cultural imagination as the mermaid immortalised by folk tales, film, and painting. As a hybrid creature occupying both human and animal worlds, possessing enormous narrative power, and directly challenging the authority and arrogance of men, the siren seems a particularly appealing subject for Smith, and it is unsurprising that the figure has reappeared in several different guises across her paintings, most frequently in reference to the late 19th and early 20th century fascination with the figure, captured in the pioneering films of Georges Méliès and the painters of Pre-Raphaelite John William Waterhouse.

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George Méliès, La sirène, 1904

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Drawing on the fascination expressed by the Romantics for the supernatural and the sublime in the face of the scientific objectivity of the age, Waterhouse was especially drawn to scenes from legend and myth, his strangely haunting paintings of nymphs, mermaids, and sirens indivisible from the broader culture of fin de siècle Aestheticism and the themes, motifs and visual style that characterised the Pre-Raphaelite turn to Medievalism. The broom has appropriated a number of Waterhouse’s most iconic paintings in recent years including A Mermaid (1900), The Siren (1900), and The Sorceress (c. 1911), and here seems to be using Waterhouse’s depiction of the Odysseus myth to interrogate the gendered politics of this foundational piece of European literature.

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\"John — John William Waterhouse, *Ulysses and the Sirens*, 1891, National Gallery of Victoria, Melbourne. Image: akg-images

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Whereas Waterhouse represents the climax of the dramatic action, the winged sirens flocking around the small raft to draw the bound Odysseus to his watery grave, Smith takes a decidedly different approach. Sailing under a silent moon, at first glance the ship here seems empty, the lapping waves driving it on. Upon closer inspection though, we see the sea itself contains the unmistaken forms of female bodies, the rise and fall of the waves echoing a feminine silhouette. Replacing the hero Odysseus and his all-male crew, Smith places a female protagonist at the helm, the literal and symbolic figurehead for an alternative version of this canonical story. Tellingly, the mast is subtly reconfigured into the curved silhouette of a brush. At once evoking her broom avatar and the tools of her trade, Smith commandeers Odysseus’ vessel - and, by extension, a literary and art historical tradition that has relegated women to monsters, bit-players on the side-lines of this tale of adventure and exploration – remaining the raft as an artist at the start of an epic adventure of her own.

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Collector’s Digest

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• Currently the subject of significant commercial and institutional attention, Emily Mae Smith has received important solo exhibitions around the globe, including at the Le Consortium, Dijon in 2018, Perrotin Gallery, Tokyo in 2019, the SCAD Museum of Art, Savannah in 2020, and Rodolphe Janssen Gallery, Brussels, in 2021. Most recently, Smith presented her first solo exhibition in Paris in October 2021 and her first monograph was recently published by Petzel Gallery.

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• Borrowing stylistic and compositional elements from the turn of the century British periodical ‘The Studio’, the present work belongs to Smith’s celebrated series of the same title, with one example now held in Le Consortium’s permanent collection.

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• Smith received her MFA from Columbia University. Her work belongs to multiple public collections, including the Whitey Museum of American Art, the Dallas Museum of Art, and the Wadsworth Atheneum Museum of Art in Hartford, Connecticut, among others.

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Emily Mae Smith discusses her practice ahead of her 2019 solo exhibition at Le Consortium, Dijon.

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\nⁱ Emily Mae Smith, quoted in ‘Broom With a View: Emily Mae Smith’s Humourous Art-Historical Revisions’, Elephant, 15 November 2018, online

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5

Emily Mae Smith

Raft on Siren Sea

Further Details

Full-Cataloguing

Emily Mae Smith