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Auction 4 October 2pm BST
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30 Berkeley Square, London (map)

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\nViewing 28 September - 4 October
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Friday 28 September 10am-6pm

Saturday 29 September 10am-6pm

Sunday 30 September 12pm-6pm

Monday 1 October 10am-7pm
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Tuesday 2 October 10am-8pm

Wednesday 3 October 10am-6pm

Thursday 4 October 10am-2pm

","auctionDetailsSmall","London Auction 4 October 2018","extraInfo","Tamila Kerimova
\nSpecialist, Head of Day Sale
\n+ 44 20 7318 4065
\ntkerimova@phillips.com
","enableHighlightsView","enableOnlineCatalogue","endSale",true,"hideSoldLots","isChineseTranslate","isExhibition","isLiveAuction","isMixedAuction","makeLive","showAdvanceBidButton","showArtCollector","showBuyButton","showCatalogueDownloadLink","showInquireButton","showPrintCatalogueSection","showRegistrationLink","showSaleOffers","showSoldPrice","lots",[245,246,247,248,249,250,251,252,253,254,255,256,257,258,259,260,261,262,263,264,265,266,267,268,269,270,271,272,273,274,275,276,277,278,279,280,281,282,283,284,285,286,287,288,289,290,291,292,293,294,295,296,297,298,299,300,301,302,303,304,305,306,307,308,309,310,311,312,313,314,315,316,317,318,319,320,321,322,323,324,325,326,327,328,329,330,331,332,333,334,335,336,337,338,339,340,341,342,343,344,345,346,347,348,349,350,351,352,353,354,355,356,357,358,359,360,361,362,363,364,365,366,367,368,369,370,371,372,373,374,375,376,377,378,379,380,381,382,383,384,385,386,387,388,389,390,391,392,393,394,395,396,397,398,399,400,401,402,403,404,405,406,407,408,409,410,411,412,413,414,415,416,417,418,419,420,421,422,423,424,425,426,427,428,429,430,431,432,433,434,435,436,437,438,439,440,441,442,443,444,445,446],"articles",[167,168,169,170,171,172],"departments",[160],"auctionCurrency",{"_157":72,"_158":159},"totalLotCount",202,"auctionMobilityAuctionRowId","1-148YY6","auctionUrl","https://www.phillips.com/auction/UK010718","currencyCode","currencySign","£",{"_161":162,"_163":164,"_165":166},"departmentId",1,"departmentName","Contemporary","departmentDisplayName","Modern & Contemporary Art",{"_173":236,"_175":166,"_176":237,"_16":238,"_179":239,"_181":240,"_183":184,"_185":186,"_187":241,"_189":186,"_191":242,"_193":243,"_195":244},{"_173":227,"_175":166,"_176":228,"_16":229,"_179":230,"_181":231,"_183":184,"_185":186,"_187":232,"_189":162,"_191":233,"_193":234,"_195":235},{"_173":217,"_175":166,"_176":218,"_16":219,"_179":220,"_181":221,"_183":184,"_185":186,"_187":222,"_189":223,"_191":224,"_193":225,"_195":226},{"_173":207,"_175":166,"_176":208,"_16":209,"_179":210,"_181":211,"_183":184,"_185":186,"_187":212,"_189":213,"_191":214,"_193":215,"_195":216},{"_173":197,"_175":166,"_176":198,"_16":199,"_179":200,"_181":201,"_183":184,"_185":186,"_187":202,"_189":203,"_191":204,"_193":205,"_195":206},{"_173":174,"_175":166,"_176":177,"_16":178,"_179":180,"_181":182,"_183":184,"_185":186,"_187":188,"_189":190,"_191":192,"_193":194,"_195":196},"coverUrl","https://flockler.com/thumbs/sites/889/168_001-e5144094-a48a-4851-afb5-91d3dae6d513_s600x0_c1240x725_l68x194.jpg","section","summary","Representative of the artist's idiosyncrasies over the course of a five-decade-long career, three pieces by William Kentridge exemplify his ceaseless work with and upon theatrical notions.","William Kentridge: Works on Paper Showcase the Artist's Theatricality","body","

William Kentridge Drawing from the animation for Il Ritorno d'Ulisse, 1998 (detail)

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Covering a wide breadth of genres—animation, drawing, collage and performance, among others—William Kentridge's creations come close to what German opera-composer Richard Wagner named 'Gesamtkunstwerk': the synthesis of various or all art forms. Fascinated with theatre, history, politics and materiality, Kentridge conjures these themes in complex polymorphic works, producing pieces at once experimental and minutious, structurally fragmented and conceptually exhaustive. The artist's South African background furthermore pervades his work, lending it always a tone at once intimate and political.

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Phillips is pleased to present three of the Kentridge's elaborate paperworks from the late 1990s and early 2000s in our London Day Sale on 4 October. Each representative of the artist's idiosyncrasies developed over the course of a five-decade-long career, Puppet Drawing (2000), Drawing from the animation for Il Ritorno d'Ulisse (1998) and MC2 – Drawing from "Medicine Chest" (2000-12) most strikingly showcase the artist's interest in revealing processes of creation.

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As they lay bare erasures, smudges and altered forms, these three works on paper highlight the importance of movement and methodic development in Kentridge's oeuvre. They are rendered alive through the exposure of their multiple recesses, balancing to and fro to become what they are, and, in this perspective, collectively encapsulate the artist's desire to observe the 'drawing drawing itself', like a filmic sequence or an image in motion.

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This passion for action and incremental progression, Kentridge drew from his long-standing love of theatre. Growing up, the artist wished to become an actor, and though he never fully carried out this aspiration, Kentridge kept theatrical ambitions at the core of his artistic expression. Each of the artist's works is thus profoundly narrative-driven and utilizes theatrical or expressionist language to convey motion and emotion. Constantly rethinking the boundaries of drawing and two-dimensionality, Kentridge indeed propulses his creations beyond the confines of their medium, thereby challenging the static nature they inherently suggest.

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The artist's poetically haunting works...contain within their dark folds and creases the voices of torn societies.
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William Kentridge Puppet Drawing, 2000

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Puppet Drawing is emblematic of Kentridge's experimental approach to representation on a formal level. A collage assembling tape, chalk and pins on a topographic map, this small construction juxtaposes materials and concepts alike, equating the immensity of a region with the humble size of a man, a specific spatiotemporal context with an atemporal, fictional silhouette, simple paper support with crafted paper constructions...

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On this multilayered composition, a 'tree-man' (one of Kentridge's signature motifs) strides along the drawn-out surface of 1838 Anatolia, evoking issues relating to identity and shifting geographic dispositions. With this particular map, Kentridge points to the significant migration rates reported following the integration of Eastern Armenia into the Russian Empire in 1828. The half-man, half-tree figure, freely transforming and moving across the paper support, thus symbolizes the motions of a community and the ramifications entailed by the conflation of cultural subjectivities.

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Drawing from his own background, Kentridge has often addressed such socio-political matters. His country's stricken state, following the terror and injustice of Apartheid, particularly motivated the expression of these matters; the artist's poetically haunting works, as such, contain within their dark folds and creases the voices of torn societies.

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William Kentridge MC2 – Drawing from "Medicine Chest", 2000-12

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MC2 – Drawing from "Medicine Chest" draws from a larger project. Divided in three roughly equal parts, the charcoal drawing presents the viewer with a threefold perspective of a barren landscape, with the interesting presence of a screen-like structure on the paper’s top-tier. This drawing formed part of an installation of sorts, whereby Kentridge projected hand-made animations inside a cabinet mirror — a 'medicine chest' — displaying images as varied as a gyroscope, the barren landscapes at hand, and the artist himself.

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William Kentridge Drawing from the animation for Il Ritorno d'Ulisse, 1998

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Drawing from the animation for Il Ritorno d'Ulisse reimagines a tale as old as time. In 1998 and interspersedly until 2016, Kentridge designed and directed his version of the eponymous Monteverdi opera. With the help of human-size puppets and trademark animations, Kentridge gave life to text and drawings. Executed with charcoal on paper and stretching over 160cm tall, Drawing from the animation for Il Ritorno d'Ulisse is a unique element extracted from one of these theatrical performances.

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In recreating iconic historical operas, using dramatic contrast in drawings, and projecting images on blank space as he would characters on a stage, the South African artist ceaselessly works with and upon theatrical notions. The three works presented in our Day Sale readily demonstrate this, exuding a sense of performativity in form, content or context.

\n","publishDate","2018-10-02T21:36:06.000000Z","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/37213862/william-kentridge","displayOrder",5,"auctionEditorialID",387,"editorialID",432,"flocklerID",37213862,"https://flockler.com/thumbs/sites/889/291_001-a833f70b-5db5-4eff-a618-d0c5cd57349e_s600x0.jpg","Renowned art critic and historian Anthony Haden-Guest goes in depth with the Sicilian-American artist's 'Charging Bull', famous for its Wall Street debut in the late 1980s.","Arturo di Modica: Charging Bull ","

Arturo Di Modica Charging Bull. Conceived in 1987-89 and cast in 2017, this work is number 1 from an edition of 8 plus 2 artist's proofs and 2 artist's copies. The work is incised with the artist's signature, number and date 'A D Modica '1/8' '1987/89'' on the lower stomach lacquered polished bronze.

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By Anthony Haden-Guest

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It was in the middle of the night on the 15th December 1989 that Arturo Di Modica and a small group of friends arrived on Wall Street with Charging Bull, his 16ft bronze masterpiece, on the back of a flatbed truck. Di Modica had spent the last few nights scoping out the location and monitoring the security routine, so he knew he had precisely four and a half minutes until the guard returned. But he was shocked. A gigantic Christmas tree had been installed since his last visit just where he was planning to leave the piece. But the clock hands moved remorselessly on. "Drop the Bull under the tree," he told his posse. "It's my gift."

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Hear from Anthony Haden-Guest about Di Modica's career, which progressed from Sicily to Florence to New York, and the conception of his most famous artwork

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You have to step back to 1941 when Di Modica was born in Vittoria, Sicily, to understand this unprecedented art action, and indeed his entire body of work. He had been born shortly before the Allied forces invaded, so it was into a world of conflict, and he grew up surrounded by the ruins of ancient Greece and Rome, which was a visual education in human ambition, the need for fortitude and, at least for Di Modica, the huge possibilities of art.

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Di Modica made a key move at the age of 18. He had decided that his pursuit of an art career required that he leave his birthplace and move to a cultural hub, so without telling his family he boarded a steam train to Florence, one of the powers of Renaissance Italy. His early years there were hard, dedicated to work at his sculpture, while he supported himself by taking a string of poorly paid jobs. Unable to afford the local foundries, Di Modica was very much thrown back on his own resources and applied himself to forging his own tools, using salvaged materials. He would then cast his earliest bronzes in a foundry he had built himself.

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This barebones approach, though, would prove rewarding in terms of craft, a matchless learning process, and Di Modica's efforts culminated with his first solo show: A 1968 exhibition of rough castings at the esteemed Villa Medici. Soon after he was working in the same Carrara studios as Henry Moore, the British great, who nicknamed him "the young Michelangelo." By the early '70s, Di Modica felt he had learned what Florence had to teach him and made a second key move — New York City.

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Di Modica set up his first studio on Grand Street in Downtown Manhattan, this being just when that area was replacing the Upper East Side as the center of New York's art world. It was also just then that Street art/graffiti were becoming a cultural phenomenon and Di Modica was a rare studio artist to be part of that, often parking his huge marble abstractions outside his studio on the sidewalk. It was also appropriate that it was just here that he caught a young artist spray-painting his studio door. That was Samo aka Jean-Michel Basquiat.

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Di Modica's Rockefeller Center action had been huge news, but in New York only. That had been the first act. After it had been put in place, 'Charging Bull' went global.
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In 1977, Di Modica had a show in Battery Park and telephoned Hilton Kramer, the then-lead art critic of the New York Times. Kramer hung up on him. It was this casual disrespect which motivated Di Modica's first Art Action. He loaded sixty tonnes of his marble abstractions onto the back of a truck, drove to Rockefeller Center, just off 5th Avenue, where he and the driver of the truck dropped off the works with no prior permission. After being confronted by four NYPD officers and issued with a $25 fine by Mayor Abe Beame, he was granted the right to leave his work on temporary exhibit. And the next day, he was on the front page of the New York Post. A valuable lesson was learned.

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On October 19th, 1987, Black Monday struck the financial markets. Many, many Americans were left reeling. Arturo Di Modica was living the life of his dreams. His work was being acquired by some of the world's most important collectors and he was making that work in a studio in his own five-story Manhattan building, which he had built by hand, while allowing himself such indulgences as a Ferrari 328 GTS. The United States had made all this possible. That was when and why the Charging Bull was born.

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Di Modica's next two years were spent creating this masterly 16ft bronze, with the $350,000 costs coming out of his pocket. So his discovery that a Christmas Tree had been installed just where he was going to put it could not have been more appropriate. This would be his gift to America and to the American people: Charging Bull would encourage them to battle through tough times towards a brighter future. Di Modica's Rockefeller Center action had been huge news, but in New York only. That had been the first act. After it had been put in place, Charging Bull went global.

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The piece draws millions of visitors every year. It is as widely known as Michelangelo's David, the statue in Florence, the city where his career began.

\n","2018-10-01T19:10:38.000000Z","https://www.phillips.com/article/37187333/arturo-di-modica-charging-bull",4,386,430,37187333,"https://flockler.com/thumbs/sites/889/p133-35fbcfd1-61ac-4a5e-b0d3-14145ca3095c_s600x0.jpg","Peter Murray CBE, the founder and executive director of the 500-acre Yorkshire Sculpture Park, describes the institution's evolving program and the variety of works on offer, by KAWS, Joan Miró, Lynn Chadwick and more.","Undulating Acres: Property Sold to Benefit the Yorkshire Sculpture Park","

Yorkshire Sculpture Park (YSP) was established in 1977. At that time there was not a huge amount of public or private support for contemporary sculpture. Over the following decades, there has, however, been quite a revolution in terms of enthusiasm for and recognition of sculpture, and YSP has played a significant role in this hard-fought battle.

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From a single start-up grant of £1000 over four decades ago, YSP has gone on to achieve national and international acclaim and now attracts 500,000 visitors a year. One of several important achievements has been to reunite the historic 18th-century landscape of the Bretton Estate, opening up public access to 500 acres of land and creating a unique location for contemporary art. Investment in new galleries and the restoration of historic buildings has also extended opportunities for artists and curators, providing a unique opportunity for interaction between indoor and outdoor displays.

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YSP's driving purpose for 40 years has been to ignite, nurture and sustain interest in and debate around contemporary sculpture, especially with those for whom participation is not habitual or familiar. It enables open access to art, situations and ideas, and continues to re-evaluate and expand the approach to considering the role art can play and its relevance in society.

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The incomparable combination of art, nature and a powerful 'spirit of place' provides an amazing cultural experience. We constantly strive to support excellence and innovation and to deliver great art for everyone, including supporting 45,000 people each year through YSP's learning programme. This innovative work develops ability, confidence and life aspiration in participants. On any given day, a visit to YSP will reveal at least one major exhibition and a number of smaller ones, site-specific projects by James Turrell, Sol LeWitt, Andy Goldsworthy, David Nash and others, and an eclectic collection of sculptures sited throughout the 500 acres of the estate, including a cluster of monumental works by Henry Moore across the undulating parkland and Barbara Hepworth 's Family of Man on a hillside overlooking the Yorkshire landscape from which she drew inspiration. Since its inception, YSP has provided support for young and emerging artists through a vibrant programme of residencies and it is also very likely visitors will observe them working in the landscape or workshops, developing their practice and providing an important interaction with the public. Our relationship with artists has been and remains the touchstone and key to our development and success, and over the years we have worked with over 1000 from more than 40 countries.

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The aim of this auction is to raise funds to help secure future support for artists at YSP through residencies, projects and exhibitions. All those involved in the auction have worked or exhibited at YSP and we are grateful to them, their estates and foundations for their generous help and support. Phillips has been a great partner to work with, providing solid professional help and advice, along with enthusiasm for the project—in particular Miety Heiden, Deputy Chair and Head of Private Sales. Staff at YSP have worked tirelessly with Phillips to develop the project and we are also grateful for the support of our Trustees—in particular, Maria de Peverelli, who has been instrumental in bringing this project to fruition.

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The range of works in this sale reflects the goodwill and understanding YSP has established with artists over many years. Purchasing these works through the auction will not only result in acquiring an exquisite work but will directly contribute to the essential financial support YSP gives to artists and will validate the generosity of the artists and their belief in the work that we do.

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— Peter Murray CBE

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Auction Highlights

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Joan Miró Souvenir de la Tour Eiffel, conceived in 1977 and cast in 2011. Estimate £600,000 - 800,000.

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KAWS Untitled, 2018. Estimate £100,000 - 150,000.

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Tony Cragg Mixed Emotions, 2011. Estimate £200,000 - 300,000.

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Lynn Chadwick, R.A. Beast III (Sitting Lion), 1990. Estimate £15,000 - 20,000.

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Kenneth Armitage Tall Oak (nobbles), 1980-81. Estimate £15,000 - 20,000.

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Jaume Plensa Study for Julia, 2017. Estimate £50,000 - 70,000.

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Browse All >

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\n","2018-09-28T14:48:41.000000Z","https://www.phillips.com/article/37121185/undulating-acres-property-sold-to-benefit-the-yorkshire-sculpture-park",3,383,425,37121185,"https://flockler.com/thumbs/sites/889/361_001-f31991c7-c73b-43d1-971d-c6127f23b2ae_s600x0.jpg","John Baldessari and Cindy Sherman subvert the rules of the photographic medium. Seminal works illustrate the provocative—and often humorous—commentaries that have connected these two artists since the 1960s and '70s, challenging our ways of understanding visual culture, media and communication.","Interwoven Narratives: Baldessari and Sherman Reimagine the Image","

Detail from John Baldessari Airplanes / Parachutes, 1988

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In an interview with art critic Calvin Tomkins, John Baldessari recalled an instance in the early 1990s when Barbara Kruger and Cindy Sherman came up to him with unsuppressed excitement. "You know, we couldn't have done it without you," acknowledged Sherman. Though Baldessari's work took a few years to garner widespread recognition among the general public, peers and contemporaries never doubted the artist's forward-looking methods, nor did they fail to perceive him as a towering figure in contemporary art.

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Today widely considered a pioneer of conceptual art, Baldessari has continuously created, since the 1960s, works that have stretched the parameters of aesthetics. In the words of Hans Ulrich Obrist, "his influence on the trajectory of contemporary art is immeasurable." Cindy Sherman, one of the most influential contemporary artists to have drawn inspiration from him, then became a standard-bearer of the Pictures Generation—her work continuously subverting the stereotypes of women in media through self-portraiture.

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This fall in London and New York, Phillips has exhibited four important works from seminal series by Baldessari and Sherman. The pieces by Baldessari stand out as examples of his most iconic unique photo collages in the same way that Sherman's Untitled Film Still #53 and Untitled #447 captured the quintessence of the artist's pivotal Film Stills and Clown series, respectively.

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I am interested in what gets us to stop and look, as opposed to simply consuming images passively.
\n— John Baldessari
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John Baldessari Airplanes / Parachutes, 1988. This work will be offered in our New York 20th Century & Contemporary Art Day Sale Afternoon Session on Wednesday 14 November.

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Understanding the complex power of mass media and cinema on society, Baldessari's savvy knowledge of pop culture and mainstream iconography is paired up with Semiotics theory and Structuralism, repurposing visual signifiers and providing a deep commentary on how we can further understand the complex world around us. While Baldessari explores the gap between words and images, Sherman vulnerably becomes the main character of her own work, alternating between hero and anti-hero figures. In the Film Still series developed in the 1970s and the Clown series in the early 2000s, Sherman famously adopts multiple roles as director, author, set designer, make-up artist, casting director, costume designer and actress—a veritable one-woman show.

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Not without humor, Baldessari and Sherman offer profound commentary—if not existential debate—on their surroundings through restless visual plots. Their imagery arouses a certain je ne sais quoi of uneasiness in their viewer, who can hardly remain a passive observer, thus activating Baldessari's resounding words, "I am interested in what gets us to stop and look, as opposed to simply consuming images passively." Cinema, as such, is a major presence and inspiration in both of the artists' work. While Baldessari conjugates Hollywood iconography with Nouvelle Vague inputs and other literary references, Sherman draws inspiration from independent European filmmakers. Borrowing from the visual style and aesthetic Universe of Italian Neorealism—particularly Antonioni’s heroines—Sherman transforms her photographic lens into a cinematographic one.

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The tension between narratives is a key theme in Baldessari's Airplanes / Parachutes and Upward Fall. Replete with polysemic iconography and visual oxymorons, both works exude fateful interrogations. The very title of Upward Fall implies a summit and a base—two opposite directions—and thus encourages the viewer to ponder upon a "Quo Vadis" — where are you going? Equally, Airplanes / Parachutes' vertically stacked planes are built up within and against the parachutes below, as though coming in and out of their bisected frame. The sky provides the composition with a sense of cohesion, yet probes the question: Are both events occurring in the same space-time continuum? Is this a ceremonial military display or an actual attack? The dynamic V-formation of airplanes elusively coupled with static cascading parachutes urges the viewer to fabricate their own plot.

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John Baldessari Upward Fall, 1986. This work sold in London for £441,000.

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Upward Fall evokes a secular altarpiece, presenting itself in the manner of the Sienese or Florentine compositions of the Quattrocento. A dislocated narrative unfolds as our eyes move from panel to panel. Two cowboys flank the base of the composition. Spaghetti Western thus appropriates centuries of European iconography, as the two grounded figures recall aristocratic patrons and their dogs, commonly depicted at the base of religious altarpieces. They stand guard on horseback, symmetrically reflected, in mirror-like composition. In contrast to the anchoring cowboys, horses and dogs, three figures free fall through air and space at the top of the altarpiece, reminiscent of both Yves Klein's Leap into the Void, 1960 and the Christ's Ascension.

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An ascetic sense of vertigo contrasts with the down-to-earth ranchers in an almost humorous collision in Upward Fall. To the right of the composition is a wooden ladder, a further reference to the possibility of heavenly ascension...or is it a descent into hell, as the word 'fall' implies? Baldessari highlights this dualism of meaning, stating, "I am interested in when two images abut each other. It's like when two words collide and some new word in some new meaning comes out of it."

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By intentionally cropping out context, Baldessari probes the viewer to dig deeper into his or her own subconscious to construct new storylines. A master in the art of "visual frustration," Baldessari was a powerful inspiration for Sherman, whose Untitled Film Still #53 can only be seized as a fragment. The Californian artist claims, "If I make a picture a guessing game, I might capture your attention for a little longer." Sherman applies this economy of both feelings and context in her own work. Traditionally, film stills are used as a tool for promotion: "the still must tease with the promise of a story [that] the viewer of it itches to be told." By contrast, Sherman consciously refrains to feature strong emotions in her pictures. "In a lot of movie photos, the actors look cute, impish, alluring, distraught, frightened, tough, etc., but what I was interested in was when they were almost expressionless," she declares. In line with this, Sherman carefully selects the close-ups, rare in the series, zooming into specific but enigmatic expressions. Untitled Film Still #53 immerses the viewer into her intimate cinematic realm. The action just happened or is about to happen, thus transforming the spectator into a witness or an accomplice, invited to reconstruct the meaning of the scene—or is it a crime scene? There is as much left outside the frame, if not more, as there is inside it.

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Cindy Sherman Untitled Film Still #53, 1980. This work sold in London for £249,000.

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The composition of Untitled Film Still #53 specifically recalls, among other sources, Hitchcock's archetypal film structure. As observed by Sherman, the fate of female characters in early Hollywood films is often tragic: "Rebellious characters are either killed off in the script or see the light and become tamed, joining a nunnery or something…Usually, they die. I think I must have been unconsciously drawn to those types of characters." Untitled Film Still #53 would fit into today's cinematographic sub-genre of psychological thrillers. As with all the impersonated women in the series, the protagonist in this photograph is "on [her] way to wherever the action is (or to [her] doom)… or [has] just come from a confrontation (or a tryst)."

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...the clown version of Sherman in 'Untitled #447' enacts an accomplished subversion of the male gaze.
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Cindy Sherman Untitled #447, 2005. This work sold in London for £175,000.

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Untitled #447, created more than twenty years after Untitled Film Still #53, also tackles issues of identity, gender and desire. While Untitled Film Still #53 pictures a solemn and distant Sherman, evasively looking down, self-absorbed in her own thoughts, Untitled #447 addresses a mischievous gaze at the viewer, urging him or her to look back directly into her eyes, asking to see beyond the overstated layers of make-up covering her face. Overexaggerating the gestures of a sexy pin-up, the cliché of desire is again mocked by the clown dress and the hyperbolic representations of female sex symbols. Both breasts and pubis bone are caricatured. While the film still portrayed Sherman as a female lead from a 1950s movie, cynically conforming to the stereotype of a passive woman whose existence matters solely as an object of desire, the clown version of herself enacts an accomplished subversion of the male gaze.

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Cindy Sherman'colorful Clown series is a cogent progression of the artist's interest in disguise, which started in the early 1970s. The clowns represent a universe of their own, exuding a sense of authority and self-sufficiency, yet alluding to nonsense and absurdity. At once sad and hysterically happy, clowns are able to accurately express confusion and tragedy as living embodiments of ambivalence. Commenced in 2003, and stemming from a struggle to "figure out what [Sherman] wanted to say" in the aftermath of 9/11, clowns represented a solution to turmoil and mixed feelings. Ambivalent meaning—emotions that seem to collide and take opposite directions while coexisting—as they did in Baldessari's Upward Fall, became relevant again for Sherman that year. These torn feelings had never ceased to be a key artistic exploration for her, but the clowns seemed to represent their most radical incarnation.

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John Baldessari and Cindy Sherman's respective bodies of work, subverting the rules of the photographic medium over time, are inextricably tied in the wider narrative of art history. Both leading voices navigating an increasingly image-saturated society, they continue to challenge prevailing assumptions about visual culture, media and communication today.

\n","2018-09-26T20:45:28.000000Z","https://www.phillips.com/article/37076553/sherman-baldessari",2,381,422,37076553,"https://flockler.com/thumbs/sites/889/tillmans_hero-e59b497e-3923-49a0-b51e-371133e36cb7_s600x0.jpg","A pair of 'Freischwimmer' works comes to auction this October in London and New York. Our specialists break down the artist's most celebrated series.","Swimming Free: Wolfgang Tillmans Masters Camera-Less Photography","

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What connects all my work is finding the right balance between intention and chance, doing as much as I can and knowing when to let go.
\n— Wolfgang Tillmans
\n

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Rising to prominence in the early 1990s, German artist Wolfgang Tillmans captured scenes of seemingly everyday life, from composed still-lives of shells and sliced fruit to intimate, half-naked portraits. Pivotal within this impressive and varied body of work is the acclaimed Freischwimmer series which showcases Tillmans' adroit ability to manipulate photographic techniques to produce sublime and poetic planes of light and color.

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In the introduction to Wolfgang Tillmans: Freischwimmer, the catalogue for the 2004 exhibition organized by the Toyko Opera Cultural Foundation, assistant curator Iida Shihoko writes that Tillmans' photographs "capture the essence of the kind of expression unique to photography." Indeed, it is how one connects his early portraits—images of his friends imbued with the casual aesthetic of a snapshot—with his subsequent abstractions. The former is a celebration of the medium's ability to document the world with immediacy; the latter a celebration of its most basic principle: the transformation of light into line. Indeed, at the core of his work is a keen awareness of the fluidity of the photographic process and its ability to capture the real and to create the abstract.

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Wolfgang Tillmans Freischwimmer 20, 2003. This work comes to auction in the Photographs sale on 4 October in New York.

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Fresichwimmer 20, 2003 and Freischwimmer 34, 2004 are two exemplary works from the series. Created with a manual manipulation of "light-sources and light-emitting tools" over light-sensitive paper in the darkroom, his work references the cameraless photography of his predecessors Man Ray and László Moholy-Nagy, whose practices were similarly reduced to the most elementary components of the medium: light, paper and chemistry.

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Translated from German literally as 'free swimmer', Freischwimmer provides a poetic edge to the entire series, denoting the name of a child's badge bestowed to signify the passing of a swimming test. Aptly, the phrase also holds a figurative meaning: learning to stand on one's own two feet. The image's subtext of liberation is evoked in Tillmans' use of laser-light to generate the surface pattern, as the artist relinquishes control and allows light to imprint spontaneously upon the paper's surface.

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At the core of his work is a keen awareness of the fluidity of the photographic process and its ability to capture the real and to create the abstract.
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Wolfgang Tillmans Freischwimmer 34, 2004. This work comes to auction during the 20th Century & Contemporary Art Day Sale on 4 October in London.

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In both examples, Tillmans presents the inkjet print on bulldog clips, subverting traditional notions of pictorial presentation and transporting us to the artist's studio or dark room. Traversing between abstraction and figuration, his execution allows us to interpret the surging, ambiguous form but denies us explicit access to figuratively represented objects and relationships. Tillmans aims to "disturb" the traditional use of photography as a documentation of reality and to expose "an object in space." Instead, the artist presents us with a mixture of paper and dye and an image of mechanics and processing. We also find traces of Tillmans' own childhood fascination with astronomy which added to the artist's development and "visual understanding," as he was quoted in 'Excerpts from Interviews, Lectures, and Notes' from 2015.; this work is evocative of a telescope's visual rendering of the sun's swirling photosphere.

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Tillmans has compared his technique of 'light painting' to that of the Romantic British landscape artist, J.M.W. Turner, in that Turner captured light and translated it into matter—as scumbled, encrusted marks of thick paint—whereas Tillmans presents light as palpable, vigorous and present.

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Joseph Mallord William Turner Staffa, Fingal's Cave, 1832. Yale Center for British Art, Paul Mellon Collection, USA. Image: Bridgeman Images

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It is important that these are not paintings. As the eye recognizes these as photographic, the association machine in the head connects them to reality, whereas a painting is always understood by the eye as mark making by the artist.
\n— Wolfgang Tillmans
\n

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Weaving an intricate narrative between photography and contemporary art in a manner that challenges viewers' perceptions and expectations, this series has been represented internationally at the artist's recent retrospective, Wolfgang Tillmans: 17, at Tate Modern, London, which later traveled to Fondation Beyeler in Riehen.

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Both works will be on view beginning Friday 28 September: Freischwimmer 20 in New York and Freischwimmer 34 in London.

\n","2018-09-18T22:50:06.000000Z","https://www.phillips.com/article/36819653/wolfgang-tillmans-freischwimmer-series",371,415,36819653,"https://flockler.com/thumbs/sites/889/phillips_karshan_ny-03-b6d9b614-dcfa-453d-991b-15d85119dfd9_s600x0.jpg","An ode to the intimacy and unique sensibility of drawing, Howard Karshan's collection spans 50 years and two continents.","A Tale of Two Cities: Property from the Estate of Howard Karshan","

Interior of Linda and Howard Karshan's New York home

\n\n

\n
You've got to remember that in the 1970s and '80s, there were not a lot of people collecting works on paper. Basically, if you went out to get something, you could get it.
\n— Howard Karshan
\n

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The Karshan Collection encapsulates an exceptional odyssey of collecting, one that spans over 50 years and two continents. Living between London and New York, Howard Karshan together with his wife Linda—the distinguished artist—assembled one of the most significant collections of modern and post-war works on paper today. A true ode to the intimacy and unique sensibility of drawing, the works within this collection perfectly encapsulate the transatlantic life led by Howard and his wife Linda, including examples by some of the greatest European and American masters known today—from Pablo Picasso and Henri Matisse, Jackson Pollock and Sam Francis, to Gerhard Richter and Sigmar Polke.

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Born in Brooklyn, New York in 1933, Howard Karshan studied philosophy and law at New York University before embarking upon a successful career as a film rights negotiator at CBS, Viacom, MGM and Turner. It was in the early 1960s that he discovered his true passion, catching the "bug for collecting," as he described it, when he was assigned to work for CBS in Paris in 1962. Guided by a close friend with a background in art, Howard spent much of his time in Paris going to museums, meeting dealers and learning more about art history. He met his wife Linda for the first time traveling from England to New York on the transatlantic ocean liner SS France; she caught his attention partially because she was reading a Henri Matisse catalogue.

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\n
I took the train from Waterloo Station to Southampton, couldn't find a seat and ended up in the bar car. The only other person in the bar car was this very pretty young girl reading a Matisse catalogue. So, we ended up married...
\n— Howard Karshan
\n

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A fine art and art history student at the time, Linda was crucial in guiding Howard in his journey of studying and collecting art. From his initial love of the great modern French masters, his tastes grew to encompass a range of periods and styles. Following first acquisitions of a work by Alberto Giacometti and a Cycladic idol sculpture, Howard built with great care, passion and study a renowned collection of modern and post-war works on paper that was not only of art historical importance but also one that shaped the family's life.

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Demonstrating great acumen, Howard recognized the potential of focusing largely on works on paper when very few collectors were doing so in the 1970s and 1980s. This opportunity coupled with extraordinary connoisseurship enabled him to amass a collection of the finest works by 20th century artists. While very much engaged with the past, Howard demonstrated a keen appreciation for the art of the present. The works he carefully acquired over the years convey his innate understanding of the historical trajectory of the modern art canon, as well as his insatiable curiosity in chronicling the art of his own time and place — all the while guided by a deep appreciation of the hand of the artist and the immediacy of drawing.

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In many ways, the Karshan Collection is a tale of two cities. Living between New York City and London, Howard became intimately acquainted with the art scene on both sides of the Atlantic. A true connoisseur with a curatorial sensibility, Howard pursued an in-depth approach to collecting that focused on acquiring work by select artists from their best periods. On the one hand, he built a superb collection of post-war European art, specifically German, which includes works by Joseph Beuys, Gerhard Richter, Sigmar Polke, Georg Baselitz and Palermo as well as Lucio Fontana and Jean Dubuffet. On the other hand, he acquired representative works by some of the most significant American artists of the time, such as Agnes Martin, Dan Flavin, Carl Andre, Robert Smithson, Raymond Pettibon and Wayne Thiebaud.

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Above from top: Gerhard Richter Hände, 1963 and Busch (Scrub), 1985

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At the very heart of the collection is above all a deep appreciation of the hand of the artist and mark making, as evidenced perhaps nowhere as succinctly as in Richter's Hände, 1963. This early photo-painting of a pair of outstretched hands finds an intriguing pendant in Richter's Busch (Scrub), 1985, where the artist abstracted one of his signature blurred landscapes with abstract gestural marks. There is a similar push and pull between figuration and abstraction throughout the collection — the immediacy and expressiveness of the act of drawing functioning as an anchor. Indeed this is one of the recurring characteristics that define this collection.

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Works such as Pollock's Untitled, 1951, and Twombly's Sperlonga drawing, 1959, convey the abstract potential of drawing, while works such as Picasso's Nu couché et homme écrivant, 1969, de Kooning's Untitled (Group of 8 Drawings), 1965-1980, and Baselitz’s Untitled, 1967, celebrate its ability of distilling the human figure to its most elemental form.

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\n\n

Cy Twombly Sperlonga drawing, 1959

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A labor of love, the Karshan Collection was not just one to be lived with, but also one to be shared with a wider public by way of exhibition loans and generous gifts to institutions such as the British Museum, London, The Morgan Library & Museum, New York and the Museum of Modern Art, New York, among others. A true philanthropist, Howard also pursued his commitment and passion for art on an institutional level. He notably held the position of the Head of Patrons of New Art at Tate, London, in which function he crucially initiated the Acquisitions Committee and was also selected to be on the Jury for the Turner Prize in 1992.

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Howard Karshan's formidable legacy continues to live on in the selection of works brought together here, standing as a beacon of true connoisseurship, love for art and the exceptional vision of one of the most significant collectors and philanthropists of the past century.

\n","2018-09-24T18:15:38.000000Z","https://www.phillips.com/article/37019748/a-tale-of-two-cities-property-from-the-estate-of-howard-karshan",379,421,37019748,{"_447":657,"_449":450},{"_447":656,"_449":450},{"_447":655,"_449":450},{"_447":654,"_449":450},{"_447":653,"_449":450},{"_447":652,"_449":450},{"_447":651,"_449":450},{"_447":650,"_449":450},{"_447":649,"_449":450},{"_447":648,"_449":450},{"_447":647,"_449":450},{"_447":646,"_449":450},{"_447":645,"_449":450},{"_447":644,"_449":450},{"_447":643,"_449":450},{"_447":642,"_449":450},{"_447":641,"_449":450},{"_447":640,"_449":450},{"_447":639,"_449":450},{"_447":638,"_449":450},{"_447":637,"_449":450},{"_447":636,"_449":450},{"_447":635,"_449":450},{"_447":634,"_449":450},{"_447":633,"_449":450},{"_447":632,"_449":450},{"_447":631,"_449":450},{"_447":630,"_449":450},{"_447":629,"_449":450},{"_447":628,"_449":450},{"_447":627,"_449":450},{"_447":626,"_449":450},{"_447":625,"_449":450},{"_447":624,"_449":450},{"_447":623,"_449":450},{"_447":622,"_449":450},{"_447":621,"_449":450},{"_447":620,"_449":450},{"_447":619,"_449":450},{"_447":618,"_449":450},{"_447":617,"_449":450},{"_447":616,"_449":450},{"_447":615,"_449":450},{"_447":614,"_449":450},{"_447":613,"_449":450},{"_447":612,"_449":450},{"_447":611,"_449":450},{"_447":610,"_449":450},{"_447":609,"_449":450},{"_447":608,"_449":450},{"_447":607,"_449":450},{"_447":606,"_449":450},{"_447":605,"_449":450},{"_447":604,"_449":450},{"_447":603,"_449":450},{"_447":602,"_449":450},{"_447":601,"_449":450},{"_447":600,"_449":450},{"_447":599,"_449":450},{"_447":598,"_449":450},{"_447":597,"_449":450},{"_447":596,"_449":450},{"_447":595,"_449":450},{"_447":594,"_449":450},{"_447":593,"_449":450},{"_447":592,"_449":450},{"_447":591,"_449":450},{"_447":590,"_449":450},{"_447":589,"_449":450},{"_447":588,"_449":450},{"_447":587,"_449":450},{"_447":586,"_449":450},{"_447":585,"_449":450},{"_447":584,"_449":450},{"_447":583,"_449":450},{"_447":582,"_449":450},{"_447":581,"_449":450},{"_447":580,"_449":450},{"_447":579,"_449":450},{"_447":578,"_449":450},{"_447":577,"_449":450},{"_447":576,"_449":450},{"_447":575,"_449":450},{"_447":574,"_449":450},{"_447":573,"_449":450},{"_447":572,"_449":450},{"_447":571,"_449":450},{"_447":570,"_449":450},{"_447":569,"_449":450},{"_447":568,"_449":450},{"_447":567,"_449":450},{"_447":566,"_449":450},{"_447":565,"_449":450},{"_447":564,"_449":450},{"_447":563,"_449":450},{"_447":562,"_449":450},{"_447":561,"_449":450},{"_447":560,"_449":450},{"_447":559,"_449":450},{"_447":558,"_449":450},{"_447":557,"_449":450},{"_447":556,"_449":450},{"_447":555,"_449":450},{"_447":554,"_449":450},{"_447":553,"_449":450},{"_447":552,"_449":450},{"_447":551,"_449":450},{"_447":550,"_449":450},{"_447":549,"_449":450},{"_447":548,"_449":450},{"_447":547,"_449":450},{"_447":546,"_449":450},{"_447":545,"_449":450},{"_447":544,"_449":450},{"_447":543,"_449":450},{"_447":542,"_449":450},{"_447":541,"_449":450},{"_447":540,"_449":450},{"_447":539,"_449":450},{"_447":538,"_449":450},{"_447":537,"_449":450},{"_447":536,"_449":450},{"_447":535,"_449":450},{"_447":534,"_449":450},{"_447":533,"_449":450},{"_447":532,"_449":450},{"_447":531,"_449":450},{"_447":530,"_449":450},{"_447":529,"_449":450},{"_447":528,"_449":450},{"_447":527,"_449":450},{"_447":526,"_449":450},{"_447":525,"_449":450},{"_447":524,"_449":450},{"_447":523,"_449":450},{"_447":522,"_449":450},{"_447":521,"_449":450},{"_447":520,"_449":450},{"_447":519,"_449":450},{"_447":518,"_449":450},{"_447":517,"_449":450},{"_447":516,"_449":450},{"_447":515,"_449":450},{"_447":514,"_449":450},{"_447":513,"_449":450},{"_447":512,"_449":450},{"_447":511,"_449":450},{"_447":510,"_449":450},{"_447":509,"_449":450},{"_447":508,"_449":450},{"_447":507,"_449":450},{"_447":506,"_449":450},{"_447":505,"_449":450},{"_447":504,"_449":450},{"_447":503,"_449":450},{"_447":502,"_449":450},{"_447":501,"_449":450},{"_447":500,"_449":450},{"_447":499,"_449":450},{"_447":498,"_449":450},{"_447":497,"_449":450},{"_447":496,"_449":450},{"_447":495,"_449":450},{"_447":494,"_449":450},{"_447":493,"_449":450},{"_447":492,"_449":450},{"_447":491,"_449":450},{"_447":490,"_449":450},{"_447":489,"_449":450},{"_447":488,"_449":450},{"_447":487,"_449":450},{"_447":486,"_449":450},{"_447":485,"_449":450},{"_447":484,"_449":450},{"_447":483,"_449":450},{"_447":482,"_449":450},{"_447":481,"_449":450},{"_447":480,"_449":450},{"_447":477,"_449":450,"_472":478,"_474":479},{"_447":58,"_449":450,"_472":476,"_474":76},{"_447":471,"_449":450,"_472":473,"_474":475},{"_447":470,"_449":450},{"_447":469,"_449":450},{"_447":468,"_449":450},{"_447":467,"_449":450},{"_447":466,"_449":450},{"_447":465,"_449":450},{"_447":464,"_449":450},{"_447":463,"_449":450},{"_447":462,"_449":450},{"_447":461,"_449":450},{"_447":460,"_449":450},{"_447":459,"_449":450},{"_447":458,"_449":450},{"_447":457,"_449":450},{"_447":456,"_449":450},{"_447":455,"_449":450},{"_447":454,"_449":450},{"_447":453,"_449":450},{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and dated 'Katharina Grosse 2002' on the reverse","dimensions","188.2 x 125 cm (74 1/8 x 49 1/4 in.)","medium","acrylic on aluminium","sigEdtMan","Painted in 2002.","provenance","Barbara Gross Galerie, Munich\r\nAcquired from the above by the present owner","mainImagePath","https://dist.phillips.com/auction-assets/UK010718/282_001.jpg","estimateSymbols",[702],"conditionReport","SRN:\r\nPlease note that the medium of this work is: acrylic on aluminium\r\n\r\nThis work is structurally sound. 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William Kentridge Puppet Drawing, 2000

William Kentridge MC2 – Drawing from "Medicine Chest", 2000-12

William Kentridge Drawing from the animation for Il Ritorno d'Ulisse, 1998

Joan Miró Souvenir de la Tour Eiffel, conceived in 1977 and cast in 2011. Estimate £600,000 - 800,000.

KAWS Untitled, 2018. Estimate £100,000 - 150,000.

Tony Cragg Mixed Emotions, 2011. Estimate £200,000 - 300,000.

Lynn Chadwick, R.A. Beast III (Sitting Lion), 1990. Estimate £15,000 - 20,000.

Kenneth Armitage Tall Oak (nobbles), 1980-81. Estimate £15,000 - 20,000.

Jaume Plensa Study for Julia, 2017. Estimate £50,000 - 70,000.

John Baldessari Airplanes / Parachutes, 1988. This work will be offered in our New York 20th Century & Contemporary Art Day Sale Afternoon Session on Wednesday 14 November.

John Baldessari Upward Fall, 1986. This work sold in London for £441,000.

Cindy Sherman Untitled Film Still #53, 1980. This work sold in London for £249,000.

Cindy Sherman Untitled #447, 2005. This work sold in London for £175,000.

Wolfgang Tillmans Freischwimmer 20, 2003. This work comes to auction in the Photographs sale on 4 October in New York.

Wolfgang Tillmans Freischwimmer 34, 2004. This work comes to auction during the 20th Century & Contemporary Art Day Sale on 4 October in London.

Joseph Mallord William Turner Staffa, Fingal's Cave, 1832. Yale Center for British Art, Paul Mellon Collection, USA. Image: Bridgeman Images

Film by Candida Richardson © 2013. Interior of Linda and Howard Karshan's London home.

© Courtesy of Carol Liege, Minneapolis. Photo album 50 years old.

Above from top: Gerhard Richter Hände, 1963 and Busch (Scrub), 1985

Cy Twombly Sperlonga drawing, 1959

282

Katharina Grosse

Untitled (2024L)

Full-Cataloguing

Katharina Grosse