Fake Love
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  • Provenance

    Xavier Hufkens, Brussels
    Acquired from the above by the present owner

  • Catalogue Essay

    Executed in 2019, Fake Love is a striking example of Missouri-born, Brooklyn-based artist Katherine Bernhardt's electric and playful aesthetic. After bursting onto the contemporary art scene with her thickly-painted portraits of magazine models, she turned her attention to patterns influenced by the juxtapositions found in African textiles and contemporary Dutch wax fabrics, as well as popular culture objects and motifs. One of her most referenced cartoon-character icons is the Pink Panther, who makes a double cameo in Fake Love, rendered in hot, fluorescent magenta and outlined in metallic gold. Teeming with eye-popping energy, the pair of panthers are set against a textured grey background, framed by two neon green speech bubbles that each contain the globally recognisable symbol for a telephone – the logo for the ubiquitous phone messaging app Whatsapp.

    Esteemed art critic Jerry Saltz has dubbed Bernhardt a 'female bad-boy painter', likening her to Jean-Michel Basquiat for her paintings that 'exude obsession, endlessness, and germinating optical power' (Jerry Saltz, ‘Why Have There Been No Great Women Bad-Boy Artists? There Have Been, of Course. But the Art World Has Refused to Recognize Them.’, New York Magazine, 29 September 2015, online). Roberta Smith draws another comparison, complimenting Bernhardt on how she 'paints with great economy and panache, as Andy Warhol might have without silk-screens' (Roberta Smith, 'Katherine Bernhardt: Stupid, Crazy, Ridiculous, Funny Patterns’, The New York Times, 20 February 2014, online). Unique to Bernhardt, however, is her ability to quickly create spray paint compositions with washes of acrylic that are fluid, thoughtful, and above all, unabashedly fun.

  • Catalogue Essay

    《偽裝的愛》創作於2019年,是出生於密蘇里州;現駐布魯克林的藝術家凱薩琳·伯恩哈特,其令人驚又俏皮的美學中之傑出範例。 從早期以帶著厚重圖層的雜誌模特肖像的創作闖入當代藝術界後,她開始關注一種運用當代荷蘭蠟染的非洲織品圖案之,以及流行文化中的事物和主題。 她最常引用的卡通人物圖像之一是粉紅豹,在《偽裝的愛》中分飾兩角,以炙熱,熒光的洋紅色呈現,並以帶金屬感的金色勾勒。 充滿著博眼球的能量,這對豹被放置在具紋理的灰色背景裡,畫作有兩個霓虹綠的泡泡修飾,每個泡泡都包含了全球可識的電話符號—無處不在的聊天軟件WhatsApp的標識。

    著名的藝術評論家Jerry Saltz 稱伯恩哈特為「女性”狠角色”藝術家」,將她比作尚·米榭·巴斯奇亞,因為她的作品「散發著痴迷,無限可能和萌發的視覺能量」(Jerry Saltz,《為什麼沒有偉大的女性狼角色藝術家?當然有,但是藝術界拒絕承認他們》,《New York Magazine》,2015年9月29日,截自網路)。 Roberta Smith進行了另一次比較,稱贊伯恩哈特「帶著十足的節制和氣勢繪畫,就像安迪·沃荷如果不用絲網印刷那樣」(Roberta Smith, 《凱薩琳·伯恩哈特:愚蠢、瘋狂、荒唐、滑稽的圖案》,《New York Times》,2014年2月20日,截自網路)。 伯恩哈特的獨到之處在於;她能夠迅速的通過噴繪,以及壓克力刷洗,來創造流暢,面面具到,且充滿無畏樂趣的構圖。

  • Artist Bio

    Katherine Bernhardt

    American • 1975

    Katherine Bernhardt, whether in her paintings or make-shift Moroccan rugs, is rapt by neons and geometries. The artist, who works in New York, takes an almost hasty-flick of a brushstroke that lands as a jagged architectural form — figures cut in space and in buzzing colors that leave a mental trace.

    Seemingly each month, multiple galleries, museums or art fairs across the world exhibit Bernhardt's large-scale fantasies and rug-centric installations, as seen in 2017 at Art Basel and with a solo retrospective at the Modern Art Museum of Fort Worth, Fort Worth. "I think the best painters don't intellectualize their own art—they just make stuff," she says; but with sharks circling trash in the water in today's climate, as is depicted in Sharks, Toilet Paper and Plantains, it's not hard to see Bernhardt's deeper meanings. 

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Fake Love

2019
signed, titled and dated '"FAKE LOVE" 2019 Katherine Bernhardt' on the reverse
acrylic and spray paint on canvas
152.4 x 121.9 cm. (60 x 47 7/8 in.)
Executed in 2019.

Estimate
HK$300,000 - 400,000 
€35,800-47,700
$38,500-51,300

sold for HK$625,000

Please note that once you've placed your bid,
it cannot be cancelled.

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