Untitled

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  • Provenance

    Sikkema Jenkins & Co., New York
    Private Collection (acquired from the above in 2007)
    Acquired from the above by the present owner in 2014

  • Exhibited

    Aspen Art Museum, Mark Bradford: Merchant Posters, February 12 - April 4, 2010, no. 25, p. 151 (illustrated, p. 38)

  • Catalogue Essay

    A visit to Blake Byrne’s home was always a learning experience, as Blake would proudly point out not just works by well-known artists such as Alexander Calder, Mark Bradford and Marlene Dumas, but would also point to work by artists who were not well known, or whom he had just discovered at a gallery or art fair. Blake’s influence was not only felt by those who visited his home, but also by the people who visit MOCA in L.A., seeing some of the 123 works he donated to the museum in 2005, and by the many visitors to the Nasher Museum at Duke University where he donated 283 works representing 57 artists and was also instrumental in raising the funds for the museum’s construction.

    Blake was a larger than life presence in the Los Angeles art world, and for those of us learning about the community in L.A., Blake was someone to listen to, to learn from, and look to as an example of how to give back to the city, to the community and to the world at large. His love for the art, for the artists, and for the mission of art to speak to people was always clear in the art that he chose to live with, and in the joy he expressed when speaking about art. We are honored to have this small group of works that Blake decided to sell a few months before his unexpected passing in March. The selection shows Blake’s long-standing interest in young artists and in artists whose significance had not yet been recognized by the wider art world.

    Blake Koh
    Director, Phillips Los Angeles

  • Artist Bio

    Mark Bradford

    American • 1961

    Now acclaimed worldwide, Mark Bradford was first recognized on the contemporary art scene in 2001, following the inclusion of his multi-layered collage paintings in Thelma Golden’s Freestyle exhibition at the Studio Museum in Harlem. The groundbreaking exhibition introduced him alongside 27 other emerging African American artists as part of a generation of "post-Black" artists who sought to transcend the label of "Black artist”, while still deeply exploring and re-defining the complex notions of blackness. Bradford’s ascent has been as awe-inspiring as it is deserving: from critical attention in Freestyle, to his first solo show at the Whitney Museum of American Art, New York in 2007, to his installation at the 2017 Venice Biennial as the first African American artist to represent the United States.

    Critical of the ways in which the annals of art history divorced abstract art from its political context, particularly when looking at the Abstract Expressionists working in the 1950s, Bradford has endeavored to “make abstract painting and imbue it with policy, and political, and gender, and race, and sexuality”. Bradford’s pursuit of what he has termed “social abstraction”, that is, “abstract art with a social or political context clinging to the edges”, is deeply indebted to his choice of materials that allow him to imbue his works with a proliferation of readings, from art historical, to political, to autobiographical.

    Bradford’s choice of material has always been deeply connected to his biography and everyday existence. While Bradford’s early work utilized end-papers, the use of which was inspired by time at his mother’s hair salon, in the mid-2000s the artist shifted towards using paper material sourced on the streets of his immediate neighborhood in South Central Los Angeles. Despite the fact that Bradford is known for making paintings out of found printed material, his works only reveals glimpses of their original documentary intent. Working in the lineage of the Dadaists and the Nouveau Réalisme movement, Bradford honed a refined technique of a décollage, a process defined by cutting, tearing away or otherwise removing, pieces of an original image.

    View More Works

403

Property from the Collection of Blake Byrne

Untitled

signed with the artist's initial and dated "M 2006" on the reverse
acrylic and billboard paper collage on card
22 x 13 3/4 in. (55.9 x 34.9 cm.)
Executed in 2006.

Estimate
$60,000 - 80,000 

sold for $75,000

Contact Specialist
Rebekah Bowling
Head of Day Sale, Afternoon Session
New York
+ 1 212 940 1250
rbowling@phillips.com

20th Century & Contemporary Art Day Sale Afternoon Session

New York Auction 15 May | On View at 450 Park Avenue