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212 940 1220

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Cindy Sherman, Untitled (Pregnant Woman), 2002/2004. Editions & Works on Paper New York.

\n\n

Cindy Sherman

\n\n

Cindy Sherman’s Pregnant Woman is a standout portrait from the art chameleon whose personalities make up a wily examination of culture and gender. The subject, with her manicured nails, jewelry, coiffed hair and aggressive leopard-print top, presents a figure whose self-conscious appearance is tempered by the sense of confidence provided by her preening, a distortion of beauty and circumstance, of competing notions of youth and aging.

\n\n

________

\n\n

The Convivial Guest-Host

\n\n

The party starts at 8 and she has a hard out at 9:30, which is why she’s the first one to show up … at 5. It’s not too bad at the beginning: she helps set tables, arranges a few plants that don’t need so much direct sunlight. She wants to workshop some name ideas, too. She thinks it’s strange that it’s almost always boys who get the Junior treatment. Why not Cindy, Jr? She doesn’t really want that, she assures. She is fixated on the letter J, though. If it’s a girl, Jeather – if it’s a boy, Jyler. Get ready for four and a half hours punctuated by Cindy appearing out of nowhere with a mocktail and a new name idea for anyone who’ll listen. Jabitha and Jichelle are in her top ten. No one knows if she’s being serious.

\n\n

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Marcel Dzama, Untitled, 2000. Editions & Works on Paper New York.

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Marcel Dzama

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Canadian-born, New York-based contemporary artist Marcel Dzama regularly blurs the lines between reality and fantasy, making use of animal imagery and dreamscapes to depict characters in surreal situations. Untitled taps into the universal dream of being chased and adds a cartoonish element of bats, like a smash cut of Hitchcock’s The Birds and childhood horror stories about vampires.

\n\n

________

\n\n

The Last-Minute Requester

\n\n

“Are pets allowed?” usually means dogs, right? That’s fine, the building allows them. Marcel seems intrepid enough to have a leash-trained cat. A lizard that lives in his coat pocket, even. Now that it’s on the mind, though, he did mention something about doing a series of bat prints, but there’s no way it would be a bat. Who would ever bring a bat to a party? Where does one even get a bat? Upon his arrival, it’s worse, much worse. Bats. Plural. Don’t worry, he says, he brought enough fruit and they’ll be out of the way. He goes on: adjusted for size, they’re the longest-lived mammals with one recorded at 41 years in the wild. It’s a conversation starter! Cindy wants to name them!

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\n\n

Kehinde Wiley, Kid Ike, 2006. Editions & Works on Paper New York.

\n\n

Kehinde Wiley

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Known for his imaginative renderings of Black people in Old Master-style scenes and his iconic presidential portrait of Barack Obama, Kehinde Wiley combines a naturalistic approach with elevated forms of staging. Kid Ike, from 2006, is an early example of Wiley’s commanding ability to merge background with subject. The winding, ivy-like pattern often seen in heraldry and tapestry, frames a young man with a degree of regal confidence.

\n\n

___________

\n\n

The Mixmaster

\n\n

He knows no one asked, but he made a playlist anyway. Where's the Bluetooth speaker? No worries if it’s dead; he’s got a backpack full of aux cables and a spare JBL. He looks around to feel the room and scrolls through his tracks, removing some songs, adding others, pointing at Marcel and saying “Misfits, definitely a Misfits song.” It’s loud at first, and there’s an odd amount of Steely Dan, but Kehinde ends up being the glue that holds the entire party together. During a lull in conversation, when the crowd is just loose enough, he plays his ace: Can’t Get You Out of My Head by Kylie Minogue. It kills. Even the bats are into it. It’s a perfect pop song, everyone agrees.

\n\n

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Julian Opie, Summer Rain 2, 2020. Editions & Works on Paper New York.

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Julian Opie

\n\n

Julian Opie’s graphic style has become a ubiquitous visual shorthand in the era of vector graphics and minimalist corporate art, but the British artist’s distinct lines and character-driven offer a human interest in the body, its environment, and the trappings of modern life. The four figures in Summer Rain 2 depict a cast from any city street, walking inattentively to purposeful strides, mindlessly phone scrolling to task-driven, with their colorful stories implied by black and white simplicity.

\n\n

______

\n\n

The Plus One or Four

\n\n

The friend-of-a-friend chain usually ends at two, three if it’s pre-arranged, but Julian’s in town and that means a crew. Their mass entrance starts the play clock for twenty to thirty minutes, tops, then they’re gone, off to something a little more downtown, even if Julian plans to stick around for coffee. Kehinde thinks it’d be funny to play a few Blur songs and get a rise out of them, but they’re too buried in their phones to notice. The only thing more imposing than showing up as a group is leaving as one – each making their way to the coat rack, caught between wanting to be seen and making a quick dash out the door. The heart says go, but the socials say make a show of leaving. The other guests look on as the Irish Goodbye quickly turns into a Brexit.

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William Kentridge, Wrapped Man, from Zeno at 4am (K. pp. 118-119), 2001. Editions & Works on Paper New York.

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William Kentridge

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From a series of nine etchings inspired by Italian novelist Italo Svevo’s 1923 novel Confessions of Zeno, a modernist masterpiece about a paranoid, self-absorbed narrator who relays his personal manias to a psychotherapist. Kentridge channels his subject’s narcissism for Wrapped Man (from Zeno at 4am), showcasing the wrapped man as a bundle of nerves whose pensive face is constantly ready to divulge, to make up stories and draw more attention to himself.

\n\n

_____

\n\n

The Unreliable Narrator

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La coscienza di Zeno – he says it again slowly – Laa cozy-enza dee Zehno. Blank stares. They’ll have to read it, he insists. It helped him quit smoking. He just got back from Italy, where he secured a translation contract for a book he hasn’t published in English and won’t stand for that pondwater coffee that’s going around, either. Or was he? Cindy swears he was at her gender reveal party last Sunday – who else dresses like him? Come to think of it, she says, it had to be him who made off with the six-foot sandwich she ordered. “Gossip!” he blurts, “All Americans do is gossip!” Didn’t he tell Julian he was just in Paris?

\n\n

Discover More from Editions & Works on Paper >

\n\n

Recommended Reading

\n\n

Color Theories: Five Questions for Kassia St Clair >

\n\n

How Art Imitmates Life >

\n\n

\n","publishDate","2022-02-28T21:21:50.000000Z","authorCredit","Arian Murati","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/91488586/if-artists-were-party-guests","displayOrder",1,"auctionEditorialID",1495,"editorialID",3797,"flocklerID",91488586,"https://flockler.com/thumbs/sites/889/damien-hirst-editions-phillips-sale-4fa3f0ab-f285-44b9-b81f-53bd1e2bc458_s600x0.jpg","The \"Secret Lives of Color\" author on the histories and hidden meanings behind some of our favorite hues, as seen in the March Editions sale.","Color Theories: Five Questions for Kassia St Clair","

Damien Hirst, 0375 I cannot believe this, from The Currency, 2016. Editions & Works on Paper New York.

\n\n

Phillips' 11 March Editions & Works on Paper Sale in New York features a number of works whose kaleidoscopic range makes up a color conversation from the 20th century through today. To examine of these works, we spoke with Kassia St Clair, author of The Secret Lives of Color, for a look at the nuance and history behind the pigments.

\n\n

PHILLIPS: We're looking at a collection of prints with powerful color narratives. Tell us a bit about your approach to uncovering the stories behind a given color. Are there any shades that totally shifted your perspective?

\n\n

KASSIA ST CLAIR: The idea behind the book was to treat each shade like a character sketch, finding the most illuminating moments in its life, so to speak. In many cases, because the pigments have such long histories, this meant a lot of sifting to try and find a great story that would encapsulate the color's essence. I would do a lot of research to try and find that one moment. In some cases, I just couldn't find a story that was compelling enough, which is why some colors that I originally planned to include in the book did not make it in. I think it's natural to assume that the colors that you personally like best and that you gravitate towards will have the most compelling histories, but this definitely isn't the case: discovering that definitely shifted my perspective and taught me to have an open mind.

\n\n

\n\n

KAWS, What Party, 2020. Editions & Works on Paper New York.

\n\n

P: How does color operate as a visual language?

\n\n

KSC: A language is a great metaphor, but I think in the case of color it's rather like Italian: yes, there's a national language, but there are also a lot of regional dialects with great deal of variation. What I mean by this is that color meanings shift a lot depending on where you live and grew up, the language you speak, your personal experience, and the age in which you are living. Today in the West, for example, we tend to think of pink as feminine and blue as masculine, but this wasn't the case 100 years ago. (If anything, it was the other way round, as pink was more often regarded as a faded red, a very martial, masculine color, while blue was still overwhelmingly associated with images of the Virgin Mary.) My father, who is 96, doesn't think of pink as being specifically feminine, for example. So when we look at colors in works of art, digital media, and so on, we are picking up on these layers of meaning, some of which are quite broad and general, and others will be more personal and specific.

\n\n

P: The present works range from Larry Zox and Ellsworth Kelly in 1960s to artist like KAWS today – a relative blink compared to some of the long histories you’ve traced, but in the context of the speed contemporary life, do you see emergent patterns with color choices among these artists?

\n\n

KSC: Over the past 70 years the average person has been bombarded on a daily and hourly basis with an ever-increasing volume of images and colors. This has obviously drastically increased with the advent of smartphones, the internet and social media and has several consequences for color. One is that cycles of fashionable or notable colors or palettes are getting shorter and more intense. Another is that people who use colors (including artists) are working harder to get our attention: often that means the use of brighter, more saturated colors, but it can also mean unexpected combinations or finishes.

\n\n

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Leon Polk Smith, Color Forms B; and G, 1974. Editions & Works on Paper New York.

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P: Which works speak to you the most? What is it about its/their use of color that stands out?

\n\n

KSC: I love the Ellsworth Kelly piece. It's a gorgeous combination and I've found that, like a lot of other people I've spoken to over the past two years, I've been more drawn to vivid yellows and oranges during the pandemic.

\n\n

\n\n

Ellsworth Kelly, Yellow Over Dark Blue, from Suite of Twenty-Seven Color Lithographs, 1964-1965. Editions & Works on Paper New York.

\n\n

P: Is there a difference or an evolution in how we perceive color today given our access to a seemingly infinite spectrum of hues?

\n\n

KSC: While color meanings are continually shifting and we're undoubtedly exposed to more colors than ever before, I believe our perceptions continue along broadly similar lines. That is, we invest certain colors with meaning; we tell stories about them; trends shift over time, and so on. One thing that I think will be interesting is the broader creation and interaction with digital colors that have no real-world basis or equivalent. If you know that you can't ever experience a color physically, will you interact with it in the same way?

\n\n

\n\n

Larry Zox, Two studies, for Cuban Eights No. II, 1965. Editions & Works on Paper New York.

\n\n

Discover More from Editions & Works on Paper >

\n\n

Recommended Reading

\n\n

Two Studies in Intimacy: Henry Moore & Jean Dubuffet >

\n\n

How Art Imitmates Life >

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96

Mia Westerlund Roosen

Untitled

Full-Cataloguing

Mia Westerlund Roosen