Online Auction 28 November 12pm EST - 12 December 2pm EST
\n

\n450 Park Avenue, New York (map)
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Artsy and Phillips present Wrapped/Unwrapped, a co-curated online-only sale of collectible, giftable artworks for you or the contemporary collector on your list. The sale includes editions, photographs and contemporary works by Mary Heilmann, Yayoi Kusama and Sterling Ruby, among others.

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our 'Wrapped/Unwrapped' sale in conjunction with Artsy, we asked our colleagues which pieces they'd most like to give and which they'd most like to receive.","Indulge in the Gift of Giving ","body","

Alex Katz, Brisk Day: two plates, 1990, featured in Phillips x Artsy Wrapped/Unwrapped.

\n\n

\n\n

Katherine, which piece would you like to give, and to whom?

\n\n

I would gift the Deborah Mesa-Pelly photograph, Rosy (Lot 37), to my sister. Mesa-Pelly was included in the famed exhibition Another Girl Another Planet organized by Jeanne Greenberg Rohatyn and photographer Gregory Crewdson in 1999. The 13 female photographers featured in the exhibition included Jenny Gage, Justine Kurland, Dana Hoey and Katy Grannan, who, along with Mesa-Pelly, were all Yale graduates and some were students of Crewdson. Mesa-Pelly takes her photographs in staged and extravagant domestic interiors. I would give this lot to my sister because of her love of photography, this work being especially interesting for recalling the intense film-like lighting of Cindy Sherman and the homey interiors of Laurie Simmons. The cutaway element seems to reveal an opening into another world—a very Alice and Wonderland-like effect of suddenly reemerging into a scene of dislocation. A glimpse of what lies beyond the safe indoors brings to mind the black and white photographs of Gordon Matta-Clark (one of my sister's favorites) in which he cuts circles into the walls of condemned buildings revealing the layers of the structure, creating an imperfect window to whatever lies beyond.

\n\n

Which piece in the sale would you most like to keep for yourself, and why?

\n\n

I would keep the Robert Goodnough, Reclining Nude (Lot 17). I like the diagram-like lines beneath the varying patches of color. Goodnough was an active figure in the downtown Manhattan art scene of the 1950s and '60s. Friends with Joan Mitchell and Willem de Kooning, Goodnough attended Hans Hofmann's prestigious summer school in Provincetown and also meetings of "the Club," a progressive downtown discussion group comprised of the varying members of the New York abstract painters. He showed with well-known galleries such as Tibor de Nagy and André Emmerich and received a one-man exhibition at the Whitney Museum in 1969. At this time of art historical rediscoveries, I think this is an interesting artist to explore.

\n\n

\n\n

Erin, which piece would you like to give, and to whom?

\n\n

The work that I would gift to a friend would be Malick Sidibé's Jeune Homme, pattes d'elephant, avec sacoche et montre (Lot 23). I would give it to my friend Christina who is an equally successful DJ and engineer. The exuberance she brings to life and everything she does is inspiring. Her music is heavily influenced by the music of the African diaspora and, like Sidibé, she understands how music is a vehicle and enabler for self-expression. Sidibé once said that, more than anything, music (in the form of soul, pop and rock n'roll) was the true revolution: "We were entering a new era, and people wanted to dance. Music freed us." Music gave the Bamako youth of Mali the soundtrack to this newfound independence. All of his photographs have a musicality to them that you can see and almost hear.

\n\n

Which piece in the sale would you most like to keep for yourself, and why?

\n\n

I would gift Sidibé's Je pose comme ça (Lot 24) to myself in a heartbeat. Malick Sidibé's photos overflow with fresh, authentic style and youthful cheerfulness that characterize his perspective—just check out that woman's sense of style and confidence! Sidibé dedicated much of his work to documenting the Bamako youth and the sense of optimism of post-colonial Mali, a country that gained independence from colonial rule in 1960. Sidibé was invited to all the dance parties and had a lightweight camera he brought with him; he took photos of the Malian youth dancing at beach parties, in the streets, nightclubs, graduations. In the '70s, he turned to embrace studio photography. The studio where this portrait was taken was itself a place where people came together to hang out, party, sleep and eat. Sidibé offered more than just snapshots of a unique, transitional point in time for his country. He offered a place and outlet where his subjects had control over their image and even encouraged to bring their own props. His photographs would find their way to a Western audience generally used to seeing a depiction of post-colonial Africa through a Western lens. His work has been exhibited extensively including at the Venice Biennale; he was the first African artist to win the Golden Lion for Lifetime Achievement. These images show a specific moment in time, yet have timeless, global appeal.

\n\n

\n\n

Kip, which piece would you like to give, and to whom?

\n\n

Agnes Martin was notorious for driving hot rods across New Mexico at speeds that rivaled the Autobahn. Praise from The Rubber Stamp Portfolio (Lot 48) is a mighty and unabashed edition in powerful pink. I would gift the work to a diverse team of triathletes, Betty Squad, decked out in Martin's trademark color. They participate in an Iron Man taking place in my hometown, San Diego, that supports Operation Rebound, which provides veterans with permanent disabilities opportunities to participate in sports and strengthen wellbeing.

\n\n

Which piece in the sale would you most like to keep for yourself, and why?

\n\n

Southwestern enchantment and the memory of holiday road trips have me sweet for Neil Raitt's 2016 painting, Cabin Window Cabin (Lot 32). His limitless desert vista blends Saguaro cacti with an expanse of beige structures. These dwellings reference American homesteads as well as the architecture of native peoples, connecting past to present.

\n\n

Along desert hikes, I sometimes find shells or sea dollars—relics from past times when oceans covered America. Lush ponds that Raitt intersperses throughout an otherwise arid canvas remind me of time's mythic changes and the land that connects us.

\n\n

\n\n

Eleonora, which piece of sale would you gift, and to whom?

\n\n

I would give Cloudy Day/Cloudy Day/Cloudy Day/Cloudy Day (Lot 58) by Peter Wegner to my husband. He's a photographer and particularly enjoys taking pictures on the streets of New York during cloudy days. He believes the absence of harsh sunlight allows for better definition of color and, overall, a more pleasing image.

\n\n

I find Wegner's analysis of human perception of color and shape incredibly interesting and nuanced. We think we know what a 'cloudy day' looks like, yet Wegner shows how much variation and nuance there is to what we consider a simple concept and common occurrence in weather. I think this would be the perfect gift for my husband who is attuned to this level of nuance in his own work.

\n\n

Which piece in the sale would you most like to keep for yourself, and why?

\n\n

Although I feel drawn to many artworks in this sale, I would definitely keep Ai Weiwei's Odyssey (Lot 9). A special edition created for Public Art Fund, this piece particularly speaks to me as it echoes Greece's black-figure pottery, an extensively present topic in my studies while majoring in Archaeology. The artist takes a well-known mode of expression within classical art history — the Greek vase — and brings attention to the contemporary, global issue of the refugee crisis. I've always admired Ai Weiwei's work and this is a great opportunity to own something by him at a very affordable price.

\n\n

\n\n

Adam, which piece of sale would you gift, and to whom?

\n\n

I would give Robert Indiana's Book of Love: four plates (Lot 60) to a friend from high school. We used to hang out at Love Park in Philadelphia, which had a sculptural version of this work. Love Park was a haven for skateboarders, which I pretended to be, and I'll always associate this iconic image with our shared adolescence. The park is now gone, but the love message is a good one for her young daughter. I also love the associated poems on the back of each print that talk about the beauty and impracticality of love, and I think that my friend would appreciate them too.

\n\n

Which piece in the sale would you most like to keep for yourself, and why?

\n\n

Banks Violette's Not Yet Titled (broken beer bottle) (Lot 64). It's messy, beautiful, and a little bit somber, just like Christmas. I would keep this piece for myself. Banks has long been a favorite of mine, and I was happy to see him re-emerge at Gladstone Gallery earlier this year after a prolonged absence from the art world. This piece is a wonderful nod to the massive sculptures he created last decade, but at a scale that will work in my small apartment. The broken bottle looks like the quiet aftermath of something gone terribly wrong, which feels like the right mood for closing out 2018.

\n\n

Bid on these and other works in 'Wrapped/Unwrapped' through 12 December.

\n","publishDate","2018-12-05T17:20:11.000000Z","coverPosX","coverPosY","articleUrl","https://www.phillips.com/article/39270963/wrapped-unwrapped-gift-guide","auctionEditorialID",477,"editorialID",513,"flocklerID",39270963,{"_1777":1798,"_1779":231,"_1780":1799,"_1761":1800,"_1783":1801,"_1785":1802,"_1787":1463,"_1788":469,"_1789":1803,"_461":229,"_1791":1804,"_1793":1805,"_1795":1806},"https://flockler.com/thumbs/sites/889/side-by-side-8ccce4e6-2de6-4dab-9054-fba6af868c69_s600x0.jpg","Katherine Lukacher, Head of Online Sales, juxtaposes two abstract oil works by artists who played a prominent role in the famed 'Ninth Street Show'.","Goodnough and Goldberg: 1950s Abstract Expressionism Returns to the Fore","

Robert Goodnough and Michael Goldberg, two New York School early abstract expressionist painters, were both included in the now-renowned Ninth Street Show. Curated by gallerist Leo Castelli, the show was installed within a vacant store on East 9th Street in the spring of 1951 and ran from 21 May through 10 June. As curator Bruce Altshuler commented, "It appeared as though a line had been crossed, a step into a larger art world whose future was bright with possibility."

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Michael Goldberg Untitled, 1959

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Michael Goldberg's small-scale oil on paper was executed eight years after the Ninth Street Show and is a brilliant example of his animated and abstracted brushwork. Goldberg was not only a painter but a pivotal figure within the New York and East Hampton art scenes along with Jackson Pollock and Willem de Kooning, fellow admirers of the Long Island landscape. As part of the early 1950s New York School, Goldberg was close friends with other abstract painters including Norman Bluhm, Grace Hartigan and Joan Mitchell. Goldberg was also a muse to Frank O'Hara, the illustrious writer, poet and art critic, who wrote poems inspired by and dedicated to Goldberg.

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By the year of this work's creation, 1959, Goldberg began to receive extensive recognition for his practice. Represented by Martha Jackson Gallery, his lyrical and improvisational compositions struck a chord with collectors and admirers of the newly abstract aesthetic.

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It appeared as though a line had been crossed, a step into a larger art world whose future was bright with possibility. — Bruce Altshuler
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Ninth Street Show, photographed by Aaron Siskind. As reproduced in Salon to Biennial (Phaidon).

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While Goldberg strove for intangible cohesion, Robert Goodnough was more inspired by abstraction in the form of disjunction. Looking to Mondrian and Matisse, Goodnough's small swatches of color cover the canvas of Reclining Nude, 1957, in a kind of cohesive frenzy. He alludes to a non-existent human form; yet, led on by the title, the viewer strives to find a visible illustration within a clearly chaotic storm of colors and movement.

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Robert Goodnough Reclining Nude, 1957

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Stuart Preston in a 1962 New York Times review described Goodnough's paintings as having "thicket-like designs which throb with the fervor of an old symbolic representation of the Burning Bush, while others have the formal, explicit robustness of Léger."

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While Goodnough and Goldberg attacked abstraction with different tools and mediums, they were both products of their incredible, inspiring environment. The freedom of New York allowed for unparalleled experimentations in drawing and painting, unmatched by the work of their predecessors.

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\n","2018-12-03T17:13:21.000000Z","https://www.phillips.com/article/39215302/goodnough-and-goldberg-1950s-abstract-expressionism-returns-to-the-fore",472,510,39215302,{"_1777":1808,"_1779":231,"_1780":1809,"_1761":1810,"_1783":1811,"_1785":1812,"_1787":1463,"_1788":469,"_1789":1813,"_461":385,"_1791":565,"_1793":1814,"_1795":1815},"https://flockler.com/thumbs/sites/889/heilmann-image-3ff2d927-8630-4a70-8709-2ddf1f0ccdbf_s600x0.jpg","Inspired by Brian Eno and Ming dynasty porcelain, Mary Heilmann interjected rhythm and irregularity to the history of hard-edged painting. Specialist Kip Eischen discusses an exemplary watercolor on paper.","Mary Heilmann's Blue Day Dream","

Artist Mary Heilmann in her studio

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Mary Heilmann painted with ambient rave music on blast during the early 1980s. The California-born, New York transplant often titled paintings after tracks by the ambient musician Brian Eno. Heilmann explained that Eno's songs "felt like they meant something." Eno wanted listeners to "find your own way" within new paths generated by ambient echoes.

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Mary Heilmann Ming, 1982

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Ming, a chill and aqueous 1982 work on paper, forged a new path between Mary Heilmann and art history. Ming's malleable and imperfect grid echoed across works from the '80s that Heilmann described "like a day dream." By adding a big brush mark atop an underlying cruciform composition that referenced Mondrian, Heilmann interjected rhythm and irregularity to the history of hard-edged painting.

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The cadence of ceramic making characterized Ming as well as Heilmann's studies at UC Berkeley. Heilmann recalled "I did a lot of blue and white ceramics...I do remember being inspired by Chinese Porcelain," elaborating, "I just like...the Chinese Ming dynasty idea that the glaze is totally blue and clear, just blue and white." Heilmann molded the patient process of coloring ceramics into a layered palette that set off a stream of associations: ancient pottery, modernists like Mondrian and recollections of her own childhood's beachy shorelines.

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I became interested in discovering the emotional states called forth by blue...
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Heilmann returned to this theme in a work on canvas in 1986.

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This lot precedes a canvas of the same subject that anchored Heilmann's 1986 debut at Pat Hearn Gallery, which was purchased by Julian Schnabel and later bought back by Mary Heilmann. The prominent East Village space gave Heilmann a platform for paintings uniting memory with art history during an extremely challenging personal period.

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Heilmann recalled: "I became interested in discovering the emotional states called forth by blue...[it] has so many different associations; it's the sky, it's holy, it's a kind of...music, which evokes...romance and longing." Ming set the score to Mary Heilmann's new soundtrack.

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Nicholas Pilato

Untitled

Full-Cataloguing

Nicholas Pilato