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Patrizia Koenig
\nSpecialist, Head of Sale, Afternoon Session
\n+1 212 940 1279
\npkoenig@phillips.com

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Salvo, Se Elena mi chiede un quadro rosso tra zero e tutto questo è quello che posso, 2009. 20th Century & Contemporary Art Day Sale, Afternoon Session.

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In many ways, our identities are shaped by our sense of home. And not just the structures we live in, but by the landscape that surrounds us. How many of us, in childhood, gazed out a window to daydream, imagining fantastical places based on the landscapes that we know and identify with? For many artists, this sense of wonder is not lost with maturity, rather it is cultivated over time, as their personal visions become outwardly expressed through landscapes that represent much more than nature.

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The landscape as a subject and genre was not always cherished. The French Academy in the 17th century, for example, ranked it fourth in importance out of the five genres, above only still life. Yet, it was arguably landscape in the eyes of the Impressionists (Claude Monet’s groundbreaking Impression Sunrise comes to mind) that was used to fracture such traditional notions, and the genre continued to inspire the innovative artists who brought forth everything from Modernism to the contemporary interpretations we see today.

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Below, we look to see what the genre can mean to four artists of varying ages and identities and discover how they combine personal memories and sensations of nature in the creation of striking works that are more than just geography, but intimate expressions of their imaginations and experiences.

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Salvo

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Salvo, Prima Primavera, 1996. 20th Century & Contemporary Art Day Sale, Afternoon Session.

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The Italian artist Salvo spent much of his early career producing primarily conceptual works, often sculptural or text-based. In 1973 the artist shifted his approach to focus on figurative painting, and developed a practice grounded in landscape that he would pursue for the remainder of his life. Rather cleverly, it was in that same year that he created one of his last conceptual works: a marble sculpture inscribed with the text “SALVO È VIVO.”

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His landscape paintings explore complex ideas around memory, time, and identity, employing a masterful use of color and light. Salvo traveled extensively, and his memories of various landscapes experienced around the world inform his work with an alluringly loose specificity. We can sense aspects of the artist’s early text practice in the title of Se Elena mi chiede un quadro rosso tra zero e tutto questo è quello che posso, which roughly translates to “If Elena asks me for a red painting between zero and all, that’s what I can do.” Here, his infectious sense of light drapes the scene in a captivating glow that leaves the sensation of an imagined place, devoid of time. Prima Primavera is yet another characteristic Salvo landscape, absent of any human figures. The spherical shape of the trees is imaginative, almost playful, and an airy spring light pervades the work.

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Salvo, Se Elena mi chiede un quadro rosso tra zero e tutto questo è quello che posso (detail), 2009. 20th Century & Contemporary Art Day Sale, Afternoon Session.

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Perhaps most intriguing about the artist’s life is the way his works moved away from the outwardly conceptual early work towards representation through the 1980s — a period when much of the art world was going exactly the opposite direction. Today’s art culture is responding strongly to this era of Salvo’s work, with recent acclaimed exhibitions at numerous galleries and institutions including Perrotin and Gladstone. It’s important to note, however, that the philosophical intent behind his work didn’t exactly reverse as he charted this new course. As Pier Giovanni Castagnoli writes in Seasons of history, seasons of painting, “Reading through his declarations, Salvo, himself, appears to be the director and main actor of such a skillfully orchestrated performance, which has thrown many of his critics off track.” He goes on to explain that we must accept Salvo’s pictorial work as an ultimate outcome of his conceptual process. Indeed, in perhaps his final artistic act, when Salvo died in 2015, that earlier 1973 marble sculpture was turned around on the artist’s instructions to reveal additional text on the opposite side: “SALVO È MORTO.”

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Marina Perez Simão

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Marina Perez Simão, Untitled, 2021. 20th Century & Contemporary Art Day Sale, Afternoon Session.

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Lyrical, undulating, and imaginative, Marina Perez Simão’s 2021 work Untitled is a distinct example of her practice. Almost every element of the scene can be considered a visual ambiguity, but it’s subtle. For example, is the light source the vibrantly glowing sky or the purple sphere? Is that purple sphere the sun or the moon? Are the blue and green waves water or fields of vegetation? Are the swirls of darker pigment at left a depiction of foliage or dissipating smoke? In this sense, her imagery is familiar, but operates in an in-betweenness that is as captivating as it is mysterious.

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“I have to have a feeling that I’ve never seen this before in real life. But not in an obvious way.”
\n—Marina Perez Simão
\n

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Blurring lines between the figurative and the abstract, the artist has suggested that her landscapes are more rooted in depicting the feeling of living in a place than a realistic image of it. Simão grew up in the mountains of Minas Gerais in Brazil, where the visual effects of nature on her surrounding landscape created a lasting anchor to memory. Her process today is based on the accumulation and juxtaposition of memories and images, a sort of visual embodiment of a dream logic where nothing needs to be quite resolved. In addition to her own personal experiences, these juxtapositions also include references to philosophy and literature. Her works build off each other, creating an ongoing inquiry and visual language over time.

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On the rise, Simão is represented by Pace Gallery and her first solo show with the gallery was presented in London last October to great acclaim. On her landscape work, Samanthe Rubell has said that Simão’s “investigation of painting’s interplay with memory and literature imbues her work with a new, conceptual dimension that makes her vision a singular one.” Her work is in several public collections, including the Musée d’Art Moderne et Contemporain de Saint-Étienne in France and The Ekard Collection in the Netherlands, among others.

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Matthew Wong

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Matthew Wong, Blue Tree, 2016. 20th Century & Contemporary Art Day Sale, Afternoon Session.

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Landscape was the principal subject for Chinese-Canadian painter Matthew Wong, whose life was cut tragically short in 2019. Blue Tree is a defining example of his practice from the mid-2010s, created just two years before his breakthrough exhibition at Karma in New York. The work’s alluring depiction of a single tree, on the verge of the surreal, represents an emotional sense that many viewers garner from his works — a particularly contemporary sense of loneliness and alienation. Rising to international fame just before the onset of the pandemic with his second show at Karma, it’s no wonder his works captivated a global audience through our own period of isolation. Wong's works continue to fascinate us, as demonstrated by this year’s retrospective at Boston’s Museum of Fine Arts and through continued record-breaking auction results.

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Wong was an artist with an omnivorous imagination who lived and breathed art with each waking moment. Confessing that he preferred a somewhat solitary life, each day he spent countless hours daydreaming, sketching, watching films, and photographing on walks alone. The sights taken in during each of these activities would intuitively influence his conception of imagined landscapes. With an MFA in photography from the City University of Hong Kong, he trained himself in the craft of painting, developing a technique that blended contemporary and traditional Eastern influences with European Modernism, Impressionism, Post-Impressionism, and Pointillism. In Blue Tree, it’s the striking use of color and the framing of the composition that first draws us in, our eyes immediately taken to the lone tree depicted in the work. The branches of which set the stage for Wong’s virtuosic, expressive, and delicate impasto brushwork that has captivated art lovers worldwide.

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Matthew Wong, Blue Tree (detail), 2016. 20th Century & Contemporary Art Day Sale, Afternoon Session.

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Despite his Western influences, Wong’s eye reveals just how much those artistic references are themselves in discourse with Eastern traditions. After all, many of the artists to which Wong is often compared — Edvard Munch, Vincent Van Gogh, Gustav Klimt, et al. — were in turn influenced by Asian art. In Blue Tree, the stark composition — characteristically framed as though the viewer is alone in an interior gazing outward at an impossible landscape — is dominated by insistent strokes of cadmium red. One can’t help but be reminded of this color’s Eastern associations with fortune and happiness. This hue is even reminiscent of the traditional red envelopes exchanged as gifts at the Lunar New Year. Perhaps it’s in the visual resolution of these contradictions between East and West, contemporary and historic, joy and isolation, that our eyes find something so authentically communicative — at once familiar and irresistibly fresh.

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Etel Adnan

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Etel Adnan, Untitled, 2016. 20th Century & Contemporary Art Day Sale, Afternoon Session.

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Etel Adnan moved seamlessly between writing poetry, novels, and plays, in addition to creating visual art in multiple mediums that showcased her distinctive sight for landscape and its forms, shapes, and colors. Tellingly, she worked on a flat surface, placing her canvas on her writing table. The results are works that privilege a flattened pictorial plane as they present abstractions of the landscape that she lovingly observed from her homes in Beiruit and Sausalito, California.

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“…my painting is very much a reflection of my immense love for the world, the happiness to just be, for nature, and the forces that shape a landscape.”
\n—Etel Adnan
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Untitled is from the last five years of her life and represents her continued fascination with the sun as a presence. As she did with many elements of nature, Adnan often spoke of the sun as a companion and spiritual guide. The works on offer together present a compelling look at her repeated return to the sun and the moon. There’s an integrity to the stark compositions, glowing colors, and deceptively simple shapes that imbue these works with an expressive immediacy as profound as the natural world.

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Left: Etel Adnan, Le poids de la lune 17, 2018. Right: Etel Adnan, Le poids du monde 34, 2017. 20th Century & Contemporary Art Day Sale, Afternoon Session.

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When Etel Adnan passed in 2021 at the age of 96, the world lost a singular Arab-American cultural voice. Since then, her work has continued to be celebrated globally. Adnan’s works have been featured in solo exhibitions in institutions including Pera Art Museum in Istanbul, Aspen Art Museum in Colorado, MUDAM Luxembourg, San Francisco Museum of Modern Art, among others. Her works have also been featured in Documenta 13 and the 2014 Whitney Biennial.

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Discover More from 20th Century & Contemporary Art Day Sale, Afternoon Session >

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Recommended Reading

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Artists to Watch: New York >

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Collecting Innovation >

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Ilana Savdie, Deliberate Rotation of The Nips (y un Manguito), 2021. 20th Century & Contemporary Art Day Sale, Afternoon Session.

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Ilana Savdie

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Ilana Savdie, Deliberate Rotation of The Nips (y un Manguito) (detail), 2021. 20th Century & Contemporary Art Day Sale, Afternoon Session.

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Ilana Savdie’s works operate in the space of the uncanny, intended first to allure and then repel. It’s an expressive mode the artist has described as containing things both familiar and unfamiliar that are never quite resolved, and this 2021 work is perfectly emblematic of her approach. There’s a tension in Savdie’s imagery as the visual forms organically seep into each other through her distinctive technique of pouring oil and acrylic paint and melted beeswax directly onto the canvas. The results are inviting images that express a kind of entanglement and struggle for resolution that resonates with the precocity of contemporary life.

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Raised between Barranquilla, Colombia, and Miami, Florida, Savdie draws influence from her early experiences at Colombian Carnival celebrations, pulling imagery from these festivals — including the marimonda figure — as well as from an evolving variety of sources. These sources often include body parts, mythic monsters, and politically satirical caricatures.

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Savdie’s distinctive practice has quickly garnered global attention. Through this November, the Whitney Museum of American Art presents her well-received solo exhibition Radical Contractions. Just a year prior, White Cube gallery presented the solo exhibition In Jest and her work has been featured in group exhibitions at the Ballroom Marfa in Marfa, Texas and the Hammer Museum in Los Angeles, among others. She completed her MFA at Yale in 2018 and subsequently received a year-long fellowship at NXTHVN — the residency and community arts incubator formed by artists Titus Kaphar, Jason Price, and Jonathan Brand.

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Denzil Forrester

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Denzil Forrester, Dub Salute, 1983. 20th Century & Contemporary Art Day Sale, Afternoon Session.

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Emigrating from Grenada as a child in the late years of the Windrush Generation, Denzil Forrester settled in London in the late 1960s, eventually finding a sense of community in the dub music scene. The artist fully immersed himself in this scene, making rapid drawings on the bar tops of dub clubs. The drawings would serve as material for paintings that dynamically express the passion of this communal experience, and Dub Salute is a definitive example of this practice from the early 1980s. Through this energetic depiction we can sense the electric energy of the regally attired dancers. We can almost feel the floor vibrating with bass, pierced by the record scratches of DJs such as the famed Jah Shaka, whose distinctive mono sound system Forrester later described as sounding “like a punchbag.”

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The artist earned a BA at what is now Central Saint Martins and an MA at the Royal College of Art before accepting a year-long fellowship in Rome. It was while in Rome that Forrester had a painterly revelation, recalling, “I realized that Monet’s waterlilies and Van Gogh’s landscapes were motivated by something simple: painting itself. You have to paint something that means something to you.” This realization solidified his approach, as he fueled his passion for the dub community into further paintings, using the hundreds of drawings he made in clubs while a student as source material for years to come. Yet, the culture at large wasn’t ready. At the time, the art establishment in England was primarily interested in the more conceptual work of the Young British Artists. Forrester later recalled of this era, “If you were a painter, you didn’t stand a chance!” He has spent much of his career painting while teaching three days a week to make ends meet. “I had just enough money to live,” he told Frieze magazine in 2019. “I thought: ‘I’ll just keep going and see what happens.’”

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The English artist, curator, and writer Matthew Higgs has suggested that there will be a corrective that introduces Forrester’s work to the art historical narrative of post-war British painting, and recent interest in his work suggests that he’s right. Dub Salute was included in a breakout 2016 exhibition at White Columns in New York, curated by Peter Doig and Higgs. Subsequently, in 2017 a work of his entered the collection of London’s Tate Modern and the following year he joined the roster of Stephen Friedman. Notably, he was honored by the United Kingdom in 2020 as MBE and this year the ICA Miami held a survey of his works dating 1978–1985.

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Caroline Kent

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Caroline Kent, Out of the solitude and into the daydream, 2022. 20th Century & Contemporary Art Day Sale, Afternoon Session.

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The shapes and forms in Caroline Kent’s paintings strike us as directly communicative, but perplexing. It’s as though we’re reading a language only slightly related to one that we speak. The artist has explained that she is “driven by a curiosity to discover where language, abstraction, and painting converge,” further sharing that one of her central inquiries lies in questioning abstract painting’s ability to “act as a carrier of secret communication.”

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Kent’s painting process tends to begin with the creation of deep black backgrounds that she refers to as “non-spaces” which act as a site for her visual language to sit within. This contrast imbues her work with a sense that the shapes and forms have emerged from a blankness, illuminated like a secret code the moment before we view. This notion — and her masterful sense of geometry, color, and pattern — is fully on display in Out of the solitude and into the daydream.

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Raised in Illinois by a Mexican mother and a Black father, Kent has highlighted her work’s confrontation of abstraction as a field that is historically “almost entirely void of Black and brown voices.” Childhood memories of language barriers and a private language of communication shared with her twin sister also influence her approach: in her abstract language, communicative barriers are broken as every viewer is on equal footing. Rapidly on the rise, Kent’s first institutional solo exhibition, A short play about watching shadows move across the room, will open at the Queens Museum in New York later this year and her work was featured in MoMA’s The Modern Window exhibition series in 2022.

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Alice Baber

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Alice Baber, Untitled, 1972. 20th Century & Contemporary Art Day Sale, Morning Session.

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Painted in the last decade of the artist’s life, Alice Baber’s Untitled from 1972 is emblematic of the vibrant color palette, circular shapes, and movement of light that are essential themes in her work. These rounded shapes overlap and underlap each other, creating a thrilling vibration of color, almost reminiscent of works by Helen Frankenthaler and Vivian Springford. The use of shape and color separates the composition into two planes, giving the background the sense of a halo, rendered in glowing soft tones. Expressing a gentle motion, the forms and colors seem to emerge into the picture plane from the edges — as viewers, it feels as if we’re catching them in the act.

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A feminist and tireless advocate for women artists, Baber helped organize several exhibitions of female artists in addition to maintaining her painting practice, including the 1975 exhibition Color, Light, and Image at the Women’s Interart Center in New York. Raised between Illinois and Florida, Baber was educated primarily at Indiana University, where she received an MA in 1951 before eventually settling in New York and Paris and enjoying a successful career. Despite her lifetime achievements, Baber’s works were largely unknown by the greater international community until quite recently, when paintings began to achieve record prices at auction starting last year. Her work is in the permanent collections of several institutions, notably the Guggenheim Museum, the Whitney Museum of American Art, the Museum of Modern Art, and the Corcoran Gallery of Art.

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Naudline Pierre

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Naudline Pierre, BLT, 2016. 20th Century & Contemporary Art Day Sale, Afternoon Session.

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From a distance, Naudline Pierre’s striking 2016 painting BLT appears to be constructed of abstract shapes. On closer look, we discover a cast of characters intimately entangled, so closely intertwined that their outlines often seem to emerge from each other. The young painter, now based in Brooklyn, was raised in Leominster, Massachusetts, in a deeply religious household, her father a protestant Haitian minister. In childhood, her church community believed the apocalypse was imminent. She’s noted that this experience permeates the atmosphere of her work, recently telling BOMB Magazine, “When I was six years old, I thought that by the time I was twelve the earth would be destroyed, and I — if I was righteous enough — would go on to live in a beautiful fantasy world that was beyond my imagination.”

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This fantasy world is realized in paintings that depict an enigmatic alternate universe filled with characters who embrace each other in an otherworldly space, outwardly devoid of time as we understand it. One of these characters is a sort of alter ego for the artist, a character she describes as a twin in another universe, offering the artist the agency to imagine experiences for her alter ego that are not possible in her own reality.

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The artist also draws from art historical influences — El Greco, William Blake, Hieronymus Bosch, Goya, and Rogier van der Weyden — to recast historic religious iconography within her own mythological world. A rising star, her work was shown this past May at a solo booth at Frieze New York and has been exhibited at the Museum of Contemporary Art in Chicago, New York’s Armory Show, Perrotin Seoul, and Stephen Friedman Gallery in London. She was artist-in-residence at the Studio Museum in Harlem from 2019–2020, and the works created during the residency were shown at MoMA PS1.

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Jane Piper

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Jane Piper, Study II, 1956. 20th Century & Contemporary Art Day Sale, Morning Session.

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Jane Piper’s 1956 Study II comes from a period of the artist’s career during which she prioritized color to push her work past the limits of representation to the edges of abstraction. Her skill as a colorist is prominent in this work, as seen in the diffusion of greens, yellows, blues, and oranges that effortlessly subdue the whites of the background. Color is the organizing principle for much of her work, which builds upon the tradition of Modernist painting.

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A lifelong Philadelphian, Piper came from a prominent family and first became interested in painting on a childhood vacation in Cannes, where she observed plein air painters. In her formative years she studied with Earl Horter, Arthur B. Charles, and Hans Hofmann who exposed her to the Modernist painting techniques that would form the foundation of her oeuvre.

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Viewing Piper’s work with a contemporary lens offers us the opportunity to reconsider the history of mid-century abstraction, so closely associated with predominantly male artists. Her work has seen continued interest, including through solo shows at galleries throughout the northeast United States. Piper’s work is also in the permanent collections of prominent institutions, including the Philadelphia Museum of Art, the Pennsylvania Academy of Fine Arts, and the Brooklyn Museum.

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Allison Katz

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Allison Katz, Showery, 2017. 20th Century & Contemporary Art Day Sale, Afternoon Session.

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Allison Katz’s Showery was executed for the exhibition Dairy w/o Dates, the first solo exhibition in the United States for the Montreal-born artist, now based in London. The show’s title references her observations of the grid-like construction of both the calendar and the canvas by presenting 12 works that stretch the boundaries of both. In the first presentation of the exhibition at the Oakville Galleries in Ontario, the 12 canvases were installed in the round, allowing the viewer’s scope to take in a maximum of three works in a glance. In contrast, the subsequent exhibition at MIT’s List Visual Arts Center presented the works side-by-side, akin to a timeline.

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The duality of these presentations is key to the concept of the series, as it considers time from the perspective of our lived experience, in addition to our memory’s desire to place events on a chronological timeline. It reflects the artist’s questioning of the validity of our sense of time and memory as well as her unique approach to narrative and meaning. As she explained to The White Review, “Because I work in a representational mode there is an assumption about narrative, that the work is ‘about’ something, but that’s not what motivates me. Themes and motifs are generated by, firstly, some form of experience, and then, a method of translation.”

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Apart from their size, each work in this series is quite different, confounding any sense of linear narrative. Showery is distinct in the series as a self-portrait in a restrained tonal palette that challenges several art historical allegories at once — the relationship of women to animals and nature and the depiction of the female bather. Since this breakthrough US exhibition, the artist has gone on to feature in the exhibition The Milk of Dreams at the 2022 Venice Biennale. She is now represented by Hauser & Wirth and her hotly anticipated first solo show with the gallery is currently on view in Los Angeles.

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In a sweeping horizontal format, darker browns cascade into an abyss of foamy whites in Pat Steir’s From Dark to Light, 1990. Upon closer inspection, iridescent gold and warm earthy tones brilliantly layer to form this triumphant, large-scale example from Steir’s acclaimed Waterfall series. Seafoam greens and pale pinks underlie the eggshell rivulets, spilled via controlled drips reminiscent of the organic but directed flow of rushing water. Steir’s unique, waterfall-like application of paint results in a stunning, densely built composition that creates a visceral experience evocative of natural phenomena.

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Steir developed her signature technique in the 1980s, working from a ladder to sling, pour and flick oil paint to her canvases. Adding solvents to her paint creates a unique texture that allows for prolonged skeins media to traverse her composition. Steir’s Waterfall series, begun in 1988, achieves the perfect marriage between material and subject, as pigment streams down in a controlled but serendipitous abstract rendering of waterfalls. Other examples from the series are found in major museum collections such as July Waterfall, 1991, at the Whitney Museum of American Art, New York; Sixteen Waterfalls of Dreams, Memories and Sentiment, 1990, at the Metropolitan Museum of Art, New York; and Curtain Waterfall, 1991 at the National Gallery of Art, Washington, D.C. From Dark to Light is a powerful, museum-quality example from a defining year for the artist.

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Transcending the binary of representation and abstraction, From Dark to Light both represents a waterfall and is a waterfall. Responding to forebears such as Jackson Pollock, Steir has reflected: “These paintings are in a sense a comment on the New York School, a dialogue and a wink. They say ‘You didn’t go far enough. You stopped when you saw abstraction. You didn’t see the full circle.’… I've taken the drip and tried to do something with it that Modernists denied. The Image.”ⁱ Steir relies on gravity to realize the image in a process analogous to the waterfall, conveying a similarly sublime, kinetic visual experience through paint and color. As Holland Cotter declares, Steir’s work “demonstrates that objective and subjective, realism and abstraction are ultimately the same thing: the ‘water’ is paint; its fall is line; the energy of Steir’s hand and the accident of gravity are equal creators of this intensely rhythmical work.”ⁱⁱ

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“I want the paint to tell me something... I want the paint to tell me something about the nature of art, about the secret of art, the secret of nature, about the universe that we exist in.”
\n—Pat Steir Amidst a revitalized interest in Pat Steir’s work, the artist has been the subject of major museum exhibitions at The Barnes Foundation, Philadelphia, in 2019, The Hirshhorn Museum and Sculpture Garden, Washington, D.C., from 2019–2021, and the Long Museum, Shanghai, in 2021. Steir has, however, been a central and longstanding figure in the New York art world, being one of the few female abstract painters to gain prominence in the city in the 1970s. She began her career loosely aligned with Conceptualism and Minimalism and was close with related artists like Sol LeWitt, with whom she lived in that decade. In 1976 she was a founder of the feminist collective Heresies alongside art world figures including Mary Heilman, Lucy Lippard and Harmony Hammond. Her mature practice developed in the 1980s, in part owing to her friendship to John Cage. Cage introduced Steir to ideas regarding chance that have had a lasting influence on Steir’s practice, as well as to Zen Buddhism, which opened the doors to broader philosophies and artistic histories.

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The ideas of harmony with nature expressed in Zen Buddhist and Daoist thought alongside influences ranging from Chinese Yi-pin painters of the eighth and ninth centuries to the brushstrokes of Sumi-e ink painting are crucial to understanding Steir’s work. She cites inspiration from the calligraphic gestures of Chinese literati paintings with their expressive treatments of reality and emphasis on the natural landscape. Reflecting on how these paintings enabled the artist to free herself from brushwork, Steir explains: “I began looking at Chinese Literati paintings and at Southern Song Dynasty pottery and painting, and I realized that I didn’t have to use the brush, that I could simply pour the paint, that I could use nature to paint a picture of itself by pouring the paint.” From Dark to Light also draws influence from the Japanese Haboku, or flung-ink, style of painting, which is characterized by splashes of ink in seemingly random compositions and gradating tonalities and lines ranging from crisp to watery and amorphous. Crucially, her subject matter, the waterfall, is also symbol of eternal change and persistence: it is without beginning and without end.

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ⁱ Pat Steir, quoted in Brooks Adams, Pat Steir: Elective Affinities, exh. cat., Robert Miller Gallery, New York, 1992, n.p.

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ⁱⁱ Holland Cotter in Pat Steir Waterfalls, exh. cat., Robert Miller Gallery, New York, 1990, n.p.

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337

Pat Steir

From Dark to Light (from the Waterfall series)

Further Details

Full-Cataloguing

Pat Steir