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  • Provenance

    Private collection, Germany

  • Exhibited

    Galerie Paul Maenz, Cologne, 1986; New York, Whitney Museum of American Art, 1987 Biennial Exhibition, April 10 – June 28, 1987

  • Literature

    R. Armstrong, J. G. Hanhardt, R. Marshall, and L. Phillips, 1987 Whitney Museum of American Art Biennial Exhibition, New York, 1987, p. 133 (illustrated) and p. 210; J. Perrone, “Fashion is the Real Thing in Abstraction”, Arts Magazine, Volume 61, no. 10, June/Summer, 1987, pp. 81-83 and p. 83 (illustrated); T. Collins and R. Milazzo, “Tropical Codes – Neue Kunst aus New York”, Kunstforum No. 92, December 1987 - January 1988, p. 95 (illustrated)

  • Catalogue Essay

    Patterns derive naturally from the textures of raw materials, and as a consequence of technical processes. The curious consequence being an increased freedom to explore, as pattern evokes suggestion. In the end, this freedom always expresses itself as irregularity. Enter the artist. A significant pattern following subtle laws emerges, style becoming signature as plumage defines a species. Painting attracts the heart through the medium of the eye; the heart asks the mind to describe what is being seen. Word informed by experience or ignorance ensue. It is a transformative exchange that happens in the microseconds. Do you head straight for the labels as you stroll through a museum, or do you step back? This is not beauty displayed before the viewer by the artist, creativity here meaning that which will lead the viewer to draw beauty out of it for himself. Through these philosophical and artistic deliberations, Philip Taaffe is speaking in favor of painting as an actively meditative space. C. Wehrenberg, Atomic Painting, Philip Taaffe New Paintings, Los Angeles,
    2000, p. 11

44

Yellow, Grey

1986
Acrylic and silkscreen on canvas.
83 7/8 x 55 1/2 in. (213 x 141 cm).
Signed and dated “P. Taaffe, 1986” on the reverse.

Estimate
£30,000 - 40,000 

Sold for £108,000

Contemporary Art

22 June 2007, 4pm & 5pm
London