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There will be no in-room bidding for this sale. Fully vaccinated visitors are welcome to attend the auction in-person and bid via the Phillips Mobile App.

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Viewing

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14-20 October 2021

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Monday-Saturday 10am-6pm
\nSunday 12pm-6pm

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Southampton Gallery Viewing

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11 September - 3 October 2021

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Tuesday-Sunday 12pm-6pm

\n","auctionDetailsSmall","New York Auction 19-21 October 2021","extraInfo","

Editions@phillips.com
\n212 940 1220

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Yves Klein, Le Vènus d'Alexandrie (Vènus bleue), 1962-1982. Editions & Works on Paper, New York.

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Every great collection tells the story of the collector behind it. For Robin (“Binnie”) Quist Gates, it was her warmth, humanity, curiosity, and, of course, excellent taste that became the foundation of the work she collected.

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Our Bay Area regional lead Sophia Kinell sat down with family and friends who knew Binnie Gates best—her granddaughter Sarah Wendell Sherrill, co-founder of art technology company, Lobus; John Berggruen, owner of Berggruen Gallery in San Francisco; and Denise Erickson, professor of art history at Cañada College. In reflecting on Gates’ legacy, they also illuminate a core element of so many great collections: how to bring people together.

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SOPHIA KINELL: I want to start at the beginning and with you, Sarah. When and where did Binnie’s spark with art start?

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SARAH WENDELL SHERRILL: I'm so glad that Denise is in this conversation because I think she is really where it started. My grandmother went back to school around age 50 and fell in love with art and art history. She was taking classes at Cañada College and San Jose State, and she found that art really energized her. She always had an incredible eye, and was drawn to sculpture early on. It was at Cañada College where she first discovered Henry Moore.

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My grandfather had an investment bank out here on the West Coast that was responsible for taking early technology companies public, including Apple and Genentech. He tragically passed away and my grandmother was given advice “Buy something that will make you happy” and for her that was Henry Moore. Back to those art history classes, Henry Moore was one of her favorite artists. She asked where to find sculptures by the artist and was told about Marlborough Gallery in New York. She traveled there alone for the first time, looked at one and bought it, which led to a series of experiences and friends and relationships that really catapulted, I think, her love of art, her love of people, and her love of travel.

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Binnie and Henry Moore in his studio, 1985.

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SK: Denise, you were instrumental in cultivating Binnie’s initial interest in art at Cañada College. Can you tell us about how you first met? Was Binnie a good student?

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DENISE ERICKSON: I was at Cañada College teaching art history and this wonderful woman showed up in my class. She was a top student. And I'm not just saying that! She was just an outstanding student.

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On one of my first art trips down to Los Angeles, Binnie and I sat next to each other on the plane. For the next hour on our trip south, she told me this wonderful story about how she had a very close friend, Shirley Davis. Shirley was just getting into collecting and was very active at SFMoMA, but Binnie wasn’t quite there yet.

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After George died, which was just a horrendous shock, Shirley invited Binnie on a Collector’s Forum trip to London. So off they went, and one of the features of the trip was a visit to Henry Moore’s estate. So she went and she met Henry Moore, and she was with people who loved art, and that was a very nurturing environment. When she went to Moore’s studio, he had some works there that she fell in love with. At this point, she had already purchased her first that sat outside at her home in Woodside, silhouetted against the vineyards and reflecting against her swimming pool. It was a spectacular entrée into this world.

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Somewhere along the line, Binnie being Binnie said, I don't want to do all this unless I know something about art. So she decided to take the art history classes that Cañada College right up the hill from her. And that's when she started taking my classes to fully appreciate this experience and to learn more. She didn’t just take the course in modern art—she took antiquity and classical and renaissance art, even though it wasn’t really her taste. But she wanted to know it all.

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She traveled with me many times, and it was always such a joy for me when I realized Binnie was coming on a trip because she always had such incredible insights.

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SK: John, many of the works in this collection came from Berggruen Gallery. I understand Binnie would visit you up on Grant Avenue and you would visit her down in Woodside? How did you first meet?

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JOHN BERGGRUEN: I met Binnie coming into the gallery. And I think one of the great, great qualities that Binnie exemplified was her curiosity. She was always interested in different things, and open to ideas, and had a great sort of energy about her. And a sense of humor, which is very important, I think. But the curiosity factor, and that she loved the idea of the participation, and the discoveries, the journey, the experiences. So all the ingredients sort of clicked together. Visiting her down in Woodside was always a pleasure. She was a very warm, dear friend.

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Henry Moore, Standing Figures, 1949. Editions & Works on Paper, New York.

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SK: How would you describe her collecting? Was there a particular kind of work that she was drawn to?

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JB: I would say the word eclectic would be an apt adjective. She also had things that were personal to her. It wasn't about collecting art that was chic or trendy. She was independent that way—she had her own eye, her own taste and her own vision. So it could be quite varied, which was part of the surprise. One of the great things about having an art gallery is when people walk in, they're looking for something, but then they turn the corner and they see something else. It's a surprise, and perhaps it pushes them or leads them to a different direction.

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SK: The collection includes works by several Bay Area artists—Richard Diebenkorn, Elmer Bischoff, David Park, Paul Wonner, Theophilus Brown, Wayne Thiebaud. Can you tell us a bit about these acquisitions, that element of discovery you touched on and talk to us about how you helped shape the collection?

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JB: These were artists that I either represented or specialized in. It would appeal to her in terms of the whole sensibility of Bay Area figurative art, and those artists were pretty exceptional. By coming to me, she would see a selection of works by those artists in varying degrees. And it was one-stop shopping. She wouldn’t see those works elsewhere, even in New York because it was more of a West Coast thing.

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I think a lot of clients become good clients because they have a rapport with the owner of the gallery, and in this case, it was me and my wife, Gretchen. We both had a great rapport with Binnie. It was very meaningful, and we liked her so much. I was sort of an extended member of the family.

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SWS: John was very important to my grandmother. She had so much joy being with him, visiting him. It was a lifelong friendship.

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DE: And in her collecting, she felt so confident about his guidance and opinion and direction. And that was very, very important to her.

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SWS: She cared about people. It was as much about the people she met along the way as the actual objects. I think about John and Gretchen and her relationship with them, and how deeply meaningful that was. She was very people-oriented.

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DE: She also really loved sharing her art with other people. Whenever she had a dinner party, she was always very generous. She didn’t go on and on about her collection, but it was something she loved. Just as whenever we have anyone in our space, and we fix them a nice meal and want them to have a good time. Binnie’s art collection was something she loved sharing with other people and seeing their enjoyment and appreciation of it.

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Richard Diebenkorn, Blue, 1984. Editions & Works on Paper, New York.

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SK: I love that and I think this ties into her support of museums as well. Beyond what Phillips is offering, Binnie collected several large-scale sculptures early on, which are now housed in important Bay Area institutions—Claes Oldenburg at the Cantor Arts Center at Stanford and Henry Moore at the de Young. She was also a longtime supporter and Trustee of SFMoMA. Sarah, why was this important to her?

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SWS: I think it comes back to the people again. With SFMoMA, it wasn't in pursuit of being involved with an institution. She was naturally drawn to the experiences that she had with SFMoMA under John Caldwell and Jack Lane. Same with Director Harry Parker at the de Young, and her second husband Ned was also involved with the construction of their new Herzog & de Meuron building. She gifted Claes Oldenburg’s Soft Inverted Q from 1977 to Stanford University, a playful reference to our family name. We have a long history at Stanford. Her father was the track coach there for many years, she and her sister basically grew up on campus, and she met her husband there while she was working at the bookstore and he was playing football. Stanford was always a very meaningful place to her, and it just felt natural that one of these pieces would find their way there.

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She always showed up, she was always generous. She never viewed her art as an investment or as an asset, or as anything other than joy that it brought into her life. For her, sharing it with an institution she cared deeply about, that was run by people that she cared about, enjoyed by people that she cared about, was just fun for her.

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Roy Lichtenstein, Two Paintings: Beach Ball, from Paintings Series, 1984. Editions & Works on Paper, New York.

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SK: The works in this collection were truly loved and lived with. Can you tell us about Binnie's philosophy around art and how it has shaped your own? What was it like growing up around her art? How did she live with it?

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SWS: She really lived with the things that she loved and not the other way around. She had a sense of humor with how she lived with art, and how she put things together. In her later years she found a great Greyhound bus sign, 10 feet long I think and quite heavy. She mounted it in her kitchen across from a Jenny Holzer ticker tape.

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DE: She had an Etruscan-like Tom Otterness frieze that he made for her dining room, and of course she learned about the Etruscans and their erotic paintings in her art history classes, and if anybody asked her about it, she said, “Well, they're being a little naughty.” They were being naughty, but she just loved that. She loved the playfulness of her collection. She didn't try and make it overly pretentious or overly serious, although she had very discriminating taste.

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SWS: Things were not precious. She lived with these things. We used to sunbathe on the Henry Moore and climb all over the Barry Flanagan hare she had in her garden. She had a Lalanne sheep outside of her front door that we would sit on. She had David Gilhooly oreos and ice cream cones we used to play with. She would get invitations to all of John’s shows and frame them because she liked the images—she had a little Wayne Thiebaud cupcake invitation framed on her desk. She just loved living with fun and beautiful things. Her confidence came through her eye. Art was a manifestation of this. She trusted her gut. But again, she never took this too seriously—she loved to shop and she had great taste and an eye she trusted, she loved discovery and the thrill of a buy.

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JB: I think the concept of shopping is important. Some people don’t want to make the commitment of an acquisition, but she was courageous that way. She didn’t overthink things.

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Wayne Thiebaud, Daffodil, from Recent Etchings I, 1979. Editions & Works on Paper, New York.

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SK: My understanding is that Binnie didn’t set out to build a certain type of collection, which makes the connectivity all the more astonishing. From modern masters Milton Avery, Henri Matisse and William Turnbull, to the colorful compositions by California based artists David Hockney, Paul Wonner and Wayne Thiebaud, this collection bridges nearly a century of art history. Can you speak to the through line that is evident here?

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DE: I think the through line is Binnie. Color is certainly a theme that runs through those artists, but I think another is the combination of humanity, warmth, and playfulness. And that was just a reflection of who she was, and it’s why we all wanted to be around her. We all loved her art collection because the things that she loved spoke to everyone that loved her, as well.

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She was incredibly intuitive. And there was nothing about her that looked calculated or planned. There is also an appreciation, I think, in the works of art that she collected for a natural, instinctive composition. The Paul Wonner is one of my favorites. It has a very formal structured quality to it, and the colors kind of rhyme with one another. All this stuff is so instinctive. And that's true for Binnie as well. That's why everybody loved being around her.

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Wayne Thiebaud, Candy Apples, 1987. Editions & Works on Paper, New York.

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SK: Sarah, how has this all informed your personal approach to collecting and how do you think about people approaching collecting for the first time?

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SWS: I basically think that it's to live with and buy what you love. First and foremost, what grabs you is probably right. I've learned a very unprecious way of living with beautiful things. My grandmother had beautiful taste, and it was so subtle. She wasn't about what anyone else was buying, it was just very embedded in the way that she lived with art, decorated her home, looked at her gardens. Nothing was premeditated for her. It was so effortless. She didn't discriminate between painting and sculpture and prints or reproductions. In her dining room, she had a great Lichtenstein print that she loved. She mixed and matched throughout, and lived with all mediums. Prints are very accessible from a price point, and are often the best way to access an artist’s body of work.

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I think the other thing I’ve learned is that objects and people are inextricably linked. Her love of art was so deeply connected to the people that she met along the way—the relationships it built for her, the experiences that it formed, the way it all opened up her world.

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Discover More from Editions >

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Recommended Reading

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Legacy in 3D: Property from an Important Private Japanese Collection >

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The Statesman, the Magnate, and the Original 'Superyacht' >

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\n","publishDate","2021-06-16T21:47:09.000000Z","authorCredit","Sarah Bochicchio","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/77966206/the-gates-collection","displayOrder",3,"auctionEditorialID",1368,"editorialID",3579,"flocklerID",77966206,"https://flockler.com/thumbs/sites/889/nara-prints-for-sale-phillips-auction-9bfef8bb-f684-406d-845d-a9d575c8b746_s600x0.jpeg","Iori Endo and Takako Nagasawa discuss Yoshitomo Nara, Yayoi Kusama, and the concepts that define Japanese art for creators and collectors alike, using two highlights from the upcoming Editions sale on October 19th. ","Everything in Its Right Place: Japanese Art & Collecting ","

Yoshitomo Nara, Untitled Portfolio, 2010. Editions & Works on Paper. © Yoshitomo Nara

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Two Phillips colleagues log on to a Zoom call. Over the course of a discussion ranging from traditional craft to today's collector trends in Japan, artist and Senior Client Advisor based in London, Iori Endo, and International Specialist in New York, Takako Nagasawa, offer insight on contemporary Japanese art. Yoshitomo Nara and Yayoi Kusama in particular, they say, exemplify a series of concepts that interrelate the country's rich historical traditions with audiences around the world.

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Familiarity: how does Japanese art merge tradition and innovation?

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IORI ENDO: There’s a notion that Japan, as a country, is super advanced and very much in constant forward movement, but it’s also a deeply traditional place, and in some ways rather old-fashioned. The term ‘hybrid’ works here, in that artists like Yoshitomo Nara and Yayoi Kusama moved abroad and brought back with them a Western influence, not just to Japan, but to their own art, which then situated itself in Japan with that hybrid development.

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TAKAKO NAGASAWA: Both have to do with a sense of relatability. With traditional works, we have the benefit of time and cultural awareness. But with new things, someone can always find an element of a piece that they can relate to, and particularly in the cases of Nara and Kusama. It can be a color, an image, whatever. There is something from each artist that they can see, grasp, and take in as relatable.

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Acceptance: do all roads lead home?

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TN: Japanese artists tend to be much more admired in Japan, and across Asia as well, when they become familiar through the process of going out and then returning. We have a weird relationship with Western culture in that way. With fashion, we accept and improve upon Western style once we know what it’s all about. Artists, too, are better accepted when they are re-imported. They’re not exports, per se, but Nara and Kusama are two good examples. Both of them left the country and gained recognition in their respective places — Kusama in New York and Nara in Germany — and once accepted elsewhere, I think it’s easier for Japan to accept the artists at home, so to speak.

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IE: Kusama here moved to the States and engaged with postwar feminism and performance art, two things that were generally unfamiliar to Japanese audiences, but brought both back with her. In order for those ideas to reach Japan in a way that could be understood and accepted, they first had to be imported through a Japanese interpretation, and from someone who went out of the country to grasp it. It’s something I’ve always admired about her.

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Presence: what does access mean for understanding?

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IE: I remember having prints of Nara’s postcards on my wall when I was in college. At the time I was in art school in Chicago, and as a Japanese artist abroad I was experiencing my own East/West journey. Obviously as a student you can’t afford actual paintings, but the pictures were things I knew and could relate to, these cute drawings of girls who hid something deeper, a strong will and determination.The Nara pieces are ukiyo-e woodblock prints. The series demonstrates the high level of technical quality that master printer Yasu Shibata was able to achieve by layering shades of pigment that radiate intense color. Originally the term related to farfetched or unrealistic themes, literally ‘floating world’.

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TN: During the Edo period, this was a way to popularize the E-shi (artist) and also for their printers to make money. They made them in series and were sometimes used as wrapping paper, so looking back at the history of it, the average person is unlikely to be able to afford an actual painting, but the prints are a way to own a piece of art and have it on your wall, and it reaches more people this way. It remains so in a way, and therefore I think these prints will recieve attention in the Editions Sale.

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Yayoi Kusama, Amour pour toujors (Love Forever), 2000. Editions & Works on Paper.

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Process: how does repetition define the approach?

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TN: Throughout Japanese culture pattern is everywhere. If you look at kimono designs, or everyday earthenware, pottery, you see pattern. And it’s easy to look at, orderly. I think that art, in that way, is a contemporary version of those traditional patterns and repetitions. It’s a method that’s both comforting and easy to continue working with over time. Take tea ceremony. There’s not much to pouring tea, right? You have hot water, then there’s the cup and the leaves and so on, but we make an entire process out of it. Through this process, you come to know that it’s not about drinking the tea. In the end you do, but that’s not the point. It’s learning the rules and patterns that govern this process.

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IE: It is true, everything is orchestrated and the whole process is the ritual. The guests take part in it too by taking time to have a look at the tea bowl at a specific moment, to appreciate the quality and craftmanship, or by turning the tea bowl in a specific manner before taking a sip to ensure they avoid drinking from the ‘front’ of the tea bowl, to pay respect and so forth. It’s a systematic approach, I suppose. Everything is in order. Almost in the way you would think of a Zen monk approaching his training. Repetition is a cultural habit that extends into art.

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Engagement: what is the state of the art?

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IE: With younger collectors in Japan, I feel that it’s a completely different scene to, say, New York or London. It’s a very domestic market, particularly since Covid began. Collectors are looking at new artists, with that heavy emphasis on illustration, and I’ve even seen some flexibility with some older collectors, who tend to be a bit more set in their ways and tend to be more cautious, but largely, it’s the new, local Japanese artists who are making a name for themselves now. Almost a reversal of what it used to be and what we were speaking about earlier. The country is cut off, not much travel to and from at the moment, so it’s partly by force and partly by the already established art scene there. For the last two years now, not much has entered the country’s galleries from abroad, so they focus on the local.

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TN: The traditional established collectors are still more wary of some of these trends I think, but largely because of their existing preferences. They’re fine with the Impressionists and the Old Masters, and they’re fine with the contemporary pieces when there’s a defined subject. Many have a hard time accepting American abstract art because they don’t know what to see in it. Inversely, they recognize the patterns and traditions in some of the contemporary Japanese pieces, even if that subject isn’t as apparent. People like to know what they’re seeing, and artists like Nara and Kusama are representative of that. It might not actually be what the artist is saying, but there’s something presented that can be interpreted either immediately or from the perspective of the person looking at it. It allows for that sort of space. Everyone can find something there.

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Discover More from Editions >

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Recommended Reading

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Myth, Materiality and Multiples: The Art of Joseph Beuys >

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Zeitgeist for Lunch: Campbell’s Soup I >

\n","2021-09-22T20:48:33.000000Z","Arian Murati","https://www.phillips.com/article/83960996/everything-in-its-right-place-japanese-art-and-collecting",2,1362,3651,83960996,"https://flockler.com/thumbs/sites/889/frankenthaller-prints-for-sale-phillips-5c3c2daa-2ce2-466c-86b9-201550561158_s600x0.jpg","We imagine creative catalog entries from Phillips' 19-21 October Editions & Works on Paper auction with a little help from some of the eras' most iconic writers.\n\n","Fantasy Cataloging: Printmaking Through the Decades","

Helen Frankenthaler, Gateway, 1988. Editions & Works on Paper.

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Phillips' 19-21 October Editions & Works on Paper auction features works from the 1950s through today, and just as the images reflect each decade, they also showcase advances in the printmaking processes used to create them. Here, we explore those developments by imagining how writers of each era might interpret the works in their own creative catalog entry.

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Pablo Picasso, Deux femmes sur la plage, 1956. Editions & Works on Paper.

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Guest Cataloger: Gertrude Stein

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Between 1945 and 1969, Pablo Picasso produced over 400 lithographs at the Mourlot Studios in Paris, where the artist would often spend months at a time in Fernand Mourlot’s atelier interpreting and advancing the medium. The lithograph process itself mirrors Picasso’s own relentless explorations of shape, movement, and reproduction. Deux femmes sur la plage is a work from 1956 that combines the artist’s approach with lithography's own development as a fine art; a meditation on a printing process: two relaxing forms, in simple black and white, rest peacefully against the backdrop of Picasso’s voracious work rate. And who better to catalog the work than longtime champion, collaborator, and lover of repetition Gertrude Stein? Although she had passed the previous decade, was there any other choice?

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Catalog Entry: Lithograph! The very word does the Greek world bring to us: to write in stone, rather now to sit on the stone beaches of France, this pair of feminine forms there, there, there in poetic movement, in meter. On the left, stress, on the right, unstress, the former curled to the latter’s opening. And of a count of fifty, no less — we flip through the pages of sameness and feel the rhythmic pattern of its maker, over and over and over and over: Pa-blo, Pa-blo, Pa-blo, Pa-blo, Pa-blo, Pa-blo!

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Ellsworth Kelly, Cyclamen III, 1964-5. Editions & Works on Paper.

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Guest Cataloger: Joan Didion

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In 1964, Ellsworth Kelly began work on two simultaneous projects: Suite of Twenty-Seven Color Lithographs (1964-65) and Suite of Plant Lithographs (1964-66), both printed and published in Paris by Aimé Maeght, the founder of Galerie Maeght. Cyclamen III invokes the Impressionist and Modernist inspirations of Jean Arp and Henri Matisse, and showcases the unadorned, yet striking form of the flower. Kelly would often forego drafts and instead draw directly onto transfer paper before printing from zinc plates, showing a commitment to natural shape and the relationship between the hand and eye that defined his style. Across the Atlantic, the young Joan Didion was herself exploring the contours of culture in a world that was growing narratively complex and missing the crucial element of enjoyment.

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Catalog Entry: It was a symptom of the ‘60s that each year contained within it the kernels of the following three or four, however, they were only visible in hindsight and understandable in memory. And so was such an unready categorization for Mr. Kelly. One of effect instead of affect, best recognized in Suite of Plant Lithographs, and particularly in Cyclamen III. We look for the sermon in the flower, for the social or moral lesson in the wilted shape. We interpret what we see, select the most workable of the multiple choices. We live entirely, especially if we are artists, by the imposition of a narrative line upon disparate images, by the “ideas” with which we have learned to freeze the shifting phantasmagoria which is our actual experience. Or at least we do for a while, until Cyclamen III listens to these narratives, absorbs them all, and gives us back not something bleak, or profound, or thoroughgoing, but something lilting, instinctive, that we can enjoy it, easily if we let it in, without having to imagine ulterior motives for it all.

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H.C. Westermann, See America First Portfolio, 1968. Editions & Works on Paper.

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Guest Cataloger: Hunter S. Thompson

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H.C. Westermann took the advice of the ubiquitous travel brochures and ad campaigns of the time and set out to explore the country low and slow. The resulting project, 1968’s See America First Portfolio, cast Westermann’s wry observations throughout the United States into a series of 17 color lithographs that depict the preservationist lean of the artist with trademark humor and expansive imagination, as well as showcasing a keen sense of craftsmanship indeed and a look at an early DIY approach that would grow into wider culture in the coming years. The work was printed at Tamarind Lithography workshop in Los Angeles, the historic post-war printshop powerhouse, marking the 60s as a new era of portfolio and multiples making. The set in our auction is being offered by the Museum of Modern Art, where Westermann's work has been held and exhibited. Perhaps somewhere along the long roads he traveled, well into the deserts of the Southwest, we can imagine Westermann getting a quick high-beam warning from Hunter S. Thompson ahead of a speed trap.

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Catalog Entry: By '68 much of the day-glow refuseniks were getting into a radical new thing called equity from home ownership. All that worry about when and where the bomb would drop faded away, internalized two decades prior between their clasped fingers under their desks at school, projected through a cloud of smoke driving up the Pacific Coast Highway for some fun in the Bay and forgotten on the way back down to scout a rental condo in San Diego. Gizmos were getting smaller, gadgets too — you didn’t need one of those industrial printers anymore; they had these hand-fed lithograph presses you could feed the thing through manually and send it through the cylinder cycle like Donald Duck flattening and expanding along the gears of a machine. Old Westermann knew exactly what he was doing with it. The image is twice reversed and comes out the same way around as it did going in, just like the rest of us, detour after detour and back where we started, a little more enlightened but with the same crooked smile.

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Jasper Johns, Target, 1974. Editions & Works on Paper.

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Guest Cataloger: John Updike

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Spontaneity is a lot more labor-intensive than one might think. To achieve the layered saturation of 1974’s Target, Jasper Johns drew, proofed, and subsequently discarded several iterations. The print was an early collaboration in what would become a longstanding working relationship with a group of Japanese master printers at the Simca Print Artists workshop in New York. During this process Johns ran off a two-screen Target in gray and black as a release from the problems of the color version. The final version is a print from twenty-seven screens on J.B. Green paper that exhibits Johns’ hallmark depth of color and painterly texture. The pains of mastering a simple objective though continuous trial, error, and attention to detail could be no better described by a master of revisit and redo, John Updike.

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Catalog Entry: The studio was a high-ceilinged industrial room whose instruments were painted the shade of green commercially called moss. A summer noon probed through the open windows. Years ago, when the shade was called army, the printers made an intolerable noise. Today, they’re well-maintained to the level of quartz reliability. Jasper is seated in the far corner with the pallor of a sheet. Something's off. Later, years later, he could look back at this as the moment he found a reserve of some sort, the typically American kind that inspires all retrospectives, with stories of brilliance striking here, just when all felt wrong, but in real time, Target moves farther away with each crack at it. At the center sits a blue iris, a bit darker than his own, but his nonethless, inhereted from his hand rather than his genes, but it was his, without a doubt. It was his and he was going to figure it out.

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Keith Haring, Growing, 1988. Editions & Works on Paper.

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Guest Cataloger: Margaret Atwood

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Keith Haring began making screenprints in 1983, and by 1988 was producing work that showed his natural skill with the medium and commercial perfection of the process. Created while he was still in his 20s, Haring’s Growing series is a trademark depiction of the artist’s vibrant use of color, energy, and motion with themes of togetherness and community. The series is also doubly reflective of the era in which it made: the subject itself proliferates, like the connections that were growing between people and the world around them, creating a juxtaposition of feeling: of alienation in a crowd, of celebrating life against the backdrop of dystopia. Such a feeling encapsulates the approach set out by Margaret Atwood, whose writing finds a complement of darkness and light with Haring.

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Catalog Entry: It was a common image here and throughout the world in the ten-year night that was the 1980s. The divided self, having done its job of being who it needs to be during work hours, must in turn molt its skin as part of a daily habit of self-preservation and rest. It was a process of flattening for most, but for Haring, it was an act of generation. It was a rejection of this great flattening with such force that it could be contained by the rules-bound system, which in turn ostracized it by force. In us, for better or worse, are multitudes, and the first of us to discover it were the first to face the great flattener. How did Haring learn it, that talent for insatiability? It was in the air; and it was still in the air, an afterthought, as he tried to create, in the city that had been set up to crush him, with art that screamed because it could not talk.

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Helen Frankenthaler, Gateway, 1988. Editions & Works on Paper.

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Guest Cataloger: Fran Lebowitz

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Pushing aesthetic boundaries was not enough for Helen Frankenthaler — her work was a catalyst in the evolution of Abstract Expressionism into Color Field painting, but it’s the technical advancements made in the realization of 1988’s Gateway that set new horizons for printmaking towards the end of the century, and further still today. The mixed media piece, created with Ken Tyler at Tyler Graphics, in Mt. Kisco, New York, was part of a five-year endeavor that saw Frankenthaler engage in what can only be described as alchemy: using large magnesium and copper plates along with stencils, molten wax, foundry casting, paint, lacquer, steel wool, metallurgy and chemical processing (and the list continues), Frankenthaler created a multi-disciplinary, multi-dimensional work that endures as an emblem of both her transcendent style and indeed how far the art of printmaking had come. A consumate work by a New Yorker that took years to finish, you say? Well then, the entry can only be done by a consumnate New Yorker with an indisposition for deadlines, the one and only Fran Lebowitz.

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Catalog Entry: Helen Frankenthaler is a New York institution, but you know that. Tyler Graphics is a New York institution, but you know that, too. Then there’s this thing called scale, which is something like six entries down the definition line, although it should be first, because the idea of relative size or distance has much more to do with life than with fish. Looking at the list of materials used in Gateway could also double as a list of things I’ve never touched and have no intention of touching, but the scale of it, the sheer endeavor of the piece reminds me of the boundless capacity for surprise in this city. What can you compare it to? It is the city. It’s sprawling, elusive, absurd, all of it. Colorful, layered, heavy, unconventional. It’s packed to the gills — goodness me, there’s that fish I lost — with meaning and feeling, but it won’t open up to you unless you invite it in. Then it’ll talk your head off.

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Roy Lichtenstein, The Living Room, fom Interior Series, 1990. Editions & Works on Paper.

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Guest Cataloger: Bret Easton Ellis

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Inspired by furniture ads in phone books and magazines, Roy Lichtenstein’s Interior Series depicts a set of domestic spaces that typify the artist’s blurring of art and design. The image in Living Room makes use of his signature flat style with depth given by Ben-Day dots. The work combines familiar objects with bold colors and a sense of dimension along the focal line towards the end of the room where the two walls meet. Over the course of his decades-long relationship with the Gemini G.E.L. Workshop in Los Angeles, Lichtenstein turned to the Melrose Avenue printers and publisher for his large, serialized works, with the Interior Series as a perfect example of how the image takes on presence with the use of augmented scaling. Living Room, with its immaculate arrangement, clean lines, and ominous woodcut and screenprint layering, wouldn’t look out of place on the 11th floor of the American Gardens building at 55 West 81st Street, New York, where an infamous Bret Easton Ellis character liked to unwind, among other things.

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Catalog Entry: It is an open, welcoming space with no one there to greet me, removing all pretense of the latter. The couch is a Lichtenstein, a custom job like the table and couch, and likewise all from catalogs that don’t include prices, only call numbers for quotes. It is a midcentury landscape that comes in and out of style every few years, now very much in with the other VPs at D&L who saw the couch at my place after a night of drinks, then it was at Jeff Haller’s apartment the week after, then Larry Reade’s after that. I have the only set of striped throw pillows. I also have the only table with tempered glass. On the wall is a print, a numbered edition, purchased in at auction. Signed and numbered 15 of 60 by the artist. Printed by Gemini G.E.L., logo included. Haller and Reade have reproductions.

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El Anatsui, Paper & Gold, 2017. Editions & Works on Paper.

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Guest Cataloger: Zadie Smith

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El Anatsui’s assemblages often blur the line between textiles and sculptures, and his use of found objects highlights the artist’s themes of consumption and environmental harm. The deliberate lack of form and malleability of his pieces finds a natural companion in print, with Paper & Gold colored by inkjet pigment and featuring irregular edges around the woven paper, along with hand-cut and sculpted aluminum collage that give the piece movement. Compared to photomechanical prints, Paper & Gold is an example of digital ubiqity in contemporary printmaking, wherein rather than through traditional plates, the entire process is computer-controlled. El Anatsui's world is filled with stuff, the byproduct of a culture of accumulation and conspicous consumption gone global. A bottlecap or cartridge may have been thrown away by one of Zadie Smith's characters in London, thousands of miles from the artist's studio in Nigeria.

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\nCatalog Entry: Printer ink, we’re told, is among the most expensive, if not the most expensive liquid in the world. Rather than buying a new cartridge, the cost of purchasing an entirely new unit (with complimentary ink) is often cheaper than getting the ink alone. The result of such a palaver is a twofold farce: a printer becomes the ornament around the thing one actually needs, and the rest is mechanical rubbish to be binned and sent along with the rest of the refuse we don’t think about to the places on the map we don’t think about. Then the people we don’t think about come up with ingenious ways to reuse the material and from the throwaway end of the consumer cycle, we are given art. In Paper & Gold, El Anatsui binds together the global supply chain with copper wire and reminds us that all things have purpose, even after the end user agreement.

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Discover More from Editions >

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Recommended Reading

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Everything in Its Right Place: Japanese Art & Collecting >

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If Artists Were Recipes >

\n","2021-09-24T18:00:49.000000Z","https://www.phillips.com/article/84134145/fantasy-catalog-printmaking-through-the-decades",1,1361,3655,84134145,"https://flockler.com/thumbs/sites/889/editions-install-50-copy-1-2637cf2a-e065-4370-baa2-499f40625a6d_s600x0.jpg","Tour our New York Editions & Works on Paper sale in this virtual reality walkthrough from 432 Park Avenue. On view: Andy Warhol, Roy Lichtenstein, Yoshitomo Nara, Keith Haring, Alex Katz, and more.","VR Walkthrough: Editions & Works on Paper | Auction 19-21 October","

Explore this virtual reality walkthrough of our Editions & Works on Paper auction preview in New York. Travel through our galleries and browse a selection of prints and multiples from Andy Warhol, Joan Miró, Roy Lichtenstein, Keith Haring, Alex Katz, Yoshitomo Nara, Jasper Johns, Ed Ruscha, Helen Frankenthaler, KAWS, and more.

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Our Editions & Works on Paper auction will take place from our 432 Park Avenue saleroom on 19-21 October. There will be no in-room bidding for this sale. Fully vaccinated visitors are welcome to attend the auction in-person and bid via the Phillips Mobile App. Learn how to bid online in a live sale.

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450

Richard Artschwager

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Richard Artschwager