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\n精選拍品巡展
\n洛杉磯
\n4月21至23日
\n富藝斯洛杉磯
\n9041 Nemo Street, Los Angeles, CA 90069 （地圖）
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\n","auctionDetailsSmall","紐約拍賣 2026年5月21日","extraInfo","

Patrizia Koenig
\n日間拍賣（下午部分）拍賣主管暨專家
\n+1 212 940 1279
\npkoenig@phillips.com
\n

\n","enableHighlightsView","enableOnlineCatalogue","endSale",true,"hideSoldLots","isChineseTranslate","isExhibition","isLiveAuction","isMixedAuction","makeLive","showAdvanceBidButton","showArtCollector","showBuyButton","showCatalogueDownloadLink","showInquireButton","showPrintCatalogueSection","showRegistrationLink","showSaleOffers","showSoldPrice","lots",[256,257,258,259,260,261,262,263,264,265,266,267,268,269,270,271,272,273,274,275,276,277,278,279,280,281,282,283,284,285,286,287,288,289,290,291,292,293,294,295,296,297,298,299,300,301,302,303,304,305,306,307,308,309,310,311,312,313,314,315,316,317,318,319,320,321,322,323,324,325,326,327,328,329,330,331,332,333,334,335,336,337,338,339,340,341,342,343,344,345,346,347,348,349,350,351,352,353,354,355,356,357,358,359,360,361,362,363,364,365,366,367,368,369,370,371,372,373,374,375,376,377,378],"viewing",{"_235":236,"_237":238,"_48":239,"_240":241,"_242":243},"articles",[187,188,189],"departments",[180],"auctionCurrency",{"_177":72,"_178":179},{"_166":167,"_168":169,"_170":171,"_172":49,"_173":174,"_175":176},"totalLotCount",123,"auctionMobilityAuctionRowId","1-C3NM0R","auctionUrl","https://www.phillips.com/auction/NY010526","auctionResultsFile","https://dist.phillips.com/content/web/auction-results/auctionResultsFile_NY010526.pdf","countryName","United States","countryCode","US","line1","432 Park Avenue","city","postCode","10022","province","NY","currencyCode","currencySign","$",{"_181":182,"_183":184,"_185":186},"departmentId",1,"departmentName","Contemporary","departmentDisplayName","Modern & Contemporary Art",{"_190":226,"_192":186,"_193":227,"_16":228,"_196":229,"_198":230,"_200":201,"_202":203,"_204":205,"_206":231,"_208":205,"_210":232,"_212":233,"_214":234},{"_190":216,"_192":186,"_193":217,"_16":218,"_196":219,"_198":220,"_200":221,"_202":203,"_204":205,"_206":222,"_208":182,"_210":223,"_212":224,"_214":225},{"_190":191,"_192":186,"_193":194,"_16":195,"_196":197,"_198":199,"_200":201,"_202":203,"_204":205,"_206":207,"_208":209,"_210":211,"_212":213,"_214":215},"coverUrl","https://flockler.com/thumbs/sites/889/priority-bidding_3_2-8454aef4-84a3-4957-8b6e-e8712a4dcb8b_s600x0.jpg","section","summary","How to save up to 4% with Priority Bidding — exclusively at Phillips.","Priority Bidding 101","body","

\n\n

中文閱讀

\n\n

What is a Priority Bid?

\n\n

Priority Bids are written, binding bids that must be placed no less than 48 hours in advance of an auction’s start time. The bid must be equal to or greater than the lot’s published low estimate and placed using Phillips’ absentee bid forms.

\n\n

Bidders who have placed Priority Bids ahead of the auction, if they are the winning bidder and satisfy the other conditions of Priority Bidding, will benefit from a Buyer’s Premium rate which is significantly lower than the Buyer’s Premium rate otherwise. This benefit applies whether their winning bid is at the amount of their early Priority Bid or a higher bid placed subsequently by them bidding live in the auction.

\n\n

The new Buyer’s Premium structure featuring Priority Bidding rates is effective from 1 September 2025 and applies to all live auctions in the Fall 2025 season and for all categories, excluding Watches.

\n\n

Watch auctions (both live and timed online auctions) will continue using the same Buyer’s Premium rates that applied in the spring 2025 sale season and will not be eligible for Priority Bidding. Details of these rates can be found here.

\n\n

Timed online-only auctions will be subject to the new standard Buyer’s Premium rates and are not currently eligible for Priority Bidding. You can find details of these rates here.

\n\n

How do I place a Priority Bid?

\n\n

To be eligible for a lower Buyer’s Premium through the scheme, you must leave a written bid at least 48 hours before the auction. The bid must be a written absentee bid.

\n\n

Submitting Priority Bids is simple:

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• Complete Phillips’ Absentee Bid Form with details of the Absentee Bid(s) you want to submit. You can download and complete the Bid Form here.

\n\n

• Ensure your written absentee Bids are at or above the published low estimate of the Lots you are bidding on.

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• Sign and send the form to Phillips’ Bids Department in the auction location before the 48-hour pre-auction cut-off. Forms can be emailed using the contact details found below.

\n\n

Please note that Priority Bids cannot be cancelled.

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Bids New York
\nbidsnewyork@phillips.com
\n+ 1 212 940 1228

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Bids London
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\n+ 44 20 7318 4045

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Bids Hong Kong
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\n+ 852 2318 2029

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Bids Geneva
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\n+ 44 20 7318 4045

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Bids Paris
\nbidsparis@phillips.com
\n+ 44 20 7318 4045

\n\n

If you satisfy the criteria for a qualifying Priority Bid, you will receive an email confirmation from Phillips’ Bids Department in the auction location, acknowledging your Priority Bids.

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More questions? View the full FAQ, including sample scenarios, or contact the bids team to discuss further.

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Learn more about Priority Bidding >

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\n","publishDate","2025-09-03T19:11:05.000000Z","authorCredit","Jesse Limbacher","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/161930391/priority-bidding-101","displayOrder",2,"auctionEditorialID",9746,"editorialID",5033,"flocklerID",161930391,"https://flockler.com/thumbs/sites/889/toor-mca-ny-3a6248be-8b85-4b1b-8ffe-bc6c3f2cc210_s600x0.png","The icons and emerging names on our shortlist ahead of a marquee week on Park Avenue. ","Artists to Watch: Spring Sings in New York ","

Salman Toor, Two Friends, 2020. Modern & Contemporary Art Evening Sale, New York.

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Salman Toor

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Salman Toor’s (b. 1983) small-scale, oil-on-panel paintings depict the imagined lives of young, queer, Brown men navigating the dual landscapes of South Asia and New York: dancing in apartments, lounging on stoops, gathered around kitchen tables, or, in the case of Two Friends (2020), engrossed in the glow of a laptop screen. Tender and precarious, the subjects occupy a space between poise and uncertainty, the enjoyment of one another’s company and the contingent nature of shared screen time. This tension between private and public life is at the heart of Toor’s practice, and the artist continues to explore how the two domains blend.

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Toor’s institutional profile is remarkable for an artist of his generation. Following a landmark solo exhibition entitled How Will I Know at the Whitney Museum of American Art, New York, in 2021, his work entered the collections of the Metropolitan Museum of Art, New York, the Guggenheim Museum, New York, the National Gallery of Art, the British Museum, and the Pinault Collection, among many others. In 2025, Luhring Augustine presented Toor’s acclaimed solo show, Wish Maker, and his next major survey, Someone Like You, opens at the Courtauld, London, in October 2026.

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Anna Ancher

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Left: Anna Ancher, Harvest Girl (Høstpige), 1903–1911. Modern & Contemporary Art: Morning Session, New York. Right: Anna Ancher, On the Way to Church (På vej til kirke), circa 1928. Modern & Contemporary Art: Morning Session, New York.

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The only member of the storied Skagen Painters (Skagensmalerne) to have been born in the remote Danish fishing village, Anna Archer (1859—1935) holds a unique position in the history of both the movement and the environment that would define her practice. Her family’s inn, Brøndums Hotel, was the social center of the artists’ colony and a gathering place for artists from across Europe, as well as where Ancher absorbed the influence of plein air painting and developed a visual language of her own. She trained privately (women were denied enrollment at the Royal Danish Academy of Fine Arts until 1888), eschewing the dramatic seascapes and harbor scenes of her male contemporaries and instead rendering the women and children of her community with the coastal light that Jutland’s far north offered the artist so beautifully. On the Way to Church and Harvest Girl both demonstrate Ancher’s full command of psychological depth and commitment to imbuing her subjects with a luminous, Old Master-influenced resonance.

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Though a household name in Denmark, Ancher has only recently gained wider international attention. The Dulwich Picture Gallery mounted the first UK exhibition dedicated to the artist in 2025, along with a new catalogue of her work published by Simon & Schuster the same year. Her works are held in the collections of the Skagens Museum, Denmark, The Hirschsprung Collection, and the National Museum of Women in the Arts, Washington, D.C. Earlier this year, Young Girl Reading a Letter (Ung pige, der læser et brev) achieved over three times its high estimate at Phillips' Modern & Contemporary Art Sale in London, setting a new auction record for the artist.

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Pat Passlof

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Pat Passlof, Fortune, 1960. Modern & Contemporary Art Evening Sale, New York.

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Measuring seventy by seventy-seven and one-half inches, Pat Passlof's Fortune is substantial in scale and ambition, its dimensions aligning it with the heroic formats favored by her Abstract Expressionist contemporaries. Executed in the year preceding her 1961 solo exhibition at Richard Bellamy's Green Gallery in New York, the work marks the decisive consolidation of Passlof's transition from the biomorphic, shape-based vocabulary of the mid-1950s into the idiom of complete abstraction. It is a major canvas from Passlof’s most consequential period, when her work achieved the sustained all-over structure and chromatic sophistication that define her contribution to the second generation of the New York School. Preserving the integrity of each brushstroke, Passlof creates a surface that remains a visible record of the act of depositing pigment, balancing spontaneity and assurance within a disciplined planar structure. The inclusion of Passlof in this auction brings renewed attention to a pivotal figure in post-war abstraction. Offered for the first time at auction, and marking the artist’s debut in an Evening Sale, Fortune stands among the defining achievements of her early maturity.

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Emily Mason

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Emily Mason, Reactivated, 2013. Modern & Contemporary Art: Morning Session, New York.

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Emily Mason (1932—2019) grew up within the legacy of American abstraction: her mother, Alice Trumbull Mason, was a founding member of the American Abstract Artists, and her Greenwich Village home was frequented by the likes of Josef Albers and Joan Mitchell, yet the younger Mason’s artistic development and practice maintained her singular perspective for over six decades. She often poured mixtures of oil and solvent directly onto the canvas, creating unexpected harmonies and veil-like compositions, which she then structured into sensational works. Reactivated (2013) is characteristic of this approach: the shifting colors move across and over one another while still emerging from a shared space and navigating the canvas’s surface tension with wonderful spontaneity.

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In 2025, Rizzoli published Emily Mason: Unknown Possibility, the first comprehensive monograph of the artist’s life and work. Largely overlooked during the market’s boom years for Abstract Expressionism, Mason’s recent rediscovery has brought greater attention to her expansive practice, including exhibitions at Miles McEnery Gallery and the Bruce Museum, Greenwich, Connecticut. Among other institutional collections, her work is held in the National Academy Museum and the New Britain Museum of American Art.

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Lee Bontecou

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Lee Bontecou, Untitled, 1985–2001. Modern & Contemporary Art Evening Sale, New York.

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Lee Bontecou (1931–2022) is best known for her wall-mounted reliefs that combine biological and mechanical elements, set against an almost cosmic, otherworldly unease. One of the artist's few works on canvas and the culmination of a decades-long cycle of drawings, Untitled, 1985–2001— which toured three national museums in a major traveling retrospective between 2003 and 2004 — is her most important two-dimensional work ever to appear at auction. This luminous, expansive pastel composition, defined by sweeping wave-like forms, embodies Bontecou's notion of the "worldscape," where landscape, organism, and imagined terrain converge into a single field of energy and transformation, animated by the medium's capacity to gather and diffuse light across its surface.

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Lee Bontecou, Untitled, 1998. Modern & Contemporary Art: Morning Session, New York.

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First coming to art world attention at the height of Abstract Expressionism and Minimalism, Bontecou rejected affiliation with either movement, instead forging a practice shaped by Cold War anxiety, science fiction, and the natural world. Her works possess a startling physicality, balancing menace and elegance through intricate constructions in which the viewer’s gaze navigates around the work while being held by the gravity of a fixed point, often resembling an event horizon or black hole, as in Untitled (1998).

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After withdrawing from the public eye for decades and teaching at Brooklyn College from the 1970s through 1990s at Brooklyn College, Bontecou’s work was reintroduced to a new generation of audiences through a landmark retrospective at the Museum of Modern Art, New York, and the Museum of Contemporary Art, Chicago, in 2003 and 2004, respectively. Since then, interest in her work has grown considerably, and her work has been featured in recent group shows, including Through, Dusk at Ortuzar, New York, in 2025-26, and Sixties Surreal at the Whitney Museum of American Art, New York.

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Firelei Báez

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Firelei Báez, magnitude and bond, 2018. Modern & Contemporary Art: Afternoon Session, New York.

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Firelei Báez's (b. 1981) densely layered paintings reimagine the histories of colonialism, migration, and the Black diaspora through a vivid, fantastical visual practice. Born in the Dominican Republic and based in New York, Báez frequently transforms archival materials into scenes populated by mythological figures drawn from Caribbean folklore and Afro-Atlantic histories. Created for the acclaimed Joy Out of Fire exhibition organized by the Studio Museum in Harlem, magnitude and bond (the title references the closing line of Gwendolyn Brooks’s poem “Paul Robeson”) is awash with flame-like intensity, and the work marks a departure for the artist in how she examines her subjects and sources. Rather than being transformed into something mythological or abstract, the women’s forms closely correspond to historical photographs — the present dancers are unmistakably drawn from Katherine Dunham’s 1938 ballet L’Ag’Ya, a performance rooted in Caribbean dance traditions. As Báez explained in an interview with Hồng-Ân Trương: “I think the first instinct was that these were real women, and I wanted their real selves to be in conversation with the viewer.”

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Báez's first major solo exhibition in the UK was held at the South London Gallery in 2024, following acclaimed shows at the Institute of Contemporary Art, Boston, and the Wadsworth Atheneum Museum of Art. A mid-career survey of the artist’s works is currently on view at the Museum of Contemporary Art Chicago and the artist is currently exhibiting a solo show at Hauser & Wirth in New York from 12 May through 31 July.

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Cynthia Hawkins

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Cynthia Hawkins, The First to Arrive, 2021. Modern & Contemporary Art: Afternoon Session, New York.

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A scholar, curator, and painter in equal measure, Cynthia Hawkins has pursued a rigorous practice spanning over half a century. The artist first rose to prominence in the early 1970s as a mainstay in the burgeoning Black-owned gallery scene in New York, where she exhibited alongside artists like David Hammons at Linda Good Bryant’s Just Above Midtown gallery, where she also held her first solo show in 1981. Her paintings are composed of a highly personal network of signs, symbols, geometric contours, and calligraphic marks that draw on her early fascinations with totems, Cycladic figurines, cave paintings, and jazz improvisation. The First to Arrive (2021) exemplifies Hawkins’ monumental approach with two panels at nearly 100 inches in length, each featuring layered, chromatic forms that, despite their disparate placements, give the work a structure befitting its scale.

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In 2023, Hawkins received the Helen Frankenthaler Award for Painting. Two years later, she was included in the inaugural exhibition at the Studio Museum in Harlem, New York, and the Bienal de São Paulo, as well as a solo exhibition at Paula Cooper Gallery, New York. Hawkins is well represented in museum collections, including the Museum of Contemporary Art, Los Angeles, and the Bronx Museum of the Arts, New York.

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Leilah Babirye

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Left: Leilah Babirye, Abambowa (Royal Guard Who Protects the King), 2021. Modern & Contemporary Art: Afternoon Session, New York. Right: Leilah Babirye, Prince Ggamotoka from the Kuchu Royal Family of Buganda, 2021. Modern & Contemporary Art: Afternoon Session, New York.

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Leilah Babirye (b. 1985) transforms discarded materials into commanding, sculptural portraits that celebrate queer identity and community. Born in Uganda and based in New York, the artist draws on African carving traditions while incorporating found debris and objects into her works. Babirye’s sculptures reclaim language historically used to persecute and instill it with dignity and power, as seen in Abambowa (Royal Guard Who Protects the King), named after an elite warrior force tasked with protecting the Kabaka (King) and bound by a strict code of conduct and honor-bound duties. The rough-hewn surfaces of the sculptures and open-mouthed unison suggest the deep bonds and singular purpose of the subjects. Likewise, Prince Ggamotoka from the Kuchu Royal Family of Buganda stands with a royal posture and knowing gaze atop a plinth, as if surveying his territory.

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In 2023, the artist was the subject of a solo exhibition at the de Young Museum in San Francisco, and her work has since been included in the collections of the Whitney Museum of American Art, New York, the Hammer Museum, Los Angeles, and the Musée d’Art moderne de Paris. Recent exhibitions include Stephen Friedman Gallery, London, and Gordon Robichaux, New York.

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Adriana Varejão

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Adriana Varejão, Monocromo redondo Guan, 2014. Modern & Contemporary Art: Afternoon Session, New York.

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Among the most influential contemporary Brazilian artists to emerge in recent decades, Adriana Varejão (b. 1964) has built a practice that confronts the legacies of colonial violence. Her paintings and sculptural works are immediately recognizable for their cracked surfaces, which appear to split open, revealing visceral undercurrents. Drawing on the visual language of tilework, Baroque architecture, and decorative wall painting, Varejao exposes the tension between seduction and brutality that underlie Brazil’s cultural formation. Monocromo redondo Guan balances the artist’s meticulous craft with an unsettling beauty — the cool, circular field gives way to a venous web that spreads through the work before diminishing at the farthest reaches, like an incomplete circulatory system or rivers that end before finding a mouth.

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Varejão has been the subject of major retrospectives at the Museu de Arte Moderna de São Paulo and the Hispanic Society Museum & Library, as well as in museum collections including the Tate, London, and the Museum of Contemporary Art San Diego. Currently, Varejão is representing Brazil alongside Rosana Paulino at the 61st Venice Biennale.

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Discover more from Modern & Contemporary Art >

\n","2026-05-07T17:57:59.000000Z","Arian Murati","https://www.phillips.com/article/168279748/artists-to-watch-spring-sings-in-new-york",9744,5293,168279748,"https://flockler.com/thumbs/sites/889/kaws-lead-79a90ab6-9cbd-48cb-8d75-671a33975137_s600x0.jpg","An iconic work by KAWS shows us more than one way to see New York and the downtown scene.","A Two-Way Mirror on a One-Way Street","

KAWS, UNTITLED (CHUM, HOUSTON STREET), 2000 in situ. Image/Artwork: © KAWS

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To set the stage, it’s the year 2000 in New York City. The city is abuzz with post-Y2K relief, a brief reprieve following the realization that the architects of computer language had failed to conceive of the 21st century. For all the anxiety that gripped the era, looking back, it feels quaint, almost simple. It was a world before social media hyper culture, before the iPhone, before the dot com or mortage bubbles burst, and just before the seismic shift of September 11th.

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Graffiti in New York’s SoHo neighborhood, January 2000. Image: Mika Volkmann / Alamy Stock Photo

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It was against this backdrop that KAWS took his now-pervasive iconography to the streets downtown. In works like UNTITLED (CHUM, HOUSTON STREET), we see a commentary on how mass consumerism, luxury advertising, and the visual myths born of mass media shape how a new generation sees. The presence of commercial imagery in the public sphere once owned by the street artists of the 1980s was felt by many as a kind of coup against the gritty, dilapidated neighborhoods that birthed the 1980s downtown scene — an era defined by in equal measure by the contrasting forces of friction and pulse, squalor and freedom, collective creativity and social crisis.

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\n
In a real sense, KAWS was navigating the progression of New York with the same historical distance we now use to look back at this work.
\n

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KAWS, UNTITLED (CHUM, HOUSTON STREET), 2000. Modern & Contemporary Art Afternoon Session, New York.

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From our vantage point, the year 2000 was about a quarter-century ago. For KAWS in the year 2000, the economic turmoil in the city in 1975 — when New York City nearly slid into bankruptcy, and around the time the artist was born — was also a quarter-century prior. That earlier crisis had created the conditions for the downtown scene, cheap rents that allowed artists’ studios and their gallerists to flourish in the wreckage.

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In a real sense, KAWS was navigating the progression of New York with the same historical distance we now use to look back at this work. He was witnessing commercialization co-opt the visual space of the street, leveraging the cultural prestige of a location that had been the stage for an anti-establishment movement. But the joke’s on us for taking this as a conflict at face value. For KAWS, who has never shied away from commercial collaborations, these conflicts are a site of negotiation rather than contention.

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View of a doorway, with graffiti tags by various artists (including a burning house by David Wojnarowicz, Jean-Michel Basquiat, and Keith Haring), in Soho, New York, New York, 1984. Photo by Rita Barros/Getty Images

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UNTITLED (CHUM, HOUSTON STREET) — a rare surviving example of his bus shelter interventions and the most iconic example from the series — takes a less confrontational approach than earlier street art by earlier artists like Keith Haring, David Wojnarowicz, or Jean-Michel Basquiat. Rather than attacking the medium of advertising, KAWS inhabits it. He plays within its physical space, employing the visual codes that commercial imagery has already embedded in our brains.

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David Wojnarowicz, Untitled, 1983. Modern & Contemporary Art Day Sale Afternoon Session, New York.

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In contrast, for an artist like David Wojnarowicz, art was a means to directly confront corporate greed and political corruption, particularly in how these forces contributed to the AIDS crisis, a disease that would ultimately take the artist’s life in 1992. In this 1983 work — created the same year as his first exhibition at the gallery Civilian Warfare — Wojnarowicz deploys many of his most characteristic motifs, drawn from his early graffiti stencils. By layering his characteristic imagery of the target, wolf head, cross, phallus, and hand, Wojnarowicz creates a symbolic investigation into how cultural power is structured and enforced.

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Artist and activist David Wojnarowicz at an AIDS demonstration at the New York City Department of Health on July 28, 1988 in New York City, New York. Photo by Thomas McGovern/Getty Images

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Looking at these works by KAWS and David Wojnarowicz together, we begin to feel the inherent tension of the downtown scene, a tension that, in many ways, would propel the neighborhood to its current state.
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David Wojnarowicz, Untitled (Desire) from Ant Series, 1988. Modern & Contemporary Art Afternoon Session, New York.

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Looking at these works by KAWS and David Wojnarowicz together, we begin to feel the inherent tension of the downtown scene, a tension that, in many ways, would propel the neighborhood to its current state. After all, while the 1980s and ’90s scenes were a place of grassroots social rebellion, igniting social justice movements we still feel today, this was also the moment the downtown artist moved from character to archetype in the new global art market.

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George Condo, Circular Head Composition, 1993–1994. Modern & Contemporary Art Afternoon Session, New York.

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The tension between the radical and the marketable defined the ‘90s downtown scene, creating a space where George Condo could blend grotesque, street-level energy with the polish of art historical traditions, where Francesco Clemente could translate nomadic, spiritual symbolism into sophisticated imagery, and where Julian Schnabel could reignite the heroic status of the painter.

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Marilyn Minter, Nebulous, 2018. Modern & Contemporary Art Afternoon Session, New York.

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As the community continues to grow, the ongoing dialogue between art and commercialism only highlights art’s resilience. While there is often bemoaning over these shifts, the reality is far more nuanced — and ultimately, much more hopeful. For example, many of the artists who first settled downtown in the 1980s still reside there today. And on any gallery opening night, the streets are flooded with people seeking out art for its transformative power rather than presumed value. We still see this vitality downtown from the many galleries and studios to the recent re-opening of the New Museum. So, it is fitting that these works and others by iconic New York artists — including Kenny Scharf, Wade Guyton, Jenny Holzer, Marilyn Minter, and more — are being celebrated and offered in our New York auction, the very city whose identity these artists help forge and whose cultural landscape they continue to define.

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Francesco Clemente, Kiki Smith, 2006. Modern & Contemporary Art Afternoon Session, New York.

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Phillips’ spring auctions of Modern & Contemporary Art will be on view from 9 May 2026 at 432 Park Avenue.

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Discover more from Modern & Contemporary Art >

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414

Sterling Ruby

《盆地神學 / 雙盆》

完整圖錄內容

Sterling Ruby