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Auction 20 October 5pm BST

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30 Berkeley Square, London (map)

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Viewing
\n14 - 20 October
\nMonday-Saturday 10am-6pm
\nSunday 12pm-6pm

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Dana Schutz, Trump Descending an Escalator, 2017. Estimate £380,000 - 580,000. 20th Century and Contemporary Art Evening Sale, London.

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Aligned with Schutz’s tendency to address historical and, at times, provocative subject matter, Trump Descending an Escalator forms part of an extensive art-historical tradition of political portraiture that includes Andy Warhol, Robert Rauschenberg and Kehinde Wiley’s memorable representations of Chairman Mao, John F. Kennedy and Barack Obama.

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In Trump Descending an Escalator, Schutz channels a facetious spirit that she had already employed in previous works, exploring a subject matter’s immediate iconic status, ambivalence, and imperiousness. This new, daring body of work emerged as a response to 9/11, Schutz explained, when the artist began viewing her earlier subject matter as trivial, and felt a need to deepen the intention of her figurative content. By employing bold, declarative colors, Schutz propels Trump Descending an Escalator within a quasi-fantastical realm that eludes spatio-temporal specificity. In doing so, she reconciles real world contradictions with creative, literary, and painterly concerns, crystallizing a real-life moment and its most memorable components.

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Still from The Simpsons, 2000. Courtesy of FOX.
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Schutz furthermore capitalizes on the multiple lives of an image, and creates a narrative that exists both within the confines of the frame and beyond. In the present work, she takes inspiration from the truth and twists it slightly, imbuing the scene with enhanced chromatic dynamism, exacting geometry and physical grandeur. In its blend of iconographic familiarity and artistic agency, Trump Descending an Escalator most compellingly echoes Warhol’s proliferating portraits of Mao and Rauschenberg’s multi-layered rendition of Kennedy—the three compositions united in their common production of a striking image with idiosyncratic artistic techniques.
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\nTrump Descending an Escalator’s titular reference to Marcel Duchamp’s seminal Nude Descending a Staircase (No. 2), 1912, further cements Trump Descending an Escalator within a comparative realm. On the one hand, the two compositions boast a similar use jagged lines to emulate a sense of activity and movement; on the other, they channel a conceptual flair that allows them to transcend the subject matters they represent. While Duchamp’s Nude Descending a Staircase (No. 2) had spurred furor when it was first exhibited in New York in 1913, partly because no one had previously thought of a nude doing something as prosaic as coming down the stairs, Schutz’s composition similarly received significant, exuberant coverage when it was displayed at Petzel Gallery’s memorable We Need to Talk show, in 2017, alongside other works meditating on America’s transformed political climate.

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Marcel Duchamp, Nude Descending a Staircase (No.2), 1912, oil on canvas, Philadelphia Museum of Art, Pennsylvania. © Association Marcel Duchamp / ADAGP, Paris and DACS, London 2020. Image: The Louise and Walter Arensberg Collection, 1950 / Bridgeman Images.

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The analogy between these two works’ subject matter and their varying visual results furthermore attests to Schutz’s humorous and contrarian spirit, frequently inclined to place her depicted subjects in vulnerable positions. “One of the great qualities of Dana’s work is the caustic wit,” wrote John Zeppetelli, Director and former chief curator of the Musée d'art contemporain, Montréal. “It’s this perfect sort of collision between hilarity and the grotesque, psychopathology and disfiguration, comedy and dread, all these kinds of things coming together. It’s really vital language.” Testament to her cornerstone status within the canon of contemporary art, Schutz is currently having her first-ever solo exhibition in London at Thomas Dane Gallery, which will run from 16 September to 19 December 2020.

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Discover More from 20th Century and Contemporary Art Evening Sale, London >

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\n","publishDate","2020-10-16T03:53:43.000000Z","authorCredit","Sarah Bochicchio","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/64387515/dana-schutz-trump-phillips-twentieth-century-contemporary-art-auction-london","displayOrder",5,"auctionEditorialID",1004,"editorialID",3205,"flocklerID",64387515,"https://flockler.com/thumbs/sites/889/otis-kwame-kye-quaicoe-phillips-a1834c72-bb31-45bf-8bf8-d34eb7235089_s600x0.jpg","Otis Kwame Kye Quaicoe takes the tradition of painting and propels it into the contemporary. ","The Portraits of Otis Kwame Kye Quaicoe","

Otis Kwame Kye Quaicoe, Black Stripes on White (detail), 2019. Estimate £20,000 - 30,000. 20th Century and Contemporary Art Evening Sale, London.

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Color means a great deal where I come from. It's a distinguishing quality—the very means of self-expression.
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Otis Kwame Kye Quaicoe takes the tradition of painting and propels it into the contemporary. In Black Stripes on White, the artist paints an anonymous male model gazing at an area beyond the frame, wearing attire that blends romantic flânerie with a youthful cool. The delicate, small flower behind the model’s ear echoes the floral print running along his striped T-Shirt—a recurring element that resonates with Quaicoe’s ongoing challenging of gender conventions. “When I paint male figures, I typically incorporate floral elements into the painting as a means to subvert the overall masculine energy of the work,” he said. While Black Stripes on White attends to all the pictorial conventions typically deployed within the genre of portraiture, the bright yellow background at the protagonist’s back, as well as the free-flowing parameters established to distinguish his identity, betray a contemporary touch.
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\nTaking inspiration from strangers he meets on the street, encounters on social media, and friends and colleagues, Quaicoe paints luminous portraits of Black men and women, typically set against bright monochromatic backgrounds. Born in Accra, Ghana, the artist was first introduced to painting by the expressive, highly stylized posters painted by local artists to advertise upcoming films. Engrossed with this material, he thereafter recreated the images he found in magazines and “anything [he] could get his hands on.”

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Otis Kwame Kye Quaicoe, Black Stripes on White, 2019. Estimate £20,000 - 30,000. 20th Century and Contemporary Art Evening Sale, London.

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“Color means a great deal where I come from,” the artist continued. “It's a distinguishing quality—the very means of self-expression.” In Black Stripes on White, Quaicoe’s proclivity for glossy renderings and chromatic vibrancy is made evident by the flashy yellow background haloing the central figure, as well as the carmine flowers ornamenting his striped T-Shirt.
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\nSpeaking of his process, Quaicoe explains that time, focus, and perseverance became essential tools from which to approach his craft. As a result, the artist typically goes to his studio at around six in the morning, at which point “I just paint, paint, and then paint some more.” When a specific idea comes to mind, he begins congregating reference material. “After choosing the subject matter, I take their photo, if possible, through various settings. The overall process is one where the details are flushed [sic] out while I work.”

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Discover More from 20th Century and Contemporary Art Evening sale, London >

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Recommended Reading

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Alexander Calder and Yves Klein’s Poetic Approaches to Colour and Space >

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In Conversation with Allen Jones >

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\n","2020-10-16T21:42:30.000000Z","https://www.phillips.com/article/64434194/otis-kwame-kye-quaicoe-twentieth-century-contemporary-art-london-auction",4,1006,3223,64434194,"https://flockler.com/thumbs/sites/889/lynette-yiadom-boakye-phillips-1-cbbcdac1-5824-4985-a0e0-1b953119e586_s600x0_c800x467_l0x133.jpg","The Turner-Prize-nominated artist creates scenes that are sinuous and anonymous, emulating the effect of photographic focus through her unique painterly technique. ","In Lynette Yiadom-Boakye's Work, Narrative Unfurls on the Canvas","

Lynette Yiadom-Boakye, Luminary (detail), 2011. Estimate £250,000 - 450,000. 20th Century and Contemporary Art Evening Sale, London.

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Few contemporary painters have the ability to capture a moment as evocatively as Lynette Yiadom-Boakye. In Luminary, the British artist paints a lone man leaning on his cane, clearly delineated amidst a shadowy background. While the setting against which the protagonist is set remains indistinct, one can infer the contours of a natural landscape—perhaps a desert, or an oasis. Overall, the composition centers on its dominant subject matter—the rest recedes into abstraction. This aesthetic, emulating the effect of photographic focus, derives from Yiadom-Boakye’s unique painterly technique. In her work, Yiadom-Boakye uses oil paint while it is still fresh and malleable, conjuring a tangible, intuitive image that lets elements “happen in the painting itself.” Signaling her cemented significance within the painterly canon and her influence on artists tackling the medium today, Yiadom-Boakye will be the subject of a major retrospective at Tate Britain from November 2020 to May 2021.

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Lynette Yiadom-Boakye, Luminary, 2011. Estimate £250,000 - 450,000. 20th Century and Contemporary Art Evening Sale, London.

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Executed just two years before Yiadom-Boakye’s Turner Prize nomination, Luminary exemplifies the unique style of portraiture for which the artist has become known. The model at the composition’s center, sinuous and anonymous, is not an example of painterly verisimilitude. Rather, he is subjective, suggestive, evocative—ever-intriguing to the uninitiated viewer. Behind him, environmental indicators seem to dissolve into a vortex of abstraction, as if the character had absorbed his surroundings through the sheer force of his presence. “There is no context for them,” Elena Filipovic wrote of Yiadom-Boakye’s portraits, “except their very selves.” In Luminary, it is the meandering colors surrounding the protagonist’s silhouette that endow the final picture with its distinctively atmospheric quality. Transitioning from browns to blues in wave-like motions, the painting’s moody backdrop recalls the meditative layers of color composing the core of Mark Rothko’s canvases.

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Mark Rothko, Untitled, 1949, oil and acrylic with powdered pigments on canvas, Metropolitan Museum of Art, New York. © 1998 Kate Rothko Prizel & Christopher Rothko ARS, NY and DACS, London. Image: The Metropolitan Museum of Art/Art Resource/Scala, Florence.
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Throughout the course of her career, Yiadom-Boakye has focused on the human body’s capacity to move, sway, dance, illustrating the intrinsic gracefulness and elegance emanating from her painted protagonists. In Luminary, the character’s legs cross in self-embrace, his pointed toes and head tilted downwards betraying further composure. In a similar fashion to Edgar Degas before her, Yiadom-Boakye channels her affinity for dance to paint choreographed limbs and elegantly positioned silhouettes, locating what happens at the threshold between movement and pause. Luminary is an exquisite example of this. The painted man appears caught in a moment of meditation, whilst at the same time revealing all the signs of impeding action.

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Edgar Degas, Portrait of the playwright and librettist Ludovic Halevy and Albert Boulanger-Cave standing backstage at the Opera, 1879, pastel, Musée d'Orsay, Paris. Image: Photo Josse/Bridgeman Images.

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Discover More from 20th Century and Contemporary Art Evening Sale, London >

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Recommended Reading

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In Conversation with Allen Jones >

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Georg Baselitz's Magnificent Year >

\n","2020-10-16T16:59:43.000000Z","https://www.phillips.com/article/64419855/lynette-yiadom-boakye-twentieth-century-and-contemporary-art-london-auction",3,1005,3220,64419855,"https://flockler.com/thumbs/sites/889/basquiat-back-of-the-neck-phillips-7927271f-0e53-4c83-adde-aedb7df56704_s600x0.jpg","The three works encapsulate a creativity energized by 1980s New York.","Haring, Condo and Basquiat Masterworks to Benefit the Bedari Foundation","

Jean-Michel Basquiat, Back of the Neck, 1982. Estimate £450,000 - 650,000. 20th Century and Contemporary Art Evening Sale, London.

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This October, Phillips is pleased to offer three exceptional artworks by Keith Haring, George Condo, and Jean-Michel Basquiat to benefit the Bedari Foundation. Haring, Condo and Basquiat not only dominated the artistic discourse of their period—they also exemplified a blend of camaraderie and visionary excellence that stimulated and encouraged the production of their peers. Together, the three works sold to benefit the Bedari Foundation encapsulate the creative energy enabled by a specific time and place: 1980s New York, and all that came next.

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Keith Haring, Untitled (Grace Jones Mask), 1987. Estimate £1,500,000 - 2,000,000. 20th Century and Contemporary Art Evening Sale, London.

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Pulsating in a vibrant mint green, with looping lines of silver, and a discreet red mouth, Keith Haring’s Untitled (Grace Jones Mask) is one of eight masks the artist made in 1987, devised in monumental scale and composed of enamel on aluminum. As suggested by the work’s title, Untitled (Grace Jones Mask) specifically references the iconic Jamaican model, actress and singer Grace Jones, with whom Haring shared a friendship since their first artistic encounter in 1984, which was organised by Andy Warhol and immortalised by Robert Mapplethorpe. Having painted Jones’s body multiple times in the mid-1980s, Haring had never yet dedicated a sculptural object to the model. As such, it lives as a perennial testament to the two creatives’ increasingly close relationship following their first collaboration. About Haring and Jones’ symbiotic collaborations, Miriam Kershaw wrote, “Jones’s performances gave dynamic expression to the aesthetic of the 1980s that Haring and Warhol helped to formulate. According to Haring, Jones was a signiﬁer for everything he admired in the global crossroads of postmodern New York.”

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Douglas Kirkland, Keith Haring and Grace Jones in preparation of Vamp, 1986, pigment print on archival paper. Image: Douglas Kirkland.

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Along with Haring’s mask in the present group are two paintings by the artists he declared that he admired the most: George Condo and Jean-Michel Basquiat. Condo’s The Age of Reason, drenched in red and rising almost two meters high, shows a group of seven human silhouettes transformed by the painter’s self-coined “psychological cubism.” With its vivid details and quick strokes, The Age of Reason echoes Picasso’s stylistically deconstructed scenes, most specifically Les Demoiselles d’Avignon, where a group of female figures similarly deploys across a horizontal ground with dismantled features. Impressive in size and chromatically feverish, The Age of Reason belongs to a group of large works that the artist produced between 2009 and 2010 known as Figure Compositions, containing some of the best paintings from Condo’s mature opus.

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George Condo, The Age of Reason, 2010. Estimate £2,000,000 - 3,000,000. 20th Century and Contemporary Art Evening Sale, London.

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Pablo Picasso, Les Demoiselles d'Avignon, 1907, oil on canvas, Museum of Modern Art, New York. © Succession Picasso/DACS, London 2020. Image: Bridgeman Images.

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A signed copy of Back of the Neck crowns the current collection as an exceptional example of Jean-Michel Basquiat’s printmaking practice. Set against a pitch-black background, the composition shows anatomical drawings and associated words topped by Basquiat’s signature golden crown. Basquiat’s fascination with the anatomical realm was crystallised most compellingly in his first experimentation with printmaking, embodied by his two series Anatomy, 1982 and Untitled (from Leonardo), 1983. However, it is only in the present work, Back of the Neck, that Basquiat combined disparate limbs to create a complete image—one that suggests an actual, twisted body.

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Illustration from Henry Gray’s publication Gray's Anatomy, 1918, lithograph plate. Mary Evans Picture Library, London. © King's College London / Mary Evans. Image: Mary Evans.

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Discover More from 20th Century and Contemporary Art Evening Sale, London >

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\n","2020-10-14T19:25:36.000000Z","https://www.phillips.com/article/64321332/haring-condo-and-basquiat-masterworks-for-bedari-foundation-for-sale",2,966,3198,64321332,"https://flockler.com/thumbs/sites/889/das-letzte-selbstbildnis-phillips-bb0bdd4e-4e18-4bfd-93b7-4476256d4d9c_s600x0.jpg","'Das letzte Selbstbildnis I' ('The last self-portrait I') is a masterpiece of beauty and talent, belonging to the artist's most outstanding year of production, 1982.","Georg Baselitz's Magnificent Year ","

Georg Baselitz, Das letzte Selbstbildnis I, 1982. Estimate £4,700,000 - 6,000,000. 20th Century and Contemporary Art Evening Sale, London.

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The year 1982 was perhaps the most prodigious period of Georg Baselitz’s artistic practice. Amidst the resurgence of painting in the critical and commercial art world, Baselitz revisited seminal themes and subject matters of his early work. Defined by an elevated painterly prowess, his work deployed a fresh sense of confidence, taking form in brighter colors, a dramatic expressionist thrust, and larger-than-life canvases. This confidence, developed over the course of his prolific career, culminated as Baselitz began receiving significant worldwide recognition.

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Das letzte Selbstbildnis I (The last self-portrait I) is a pinnacle within this pinnacle. Beyond addressing a fascinating subject matter—the solitude of Edvard Munch’s late self-portraits—Das letzte Selbstbildnis I is a masterpiece of beauty and talent, belonging to Baselitz’s most outstanding and, indeed, most ground-breaking year of production.

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Meditating on the artistic climate of the 1980s and its influence on his own work, Baselitz asserted that, “The new spirit was a provocation and, in hindsight, an innovative provocation. Everyone was talking about the end of painting, and then there was this new beginning.” Das letzte Selbstbildnis I exemplifies this renewed vigor: the canvas reaches towering heights; the controlled movement of the colors instigates a balanced sense of urgency; and the colors blaze as if the painting were catching fire. Most arresting for last: the protagonist’s scorched, exacting silhouette floats upside down in a way so vivid that the viewer feels compelled to stare—this stare only being exacerbated by the pitch-black background sending any onlooker into a winding vortex of obscurity. One cannot help but feel absorbed by the brashness, intensity and grandeur of its masterful rendition.

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In its structural agility and revolutionary physicality, Das letzte Selbstbildnis I notably echoes Baselitz’s thematically comparable masterpiece of the same year, Adler im Fenster, which is in the collection of the Metropolitan Museum of Art.Characterized by an almost spiritual sense of human isolation and vulnerability, Das letzte Selbstbildnis I illustrates art critic Donald Kuspit’s observation that Baselitz’s paintings from 1982 “are not only upside-down, they are inside-out: the figures have a flayed, raw look that goes with spiritual nakedness.” It is precisely this raw, fleshly quality that renders the painting so appealing. The figure’s descent from the canvas’s extremities recalls the descent of Christ—the poetic solitude with which he extracted himself from the world and then returned. The carmine red paint running across the central figure’s body is distributed in torrential strokes, while the night-time hues dominating the background betray a hatched, gestural application that conveys a compellingly realistic darkness. The work “avoids any trace of naturalism in his choice of colors; in its place he introduces contrasts," according to Andreas Franzke.

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Caption: Georg Baselitz in his studio, 1984. Image: © Daniel Blau.

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Although by this time Baselitz had painted a number of inverted portraits, none were as powerful as Das letzte Selbstbildnis I. Indeed, the present work feels like an embodiment of what is enunciated in its title: the last, and most meaningful, of Baselitz’s meditations on the genre of self-portraiture. What perhaps brings even more depth to the work is its paradoxical negation of the genre. While the title of Das letzte Selbstbildnis I possesses a self-referential component suggesting that Baselitz is the hanging man, the protagonist posits an anonymous body in homage to the artist’s idol: Edvard Munch.

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Edvard Munch had been a recurrent theme in Baselitz's paintings of the early 1980s. In paintings such as Maler mit Segelschiff (Munch) and Edvard vorm Spiegel (Munch), both 1982, Baselitz portrays a troubled Munch, with thick, heated and densely graphic brushstrokes, isolating the titular figure against a shadowy background. However, it is not merely the representation of his painterly predecessor that compelled Baselitz. It was the “demonstrative and generalizing parable of existential moments of an artist's life.”Literally upending the figurative tradition and creating a unique relationship between subject matter and style, Das letzte Selbstbildnis I signaled the peak of Baselitz’s artistic maturity. “The ’80s helped me to rearrange everything,” Baselitz noted. “I was able to set up a whole range of ideas and experiences anew, which meant I was able to break everything down so I could make something out of it again.

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We can almost feel in our bones the weight of the brush as it is pulled across the canvas. – John Russell
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"Breaking down the motif of the upside-down man he had been cultivating since the 1960s, the composition demonstrates Baselitz’s renewed spirit and sublimed technique of a longstanding theme—one that allowed innovation, provocation and visual turbulence to seep through his canvases, as a tangible testament to his genius. Combining all of the best and most successful traits that had previously defined the artist’s painterly output—namely an emotionally charged figural distortion and lively, soulful brushwork—the present work embodies the artist’s comment that “there is not one picture in my work, there is not one catacomb, but there are sixty years of pictures, and there are actually many fragments that fit together like a puzzle.”

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Yet one must attend to the chronological development of Baselitz’s work to understand the unprecedented nature of his early 1980s paintings. Following the watershed moment he experienced in Venice, when he was exhibited alongside Anselm Kiefer for the biennale, the artist’s participation in a series of influential exhibitions across the globe cemented his status as one of the best painters of his time. Specifically, A New Spirit in Painting at the Royal Academy, London, in 1981, and Zeitgeist at the Martin-Gropius-Bau, Berlin, in 1982, co-curated by Christos Joachimides and Norman Rosenthal, brought his work to the fore and extended his audience to international lands.

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Installation view of the Zeigeist exhibition at Martin-Gropius-Bau, Berlin, 1982. Image: © Jochen Littkemann, Berlin.

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Both of these landmark shows, featuring large, mostly figurative paintings, argued that the spotlight should return to expressive humanist content, departing from the intellectualism and austerity of Conceptualism and Minimalism. While A New Spirit in Painting had looked to pair young painters with contemporary masters such as Willem de Kooning, Philip Guston and Pablo Picasso, Zeitgeist conversely took Joseph Beuys as its starting point to declare the emergence of a radical new trend in contemporary art.

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The works shown in the latter exhibition were characterized by an outstanding intuitive expression and severe contemporaneity, as well as an authentic visual language rooted in the artists’ understanding of their broader social and political contexts. For the German painters included in the exhibition, notably Baselitz, Sigmar Polke, Anselm Kiefer and A.R. Penck, Zeitgeist constituted a major break for their flourishing careers.

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The '80s helped me to rearrange everything. – Georg Baselitz
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Combining the best of the American and German Neo-Expressionist painters, along with the Italian Transavantgarde painters, Zeitgeist gave the world the opportunity to witness a deluge of possibility, amounting to “arguably one of the most historically significant global painting surveys of the 20th century.” Though the “resurgence of painting” was a linguistic term used throughout the development of modern art, 1982 distinguished a year during which the force of its inquiry reached new heights.

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Keen to identify an overarching trend during this important moment, critics ascribed the German artists that participated in Zeitgeist with a Neo-Expressionist label—an art-historical association that Baselitz denied. “The Expressionists use a method that illustrates our environment, the world we live in,” he said. “They use what exists, they extract from it an illustrative method of making a painting…I have always invented objects. I have never had a model.” Sourced from the depths of his imagination, Baselitz’s Das letzte Selbstbildnis I demonstrates the artist’s inimitable mastery of his own, singular genre. It displays an exquisite blend of truth and fiction – one that exquisitely embodies his poignant, refined style, which continues to inform contemporary painters today.

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Discover More from 20th Century and Contemporary Art Evening Sale >

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\n","2020-10-14T23:03:01.000000Z","https://www.phillips.com/article/64328797/georg-baselitz-auction-twentieth-century-contemporary-art-london",969,3199,64328797,"https://flockler.com/thumbs/sites/889/hernan-bas-phillips-1-e9267c72-b041-48bf-b5d4-23f042c1477d_s600x0.jpg","\"I am at a constant battle trying to make images that can stand alone and compete or, better, surpass the written word.\""," Hernan Bas and the Edge of Reality","

Hernan Bas, Two Fruits, 2015. Estimate £60,000 - 80,000. 20th Century and Contemporary Art Evening Sale, London.

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Since the turn of the 2000s, Hernan Bas has developed a unique visual language that documents the intersection between literary and painterly possibilities. “I love the written word,” the artist once said, “but I am at a constant battle trying to make images that can stand alone and compete or, better, surpass the written word.” While Two Fruits is unmistakably referential of the history of painting—devising the medium’s three most prevalent genres in its top, central, and bottom planes—the composition also bears hints of poetry, specifically in its illustration of an otherworldly place.

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Paul Cézanne, Still life with Apples, ca. 1890, oil on canvas, State Hermitage Museum, St. Petersburg. Image: Bridgeman Images.

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Combining the genres of landscape, portraiture and still life, Two Fruits summons the history of painting itself, positing as a formal exercise into the various possibilities of the medium. Further attesting to its association with literature, Two Fruits forms part of a collection of paintings that was presented at Galerie Perrotin, Paris, in 2015, and found inspiration in Joris-Karl Huysmans’s 1884 symbolist À rebours (Against Nature), in which Jean des Esseintes, a reclusive aesthete, shivers in awe while listening to Gustave Flaubert’s prose.

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Elizabeth Peyton, Lunch (Nick), 2003, watercolour on paper, Museum of Modern Art, New York. The Judith Rothschild Foundation Contemporary Drawings Collection Gift. © Elizabeth Peyton. Image: 2020, The Museum of Modern Art, New York/Scala, Florence.

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Set in what appears to be a paradisiac blend of Romantic, Gothic, and exotic landscapes, Two Fruits portrays two young men leaning back, their heads sensually tilting to the side. These two characters, depicted as young, delicate, and androgynous, convey a similar sentiment to Elizabeth Peyton’s repertoire of vulnerable-looking superstars. Below them, an assemblage of fruit and bowls dominates the composition in an undoubtedly staged manner, suggesting a reference to still life, and more specifically Paul Cézanne’s seminal contributions to the genre. Finally, the two houses crowning the backdrop of the composition and glowing under lush foliage recall Peter Doig’s leafy cabin scenes, similarly conflating a British type of greenery with a distant land. Devising a landscape in the upper tier of the composition, a dual portraiture at its centre, and a nature morte in its lower quadrant, Two Fruits testifies to Bas’s multifarious painterly inspirations – located in the realms of art and literature, but also in the foundational blocks of painting itself.

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Exploring the psychological universe of childhood experience, Nara’s work straddles infantile imagination, adult anxiety, and ageless rebellion. The artist began developing this thematic aesthetic following his graduation from the Aichi University of the Arts, when he moved to Germany and undertook a six-year artistic apprenticeship at Düsseldorf’s Staatliche Kunstakademie under the mentorship of the Neo-Expressionist painter A.R. Penck. Language barriers in Germany had plunged Nara back into a period of acute solitude which he had not experienced since his childhood. Seeking relief, the artist began plumbing the depths of his subconscious through art, manifesting his profound sense of alienation through proliferating illustrations of sulky children. ‘These paintings all featured the single image of a girl or sexually ambiguous child with a large head and piercing eyes, involved in situations of predicament or solitude’, wrote Midori Matsui.ⁱ Beneath their luminous, almost comical faces lied a spirit of mutinous, naïve defiance; in other instances they betrayed a distinctly adolescent sense of angst and melancholy. Nara would remember this period of introspection as formative, restoring a ‘sense of [his] true self’ that he had almost forgotten.ⁱⁱ A mature example of Nara’s exquisite draftsmanship, Magic Carpet prodigiously illustrates the artist’s mental blend of tenderness, melancholy and mischief; three cornerstone states that defined the elaboration of his disarming – and now iconic – visual language.

'If Murakami is Japan’s Warhol, impersonal and deadpan, then Nara is its Keith Haring, sincere and expressive.' —Sarah BoxerDescribing Nara’s artistic process, the curator Kristin Chambers said, ‘Nara works alone in his studio, usually late at night, with punk rock screaming from speakers. He chain-smokes as he concentrates on channeling all of his past ghosts and present emotions into the deceptively simple face of his current subject. Each painting—each figure—is typically executed in the span of one night, capturing both a range of emotion and a specific mood’.ⁱⁱⁱ In this unlikely combination of serenity and vigour, consciousness and impulse, Nara arrived at Magic Carpet: an image characterised by childlike wonder and shrewd combativeness. While the composition’s inclusion of a flying rug alludes to a distinct childhood trope (Aladdin’s flying carpet), the girl’s naughty expression denotes a rebellious departure from juvenile innocence – together building the dichotomic blend for which Nara has become known. As Chambers further noted, ‘Nara does not retreat entirely into the make-believe. Rather, he provides a conduit to another world—a world hopefully still within reach—through the immediacy and directness of children. He invites us to reconnect with the imaginative and imaginary possibilities in their distant but once familiar land’.^iv

Yoshimoto Nara in Conversation

In an interview with Metal Magazine, Yoshitomo Nara spoke about his sources of inspiration, his understanding of childhood and adolescent sensibilities, and his career path which took him from Japan to Germany, and back.

Julija Kalvelytė: Critics often associate your works with various aspects of childhood, while you highlight the universal teenage sentiments they convey. Do you think there’s a clear line between these life stages and if so, where is it drawn?

Yoshitomo Nara: I think that the sensibility of childhood is universal, but the teenaged sensibility of adolescence when people try to stretch themselves has an expiration date. Sometimes reading feels like a substitute for actual personal experience, leading people to think they’ve gained something really vital. This might motivate them to create more artwork but once they realize how superficial the influence was, they become deflated or give up on creating. I think this can happen often. But I think I was able to continue creating freely because I was an underachieving art student with neither pride nor ambition.

JK: Based on your personal experience of the two countries and their art schools, how do the Japanese and German attitudes towards art and artists differ?

YN: Before the question of art and so forth, there is a fundamental difference in the education of children between these countries: Europe teaches children to ‘have their own mind, think and speak for themselves.’ In contrast, Japan’s educational system teaches children to ‘learn skills, do exactly what they’re told.’ This is a problem that goes beyond just art and artists.

Read the rest of the interview here.

ⁱMidori Matsui, “A Child in the White Field: Yoshitomo Nara as a Great ‘Minor’ Artist”, Yoshitomo Nara: The Complete Works, London, 2011, n.p.
ⁱⁱYoshitomo Nara, quoted in Nara Yoshitomo: A Bit Like You and Me, exh. cat., Yokohama Museum of Art, Japan, 2012, p. 129.
ⁱⁱⁱKristin Chambers, Yoshitomo Nara: Nothing Ever Happens, exh. cat., Museum of Contemporary Art, Cleveland, 2003, p. 26.
^ivKristin Chambers, Yoshitomo Nara: Nothing Ever Happens, exh. cat., Museum of Contemporary Art, Cleveland, 2003, p. 26.

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\"Yoshimoto — Yoshimoto Nara, *Frog Girl*, 1998, oil on canvas, Private Collection. Image: London/Scala, Florence.

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'Painting is something more objective and controlled, while drawing is more intimate, uncontrolled and raw. Some drawings may be a little naïve. Drawings show what’s inside.' —Yoshitomo Nara

Executed in 2012, Magic Carpet is one of the largest works on paper produced by the Japanese artist Yoshitomo Nara. Evincing exquisite linework and thorough detail, the composition depicts a child surfing through celestial realms on a loosely delineated flying carpet, her hands manifesting a cartoonish constellation of stars. Above the young protagonist’s crouched silhouette hovers a rhythmic expression reading ‘Hey Hey, My Friends, Fuck ‘Bout Centralizationism’, and just below her feet can be deciphered the discreet peak of a mountain, suggesting proximity to earthly grounds. Combining the whimsicality of the child’s likeness with grown-up, politicised language, Nara locates the artistic intention of Margic Carpet in a characteristically polyvalent realm, straddling innocence and cynicism, childhood purity and adult conscientiousness. This is perhaps the artist’s most renowned and celebrated trademark: the paradoxical union of an innocuous appearance with subtle undercurrents of tension and unease, overall embodied by the enduring motif of a solitary, mischievous child. Quintessentially kowa kawaii (‘scary cute’), Nara’s faux naïve aesthetic fuses impressions of anime and manga cartoons that he read as a child, and traditional Japanese otafuku and okame theatrical masks. Further testament to its importance in the artist’s wider oeuvre, Magic Carpet was included in his major survey Greetings from a Place in my Heart, which took place at the Dairy Art Centre in London at the end of 2014, and remains his largest and most comprehensive show to date in the United Kingdom.

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Dana Schutz, Trump Descending an Escalator, 2017. Estimate £380,000 - 580,000. 20th Century and Contemporary Art Evening Sale, London.

Still from The Simpsons, 2000. Courtesy of FOX. \n

Marcel Duchamp, Nude Descending a Staircase (No.2), 1912, oil on canvas, Philadelphia Museum of Art, Pennsylvania. © Association Marcel Duchamp / ADAGP, Paris and DACS, London 2020. Image: The Louise and Walter Arensberg Collection, 1950 / Bridgeman Images.

Otis Kwame Kye Quaicoe, Black Stripes on White, 2019. Estimate £20,000 - 30,000. 20th Century and Contemporary Art Evening Sale, London.

Lynette Yiadom-Boakye, Luminary, 2011. Estimate £250,000 - 450,000. 20th Century and Contemporary Art Evening Sale, London.

Mark Rothko, Untitled, 1949, oil and acrylic with powdered pigments on canvas, Metropolitan Museum of Art, New York. © 1998 Kate Rothko Prizel & Christopher Rothko ARS, NY and DACS, London. Image: The Metropolitan Museum of Art/Art Resource/Scala, Florence.\n

Edgar Degas, Portrait of the playwright and librettist Ludovic Halevy and Albert Boulanger-Cave standing backstage at the Opera, 1879, pastel, Musée d'Orsay, Paris. Image: Photo Josse/Bridgeman Images.

Keith Haring, Untitled (Grace Jones Mask), 1987. Estimate £1,500,000 - 2,000,000. 20th Century and Contemporary Art Evening Sale, London.

Douglas Kirkland, Keith Haring and Grace Jones in preparation of Vamp, 1986, pigment print on archival paper. Image: Douglas Kirkland.

George Condo, The Age of Reason, 2010. Estimate £2,000,000 - 3,000,000. 20th Century and Contemporary Art Evening Sale, London.

Pablo Picasso, Les Demoiselles d'Avignon, 1907, oil on canvas, Museum of Modern Art, New York. © Succession Picasso/DACS, London 2020. Image: Bridgeman Images.

Illustration from Henry Gray’s publication Gray's Anatomy, 1918, lithograph plate. Mary Evans Picture Library, London. © King's College London / Mary Evans. Image: Mary Evans.

Caption: Georg Baselitz in his studio, 1984. Image: © Daniel Blau.

Installation view of the Zeigeist exhibition at Martin-Gropius-Bau, Berlin, 1982. Image: © Jochen Littkemann, Berlin.

Paul Cézanne, Still life with Apples, ca. 1890, oil on canvas, State Hermitage Museum, St. Petersburg. Image: Bridgeman Images.

Elizabeth Peyton, Lunch (Nick), 2003, watercolour on paper, Museum of Modern Art, New York. The Judith Rothschild Foundation Contemporary Drawings Collection Gift. © Elizabeth Peyton. Image: 2020, The Museum of Modern Art, New York/Scala, Florence.

Yoshimoto Nara in Conversation

Still from The Simpsons, 2000. Courtesy of FOX.
\n

Mark Rothko, Untitled, 1949, oil and acrylic with powdered pigments on canvas, Metropolitan Museum of Art, New York. © 1998 Kate Rothko Prizel & Christopher Rothko ARS, NY and DACS, London. Image: The Metropolitan Museum of Art/Art Resource/Scala, Florence.
\n

15Ο︎

Yoshitomo Nara

Magic Carpet

Further Details

Full-Cataloguing

Yoshitomo Nara