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\n","auctionDetailsSmall","London Auction 30 June 2023","extraInfo","

Leonor de Osma
\nHead of Sale, 20th Century to Now
\nT +44 20 7901 7912
\nM +44 7584 086 052
\nldeosma@phillips.com

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Damien Hirst, Toddler's Cloud, 2016. 20th Century to Now, London.

\n\n

Under the Ruwenzori Foundation in Uganda, Damien Hirst has been privately funding for several years the construction of a 40-bed cottage hospital located in the remote village of Kyemihoko. Through his extensive donations, the Damien Hirst Hospital is now close to completion and poised to provide vital medical care and support to the community. With a comprehensive range of facilities, including an accident and emergency unit, operating theater, x-ray scanning capabilities, a pharmacy, treatment rooms, and dedicated pediatric wards, the hospital is committed to addressing the pressing healthcare needs of the region.

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In an exciting development that underscores the spirit of giving, three artworks by Damien Hirst — Toddler's Cloud (2016), Eshara (2019), and Decahydronaphthalene (2019) — will be featured in the upcoming auction, 20th Century to Now, at Phillips in June. The artist will dedicate the entirety of his proceeds from the sale of these works to the Damien Hirst Hospital, enabling it to further advance and expand much-needed healthcare initiatives. This significant infusion of funds will have a lasting impact on the health of those in the region, allowing the hospital to provide enhanced services, acquire essential medical equipment, and support ongoing healthcare programs that would otherwise be impossible.

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Of his relationship with the Ruwenzori Foundation and the hospital, Damien Hirst has said, “I have supported many charities over the years but now, with the help of the Ruwenzori Foundation, I have decided to put most of my charitable efforts into a single large-scale project. This will be a significant milestone in healthcare provision in Western Uganda, aiming to uplift and transform the well-being of the local community. Through its extensive range of services, the hospital will ensure that residents have access to critical medical care when they need it most.”

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Damien Hirst, Decahydronaphthalene, 2019. 20th Century to Now, London.

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Featuring some of British artist Damien Hirst’s most iconic motifs including spots, dots, and butterflies, the three works presented here showcase the enduring power of the artist’s vision, and the close conceptual connections that have structured his oeuvre from his very earliest beginnings.

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Meticulously rendered, Hirst’s Spot Paintings are undoubtably amongst the artist’s most prized and immediately recognizable works. Striking a balance between the languages of art and science, the Spot Paintings and the subset of Pharmacological Paintings form an important cornerstone of the artist’s practice, dating back to his earliest beginnings as a student at Goldsmiths, University of London and the infamous 1988 Freeze exhibition.

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Damien Hirst, Eshara, 2019. 20th Century to Now, London.

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Similarly, butterflies have long fascinated Hirst, their delicate beauty and short life cycles lending themselves to more philosophical mediations on the transience of life, and our relationship to the divine. For his first solo show In and Out of Love, Hirst transformed the ground floor of the disused commercial space into a humid hothouse, the walls hung with pupae covered canvases, which hatched over the duration of the show. Echoing the fascination for structure and visual order evident in a Spot Painting like Decahydronaphthalene and across his three-dimensional cabinet works, Eshara borrows the tondo format of Gothic Rose windows and the mandala in an absorbing and meditative concentric arrangement of iridescent butterfly wings.

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Eschewing the systems of visual order carefully maintained in his spots and kaleidoscopic butterfly works, Toddler’s Cloud represents a joyful embrace of the possibilities of color that underlined his earliest Spot Paintings, the tightly packed and more loosely rendered dots of brightly colored enamel seemingly at odds with the careful chromatic control and mathematical precision of the more minimal Decahydronaphthalene. Taken togeher, these three works outline some of the central themes that continue to preoccupy the artist — those of color, system, structure and the porous boundaries between art, science, belief, and beauty — emphasizing too Hirst’s endlessly inventive approach, even within the restricted criteria set by any individual series.

\n\n

Discover More from 20th Century to Now >

\n\n

Recommended Reading

\n\n

An Insatiable Curiosity >

\n","publishDate","2023-06-13T14:30:56.000000Z","authorCredit","Jesse Limbacher","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/124697676/fulfill-a-crucial-need-charity-auction-london","displayOrder",2,"auctionEditorialID",1880,"editorialID",4270,"flocklerID",124697676,"https://flockler.com/thumbs/sites/889/3leaddetail-e38c28e6-84a9-4a36-9f5a-4359544cd4ac_s600x0.jpg","Young Artists featured in our 20th Century to Now London Auction offer probing insights into the complexities of contemporary culture.","Emerging Selves","

Moffat Takadiwa, Judging by Language (detail), 2017. 20th Century to Now, London.

\n\n

From the earliest, even prehistoric days of human migration, we’ve felt compelled to document and express our experiences through creative acts. It’s been no different in recent history, yet as cultural and political boundaries became more fully conceived in the modern era, that experience became much more complex. Further considering the totalizing nature of today’s socio-political order over physical boundaries, the fluidity with which culture moves and develops is a uniquely contemporary result of speed and connectivity.

\n\n

For artists who have lived with these experiences, the complexities lead to many poignant questions: How does an artist working today maintain their personal authenticity after migrating to communities that seem to insist on their assimilation? With the exchange of art and ideas increasingly accessible, how can artists working within marginalized communities share compelling and probing criticisms with the art world and global culture at large?

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These questions and many others are addressed in the charged and poignant works of several artists in our 20th Century to Now London Auction. Each a young artist having been raised in the age of the internet, they engage broadly with ideas around heritage, migration, and subsequently, cultural representation.

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Sahara Longe, Three Graces, 2021. 20th Century to Now, London.

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These notions can be explored through a multitude of creative avenues and artistic practices. For example, some artists engage with ideas around cultural representation by looking to the past, either to one’s own culture or to another. Sierra Leonean-British figurative painter Sahara Longe offers a skillful and compelling take on this approach, creating paintings that recall the resplendent and allegorical Renaissance and Baroque styles, but reimagined to include Black figures in a contemporary setting. What is perhaps most striking about Longe’s practice is the virtuosic skill with which she appropriates a traditional European technique. It’s possible to view this aspect of her work as a challenge to the very idea of cultural appropriation, through her use of a style which, in its own era, distinctly precluded Black representation.

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Initially taken as a young artist with the work of Rubens, Velasquez, and Gaugin, Longe trained diligently at the Charles H. Cecil Studios in Florence where she learned classical traditions of oil painting. She later recounted the rigor of the program, recalling that she was only able to use five colors for two years as she acquired the technical precision that pervades her work today. As she told British Vogue, the program was “tough, and probably a bit weird, but I loved the discipline and the complete madness of the whole thing. People would leave all the time as it was quite hard, but I just love that it really teaches you how to paint.” Upon graduation, she spent time in Sierra-Leone before settling with her parents in England as the pandemic struck. It was then, after feeling unfulfilled by traditional portraiture commissions, that she began exploring the rich use of color that is so characteristic of her work today.

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Her painting Three Graces consciously evokes Rubens, whose Three Graces she carefully studied in her process before using photographs of friends and her mother to model her subjects. This presents a uniquely rich set of associations through time and across cultures. By setting Black figures so well-known to her in this context, Longe perhaps reclaims the Old Master tradition for which she has such affection, offering a space of ownership of that tradition to her own culture and community. As the artist says, “The subject matter of the Three Graces is all about idealized beauty — so I wanted to see my own version.”

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Cinga Samson, Ubuhle Beenkanyezi, 2018. 20th Century to Now, London.

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A similarity can be felt between Longe’s work and that of South African artist Cinga Samson. Samson’s work clearly belongs to the tradition of painterly figuration and engages with both European and African modes of portraiture and landscape. While the artist has noted the profound influence of Western artists on his work, including Alberto Giacometti, Paul Gaugin, Francis Bacon, and Louise Bourgeois, what ultimately grounds his practice is the preservation of the dignity of his heritage and its collective identity. Though this preservation is central to his practice, Samson aims to propel culture forward, as the artist remarks, “I want to push into the future, not be marginalized under the politics of this moment [...] I don’t want to be an artist that feeds Western fantasies about what Africa is.”

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Moffat Takadiwa, Judging by Language, 2017. 20th Century to Now, London.

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Other contemporary artists working today employ a range of materials to query issues around global culture in our post-colonial moment. Zimbabwean artist Moffat Takadiwa’s provocatively titled assemblage work Judging by Language is composed of discarded computer keys and plastic cords. The work is characteristic of Takadiwa’s conceptual and intricate practice, which makes use of discarded materials and draws on themes of spirituality, colonialism, cultural identity, and environmental issues. Initially drawn to source materials from landfills due to the inaccessibility of other mediums, these everyday objects are given a new life as they are woven into organic forms that speak of Zimbabwean life.

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\n
I’ve always been interested in how to incorporate contradiction as a subtext.
\n
\n—Sayre Gomez
\n

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This probing of waste and the contrast between our necessities and our daily vanities is also echoed in the seemingly obscured landfill that fills the background of Sayre Gomez’s Precious Moments. There’s a charged conversation present between components of the composition — a dirty bottle of an American consumer cosmetic product, gentle figurines of children holding the traditional folded American flag that is presented to families of the deceased at veteran memorial services, and the blurred imagery of a landfill seen through an interior window. These contradictions are something the Los Angeles based artist directly wishes to express, as he once remarked when asked what was most surprising to him about LA, “The disparity or gap between class stratification and the level of extreme wealth. It’s jarring to witness […] Venice Beach is interesting because when I first moved here, it was still kind of rough, and then it got extremely fancy. This juxtaposition of class and those collisions — I’ve always been interested in how to incorporate contradiction as a subtext.”

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Sayre Gomez, Precious Moments, 2018. 20th Century to Now, London.

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The theme of migration is also important to the artist. Gomez recalls, “When I was a little kid, my aunt gave me this book on Chicano muralists. When I moved into this building, I recognized a lot of those murals from when I was 12 years old. I ended up using one in a painting.” Los Angeles based artist Jaime Muñoz likewise explores concepts around migration and the divided culture of Southern California. His work engages with the idea of “Blood Memory,” which he explains “is a concept that relates to the inherent memory that we carry through our DNA. This concept interests me, as it pertains to colonial history as well as recent histories that are connected to traumatic experiences that we inherit through family.”

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\n
I identify as Chicano, but I don’t know if I identify my work as Chicano art, you know? But it does reflect my identity, especially the themes I’m exploring. Part of my intention of exploring those chronological themes is exploring the unseen aspects of the history we were brought up in.
\n
\n— Jaime Muñoz
\n

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Jaime Muñoz, Madre, 2019. 20th Century to Now, London.

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Muñoz’s work employs techniques that are adapted from his experience as a construction laborer to explore a variety of shared experiences among his community as well as themes of ancestral identity and the exploitive mechanization of the working-class experience. His work Madre embodies these themes — a grid-like structure, almost reminiscent of a blueprint, meets a carefully layered visual construction that is rich in allusion and spiritual and religious imagery.

\n\n

Discover More from 20th Century to Now >

\n\n

Recommended Reading

\n\n

An Insatiable Curiosity >

\n","2023-06-13T15:00:49.000000Z",47,16,"https://www.phillips.com/article/124699617/emerging-selves-contemporary-art-auction-london",1879,4271,124699617,"https://flockler.com/thumbs/sites/889/lemann-lead-final-39654f89-bd41-46e4-a3cd-20616ff1ad97_s600x0.jpg","On the Collection of Thomas B. Lemann, featuring works on offer in our ‘20th Century to Now’ London Auction.","An Insatiable Curiosity ","

Thomas B. Lemann at his home in New Orleans, Louisiana. Photo © Tabitha Soren 2023.

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The year 1964 served as a significant milestone for Thomas Lemann in more ways than one. In his legal career, it was the culmination of his work on the Louisiana Trust Code, a landmark achievement in United States inheritance and tax law. On the personal side, it was the genesis of his fascination with — and lifelong passion for — collecting art, one which began in earnest after a trip to the 32nd Venice Biennale.

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In an interview with the Louisiana Bar Foundation, Thomas Lemann stated that his drive to enter a career in law was based on his supposition that “law was going to be a lot like puzzles — [and he] was right.” As with the codes of law, the progression of art historical movements which Thomas followed, each intertwining and building upon one another, would serve as a different type of puzzle for Lemann to contemplate, one in which he would find solace and immense happiness.

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A rendering of the interior atrium in Thomas Lemann’s New Orleans home featuring Martín Chirino's Cabeza Reclinada. El Grito I and Bernard Meadows' Seated Armed Figure.

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Following his initial acquisitions in 1964, Lemann enthusiastically immersed himself in the international art community following the shifting trends and movements that emerged over the next half century. The connections between a diverse selection of figures — British Modernists such as Robert Adams and Bernard Meadows, French Surrealists Claude Lalanne and Niki de Saint Phalle, to American assemblage by Louise Nevelson — are reminiscent of pieces of a puzzle falling slowly into place. We see this unfold too, in a literal sense, in artists with whom Lemann took a particular fascination. Whether the deep carvings and slow movements of Pomodoro’s bronzes, or the subtle symbols and keys that Alan Davie leaves viewers to decipher, Lemann’s collection paints a portrait of an insatiable curiosity and his relentless pursuit of a never-ending puzzle.

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Phillips will offer a curated selection from Mr. Lemann’s collection in our upcoming 20th Century to Now London sale. Further property will be sold across our New York 20th Century & Contemporary Art, New Now, Editions & Works on Paper, and Design Online auctions. Below, we highlight key works coming up in our 20th Century to Now auction in London on 30 June.

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Martín Chirino, Cabeza Reclinada. El Grito I, 1962. 20th Century to Now, London.

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Acquired directly from the Spanish Pavilion at the 32nd International Venice Biennale, Martin Chirino’s Cabeza Reclinada. El Grito I (1962) is one of the most important works by the late sculptor to appear at auction. Additional examples by artists such as Bernard Meadows, Enrico Baj, Robert Jacobsen, Omar El-Nagdi, and George Zongolopoulos — all acquired directly from their respective exhibition pavilions at the Venice Biennale — will appear on the market for the first time in almost 60 years.

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Tancredi Parmeggiani, Quando Il Sole E’ Colorato, 1958. 20th Century to Now, London.

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Beyond Venice, Mr. Lemann traveled extensively across the United States and Europe throughout the 20th century. Among the major paintings coming up for sale is Tancredi Parmegianni’s Quando Il Sole E’ Colorato (1958) which was purchased through Galleria dell’Ariete, Milan in 1966. Other highlights include Alan Davie’s Guessing Game (1970) and Mama Idol No. 3 (1973) acquired through Gimpel & Hanover Galerie, Zurich in 1971 and 1976 respectively.

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Arnaldo Pomodoro, Porte dell’Edipo, 1988. 20th Century to Now, London.

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As he grew older, Thomas B. Lemann began to hone in on three particular artists — Louise Nevelson, Niki de Saint Phalle and Arnaldo Pomodoro — all of whom are represented extensively across our sales. Particular standouts include Pomodoro’s monumental Porte dell’Edipo (1988), as well as Louise Nevelson’s wonderful Untitled (1957).

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Left: Niki de Saint Phalle, L'ange vase, 1993. 20th Century to Now, London. Right: Louise Nevelson, Untitled, 1957. 20th Century to Now, London.

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Discover More from 20th Century to Now >

\n\n

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“It's about interpretation or misinterpretation. Once a piece of work is finished we have no greater right to interpret it than anybody else. We don't necessarily know what it means. It becomes its own thing. It doesn't need us anymore.”
\n—Dinos Chapman

\n\n

Jake & Dinos Chapman in Interview with Marcus Field for SHOWStudio

\n\n

Marcus Field: How does working as a partnership, rather than in the traditional manner of individual talents, affect your work?

\n\n

Jake Chapman: We always considered art an activity confined by its language, rather than some idea of exclusive personal expression. I think that's the cause that the two of us have been working for. Our work raises questions about the speculative aspect of making a work of art rather than any simple expression of latent content. As soon as you assign the task of thinking about art to more than one person you make your practice critical automatically. It's not aboutⁱ skill, it's about the adoption of different modes of operation, of different modes of being.

\n\n

Dinos Chapman: I think working as a double act has caused us to fracture away from the kind of single-minded genius prototype of a normal artist. It doesn't just turn into binary equation, it turns into a totally fractured equation whereby everything is available to us – art history, popular culture, music. So the things we make become a conglomeration of not just Jake and my thoughts. We're interested in whether two people can constitute one genius. There's a very romantic notion of the great artist that still exists from the sixties.

\n\n

ⁱ ‘Interview: Jake & Dinos Chapman on Melting Heads’, SHOWStudio, 9 February, 2001, online.

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38

Jake and Dinos Chapman

Sex I

Further Details

Full-Cataloguing

Jake and Dinos Chapman