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Life is hard… Let's go shopping.
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"When I was a boy," said designer Masamichi Katayama, "punk rock hit me hard, leaving me with just one overarching value – I like stuff that puts the boot into conventions and preconceptions. That's the brutal truth behind what I’ve collected." Masamichi Katayama’s exceptional collection embodies the very unconstrained creativity, curiosity and eclectic approach that has made him one of the world’s leading creative visionaries.

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As the Principal and Founder of the Tokyo-based interior design practice Wonderwall, Masamichi Katayama in his over twenty-five year career has become known for his unconstrained approach in conceptualizing impeccably designed, distinctive and experiential environments. Since his very first project with NIGO® in 1998, which became a benchmark for fashion brand design at the time, Katayama has continued to set precedence with a number of groundbreaking international projects, including retail spaces for colette, UNIQLO New York Fifth Avenue and Pierre Hermé Paris Aoyama, as well as with his design for KAWS' Brooklyn studio.

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Images: The Encyclopedia of Masamichi Katayama (exhibition catalogue). Book Design: Naomi Hirabayashi. Photo: Mitsuo Okamoto. Publishing House: Parco Co., Ltd.

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As Paola Antonelli, Curator of Architecture and Design at The Museum of Modern Art, New York City, has acknowledged, "Like very few other designers in recent history — giants like Andrée Putman, Shiro Kuramata, Ettore Sottsass, Philippe Starck — Katayama has defined the 1990s and 2000s and changed the world of interior and retail design" (Paola Antonelli, in Wonderwall Case Studies, Berlin, 2016, online). It is that same inquisitiveness, innovative way of thinking and aesthetic vision that underlies Katayama's encyclopedic collection. Paralleling the scope and diversity of Katayama's myriad design projects, the collection is exuberantly multifarious – ranging from conceptual art, painting, photography and mid-century design, to books, succulent plants, antiques, taxidermied animals, CDs and various other artifacts from both the past and present.

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In order to create an atmosphere, I have to be connected to other fields other than interior design.
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Images: NOWHERE (BUSY WORK SHOP® HARAJUKU), Harajuku, Tokyo, 1988 Interior Design: Wonderwall® Photo: Kozo Takayama

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Katayama spent much of his early career reimagining the very purpose of design. Rejecting the singular, ego-driven design philosophy that had driven much of the creative extravagancies of the 1980s in Tokyo, Katayama pursued an approach that was built on sensibility, sensitivity and skill. Katayama achieved his creative breakthrough with the redesign of Japanese cult streetwear mogul NIGO®’s NOWHERE (BUSY WORK SHOP® HARAJUKU) boutique in Tokyo in 1998, which, with its unprecedented mash-up of amusement park and minimalistic, Science Fiction-inspired aesthetics, is widely considered as a milestone in retail design.

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The founding of Wonderwall Inc. in 2000 soon followed, now one of the most respected global Interior Design, Creative Direction and Architectural Design Direction companies. As Katayama explained, "I call myself an interior designer, but my ideal interior designer is someone who can create atmosphere, not the form. And in order to create an atmosphere, I have to be connected to other fields other than interior design. My way of interior design might need another name" (Masamichi Katayama, quoted in Aric Chen, "Masamichi Katyama", Wonderwall Case Studies, Berlin, 2016, p. 11). Gaining acclaim in the accelerated retail environment of the late 1990s, Katayama was at the vanguard of a burgeoning movement in Japan that unapologetically brought together art, commerce and subculture – presenting limited-edition sneakers, vinyl dolls and graffiti art in pristine glass vitrines that imbued these items with a museum-like aura.

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When Katayama thus playfully and provocatively compares his act of collecting to shopping, it is not meant to refer to a type of collecting driven by financial motives. Rather, it is a tongue-in-cheek reference to the innovative retail environments he designed throughout his career and, more importantly, to the spur-of-the moment creative thought process that drives his activity as a designer and collector without differentiation between 'high' or 'low' art. In Katayama’s world, anything that catches his eye is potential material and stimulus. It is that same instinctive, idiosyncratic and eclectic aesthetic vision has also informed his activity as a collector.

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I didn't even begin to think about the concept of 'concept' until I discovered conceptual art.
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The Encyclopedia of Masamichi Katayama "Life is hard… Let’s go shopping." Installation view at Tokyo Opera City Art Gallery, 2017 Photo: Keizo Kioku. Featuring Adrian Ghenie The Collector 4 (right).

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As the recent exhibition of The Katayama Collection at the Tokyo Opera City Art Gallery highlighted, the multiplicity of objects that comprise the collection make it a kind of 21^st Century Wunderkammer. A concept with origins in 15^th century Italy, the Wunderkammer is a form of undifferentiated display that combines works of art, antiques and other objects from across the globe and across centuries. As chief curator Motoaki Hori argued, we find the same sense of anthropological curiosity and spirit of exploration in the encyclopedic collection of Masamichi Katayama: "Katayama trusted his momentary intuition in creating a selection that offers up to its viewers a new kind of value system, a fresh take on the world around. The collection...surely shares much on a deep level with the essence of designer Masamichi Katayama’s professional creations" (Motoaki Hori, quoted in The Encyclopedia of Masamichi Katayama "Life is hard... Let's go shopping.", exh. cat., Tokyo Opera City Art Gallery, 2017, p. 7). A true Renaissance man, Katayama pulls without bias from disparate sources to create his own 21^st century Wunderkammer. Katayama's long-standing interest in things that challenge conventions and preconception – something he traces back to his love for punk rock – is thereby the driving force behind every choice.

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While Katayama's approach to collecting is by no means systematic or academic, the fine art collection he so ingeniously accumulated speaks to several overarching (and often overlapping) interests, which can loosely be defined as Pop Art, conceptual art, abstract art and photography. Conceptual art has been of central importance to Katayama from the very beginning, ultimately leading to the acquisition of such iconic masterpieces of conceptualism as On Kawara’s Friday July 14, 2000 (Today series no. 26). As Katayama explained, "I didn't even begin to think about the concept of 'concept' until I discovered conceptual art. The artists, my heroes, who produced the works presented here have taught me to question, to believe, and they have furnished a magnificent difference to my life" (Masamichi Katayama, quoted in The Encyclopedia of Masamichi Katayama "Life is hard... Let's go shopping.", exh. cat., Tokyo Opera City Art Gallery, 2017, p. 175).

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Images: KAWS Studio, New York, 2013 Interior Design: Wonderwall ® Photo: Nacása & Partners Inc.

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It is not unsurprising that Katayama, whose practice equally embraces art, commerce and subculture, would also find an affinity with the wider Pop Art movement – collecting seminal works by, amongst others, Andy Warhol, Jeff Koons, Takashi Murakami and KAWS. Within this stellar grouping, the relationship to Brooklyn-based pop artist and designer KAWS (Brian Donelly) is central. Katayama began supporting Brian Donelly’s career from early on, seeking an introduction via the creative director at NIGO® and purchasing several works on the occasion of their first meeting. Developing a close friendship with Brian Donnelly, Katayama was eventually asked to design the architecture of KAWS' Brooklyn studio in 2013. It was notably also through Katayama's connection to UNIQLO, whose flagship stores he had designed from 2006 onwards, that the collaboration between the retail brand and KAWS emerged.

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Nike Harajuku, Harajuku, Tokyo, 2009 Interior Design: Wonderwall ® Photo: Kozo Takayama

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Collaboration is at the heart of Katayama's practice and it is through the objects he surrounds himself with and the personal relationships with artists and designers he develops, that he finds further inspiration for his own creative process. Many of the pieces of his collection were exhibited in The Wonderwall Office in Tokyo – a space that Katayama considers as a key tool for clients, friends and artists to gain a better understanding of himself and Wonderwall at large. Within this creative incubator, the exhibited artworks, furniture and artifacts function as a type of mood-board – bringing together objects and images hitherto deemed unrelated, new meaning and connections are generated and ultimately stimulate Katayama’s creative practice in often thoroughly unexpected ways. It is this reciprocal relationship that makes The Katayama Collection so unique.

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As such, the works for sale at Phillips, curated by Katayama himself, are a testament to the discerning eye and irrepressible curiosity of one of today’s foremost creative visionaries and a collector in the truest sense.

\n","publishDate","2017-08-31T14:30:52.000000Z","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/16127911/the-katayama-collection","displayOrder",2,"auctionEditorialID",168,"editorialID",185,"flocklerID",16127911,"https://flockler.com/thumbs/sites/889/phillips_install_new_now-fa_2017-061_s600x0.jpg","Works on paper and a rare portrait signify the late-1980s New York storefront dedicated to the prince of Pop.","Keith Haring's Pop Shop","

Gallery view of works from Keith Haring's Pop Shop at Phillips 450 Park Avenue

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Promoting branded merchandise sold in Keith Haring's Pop Shop, a selection of works from our upcoming New Now sale belong to the Manhattan store's general manager from the late 1980s to early '90s. Haring opened his retail store on Lafayette Street in 1986 following years of deliberation and discussion with close friend and mentor, Andy Warhol, on the fine line between commercialism and his desire to maintain the respect of the art world.

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Keith Haring Pop Shop Signage (Calendar), executed circa 1986-1990

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Keith Haring Pop Shop Signage (Skateboards), executed circa 1986-1990

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The hugely successful Pop Shop acted as a clubhouse and information center for Haring's work, an immersive experience that was an extension of his artistic vision and that allowed him to make his widely popular imagery accessible to everyone, from collectors to kids from the Bronx.

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Further yet, Red-Yellow-Blue #16 (Portrait of Adolpho) is an intimate and distinctive portrait of Haring's last studio assistant, Adolfo Arena, who was first hired by Haring to work at the Pop Shop in the spring of 1986. Adolfo had recently graduated from the Fashion Institute of Technology with a degree in fashion merchandising and retailing. The following year, he replaced Haring's studio assistant and worked with him until the end of his life.

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[The painting] evokes a unique personality that contrasts with Haring's more typical...anonymous graphic figures.
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Keith Haring Red-Yellow-Blue #16 (Portrait of Adolpho), 1987

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As quoted by John Gruen for a 1991 biography of the artist, Adolfo passionately recalled his studio position: "The way I saw the job was, like, 'Keith, you paint and let me do the rest.' That meant I would even be willing to brawl with anyone who wasn't supposed to be in the studio… I tried keeping myself in tune to what went down at the studio, being alert about things and intuiting what was needed before Keith asked for it. This showed him I was on my toes."

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Red-Yellow-Blue #16 (Portrait of Adolpho) belongs to a series of works that Haring executed in 1987, which include large-scale metal masks and paintings limited to a palette of black and primary colors. Exhibited at Tony Shafrazi Gallery, New York in 1987, these works pay homage to the primitivist and modernist tradition pioneered by Picasso, Braque and Brancusi that Haring admired. Rendered in Haring's characteristic confident lines and pared down to its most basic features, Red-Yellow-Blue #16 (Portrait of Adolpho) evokes a unique personality that contrasts with Haring's more typical iconography of anonymous graphic figures.

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The layered realist representations create a dynamic composition that celebrates Haring and Adolfo's friendship.

\n","2017-09-14T20:40:19.000000Z","https://www.phillips.com/article/16602595/keith-harings-pop-shop",167,190,16602595,"https://flockler.com/thumbs/sites/889/phillips_marketing_new_now-fa_2017-45-comp_crop2_s600x0.jpg","Ahead of our debut auction of the season, Head of Sale Rebekah Bowling talks to Artsy about trends, themes and the evolution of a distinguished interior designer's personal collection.","Auction Highlights: Our Buying Guide to New Now with Artsy","

Head of Sale Rebekah Bowling poses in front of Nicole Eisenman's Foos Ball Trilogy

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Artsy: What are key themes that define this season's edition of New Now, a sale known for presenting artists who push boundaries?

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Rebekah Bowling: In this season's sale there are a number of artists whose works are dealing with themes and issues that feel especially relevant to the current political climate. Ramiro Gomez's Energy and Soul, a work from his "Magazine" series, calls attention to the issue of class dynamics with its depiction of a luxury lifestyle magazine advertisement interrupted by a domestic worker.

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Ramiro Gomez Energy and Soul, 2015

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John Ahearn Victor and Ernest, 1982

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Also, at a time when questions of memorialization are at the forefront, the inclusion of John Ahearn's sculpture, Victor and Ernest from 1982 feels more timely than ever. His live cast sculptures of neighborhood figures from the Bronx, New York place the authentic and unromanticized on a pedestal, challenging the notion that only a certain kind of individual is worthy of this type of reverence.

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A: As you compile and curate your sale, do you take inspiration from what's happening at the downtown New York galleries?

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RB: It's always ideal to have artists represented in the sale who have concurrent gallery or institutional shows, especially in September when there is so much excitement around new shows opening after the art world's summer hiatus. I feel fortunate to be offering works from Celeste Dupuy-Spencer, Brian Calvin, Kara Walker and Allen Ruppersberg, all of whom have solo shows in Chelsea right now, along with works by Nicole Eisenman who has a solo presentation opening at the Vienna Secession on 14 September and Amy Sillman whose solo show at Albright Knox opened this summer.

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Celeste Dupuy-Spencer Past Present Future, 2011

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A: Can you tell us about the collection of interior designer Masamichi Katayama and what drew him to Phillips this season?

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RB: I'm so pleased to have the opportunity to offer The Katayama Collection alongside our New Now sale this season. I think the spirit of his collection can be best summed up in the exhibition title for a recent presentation of works from his collection at Tokyo Opera City Gallery, "The Encyclopedia of Masamichi Katayama—Life is Hard… Let's Go Shopping." This provocative title alludes to both the scope of his interests and his refusal to be influenced by preoccupations with traditional distinctions between "high" and "low" art. While Katayama's approach to collecting eschews strictly academic categorizations, several overarching interests represented in the sale include Pop Art, conceptual art, photography and modern design.

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I think the opportunity to present his collection as a cohesive, stand-along grouping was appealing to Mr. Katayama, along with having it aligned with the New Now sale—a venue that highlights what's happening right now in the contemporary art world.

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Works by Jean Prouvé and KAWS, a frequent collaborator of Mr. Katayama's, feature prominently in his personal collection.

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A: How does his work practice intersect with his aesthetic for collecting?

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RB: Mr. Katayama made a name for himself in the interior design world with his innovative retail environments that defied expectations. The same type of spontaneous and unbridled creative thought process drives both his activity as a designer and collector. In Katayama's world, anything that catches his eye is potential material and stimulus, and it is that same instinctive, idiosyncratic and eclectic aesthetic vision that informs his activity as a collector.

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Keith Haring Red-Yellow-Blue #16 (Portrait of Adolpho), 1987

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A: There are also a number of unusual and intriguing Keith Haring works in New Now, from a series of Pop Shop signage in marker to a colorful portrait of the artist's last studio assistant. What opportunity does this present for either new or seasoned collectors?

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RB: Both the signs and the portrait of Adolpho belong to the Pop Shop's general manager from the late 1980s to the early 1990s. These signs advertised the branded merchandise sold in Haring's famous retail store and they serve as timeless reminders of his desire to make his widely popular imagery accessible to everyone. The painting Red-Yellow-Blue #16 (Portrait of Adolpho) is equally special and a rare example of Haring evoking a unique personality in its depiction of his last studio assistant and friend, Adolfo Arena. These special and deeply personal works present an excellent entry point for a new collector and will also appeal to those who collect Haring's work in depth.

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Pat Steir Blue, 1971

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A: What are other examples of accessible works by very well-known artists?

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RB: We have five fantastic Sol LeWitt works on paper, lots 148 – 152, all with estimates at $10,000-15,000 or below. These are beautiful examples of his characteristic minimalist works on paper. We also have an early conceptual work from Pat Steir (lot 157) that she executed in 1971—very few examples of these early works that inform her later Waterfall series have come up at auction.

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Additionally, beginning with lot 160, there are several Gerhard Richter editioned works included in the sale.

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105

Ramiro Gomez (now Jay Lynn Gomez)

Energy and Soul

Full-Cataloguing

Ramiro Gomez (now Jay Lynn Gomez)