Priority Bidding Deadline: 11am February 26, 2026
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\nView Conditions of Sale >
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\nPriority Bidding is here! Secure a lower Buyer's Premium. Learn more >
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\n","auctionDetailsSmall","New York Auction 28 February 2026","extraInfo","

Avery Semjen
\nSpecialist, Head of Sale
\n+1 212 940 1207
\nasemjen@phillips.com

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Yacov Arnopolin at home with works from his collection by Ed Ruscha, Annie Morris, and Claudio Bravo.

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Across our upcoming New York Modern & Contemporary Art live and online auctions, collectors will discover a selection of incredible works being offered in support of the Cancer Research Institute, many of which were donated directly to the sales by the artists.

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CRI trustee Yacov Arnopolin, a collector with a lifelong passion for art, discusses the initiative and invites us to view his personal collection.

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PHILLIPS: How do you approach philanthropy and what led you to choose the Cancer Research Institute (CRI)?

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YACOV ARNOPOLIN: Reading the legendary investor Byron Wien’s “20 Life Lessons” ages ago, I came upon his take on philanthropy: “My approach is to try to relieve pain rather than spread joy.” I found this very poignant — it would be fun to be involved with an art charity, but there’s too much suffering in the world. When I read that 1 out of 2 men and 1 out of 3 women get diagnosed with cancer over their lifetimes, it was an easy decision to make.

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Ed Ruscha, Blurred City, 2015. Modern & Contemporary Art New York.

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P: Tell us about your role at CRI and how the sale of these works supports the cause?

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YA: 2026 marks eleven years since I joined the Board of Trustees. Unfortunately, over that time, many relatives and friends have been diagnosed with cancer. The good news is the tally of tumors CRI’s breakthroughs can effectively combat has since increased to 30, with more to come. We naively think a single cure will let us win the “war on cancer,” but one realizes there are hundreds of tumors, each requiring its own approach.

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The number of grant request submissions has doubled year-on-year due to uncertainty over government support for science. CRI’s selection process has traditionally been very competitive — less than 1 in 10 applications gets funded — so there is plenty of room to endow outstanding science if more funds were available.

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P: What makes CRI’s approach so unique and effective?

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YA: When the Cancer Research Institute was founded in 1953, immunotherapy was a moonshot idea, whereas now it’s the cutting edge of science. The treatment’s power lies in using the body’s immune system to prevent and eliminate cancer. It can be far less invasive than traditional chemotherapy or radiation approaches and can enhance outcomes as a combination treatment.

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Over 9 million patients globally now benefit from the CRI’s research on cancer treatments. Thanks to its efficiency and focus, the Institute consistently ranks among the top 5% of charities.

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Jennifer Guidi, Downvalley, 2025. Modern & Contemporary Art New York.

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P: What are some of your favorite works from the selection?

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YA: Ed Ruscha’s Blurred City is a jaw-dropper. Ed has been a supporter of CRI for a decade, and his generosity is to thank for many a successful scientist! The smudged “CITY” is reminiscent of the energy and movement of any dynamic metropolis — there’s an urgency about the letters, a hectic pace.

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Jen Guidi’s and Joel Mesler’s works on paper also strike a chord. The magnetism of Jen’s pointillist composition is compounded by the almost tangible warmth of the sun. And Joel’s ebullient message “TO JOY” is a sentiment I have witnessed when interacting with so many cancer survivors helped by CRI.

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Sayre Gomez is another exciting contemporary artist, with a stellar show currently on view in LA. I love the hyperrealism and the focus on everyday objects and sites. Last but not least, I am in awe of Isabella Ducrot’s erudition and the multitude of references in her works. Now in her tenth decade, Ducrot used her extensive travels to create a unique voice influenced by the world of textiles.

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Joel Mesler, To Joy, 2025. Modern & Contemporary Art: Online Auction, New York.

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P: What inspired you to collect art?

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YA: Growing up in the Soviet Union, my dad would take me to open-air art fairs and bazaars that came to life under perestroika. It wasn’t easy to get those paintings into the US when we immigrated, but I was lucky to grow up with an eclectic mix of art on the walls. Once in America, as a chubby kid who couldn’t play any sports, I would attend weekend art history classes at the University of Pittsburgh. It was a dozen grandmas plus myself, but it led to a lifelong fascination with everything from Caravaggio to Rococo to Francis Bacon.

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P: With decades of experience in finance, we’re curious if investment value plays into how you collect?

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YA: It doesn’t. Inevitably, one makes the mistake along the way of “buying with the ears, not the eyes” — i.e., listening to tips on the next hot artist, rather than what actually resonates. In the end, art is about what you respond to and want to live with; all the speculation ends up in storage.

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An art advisor once said a collector should accumulate “eye mileage.” It’s a great concept, and every museum or gallery visit is a chance to learn and train one’s eye.

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Wolfgang Tillmans, Chrysanthemum, 2006. Modern & Contemporary Art: Online Auction, New York.

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P: What are your favorite works to live with?

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YA: I can never get enough of Ed Ruscha’s MEDICAL MARTINI — half the fun was coming up with the text!

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With revolutionary technology in every phone, we all think we are 21st century Arbuses and Avedons — but there’s still so much technique in photography, and to me, Wolfgang Tillmans is second to none.

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Lucian Freud's Woman with an Arm Tattoo hangs in Arnopolin’s sitting room.

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Finally, Lucian Freud’s Woman with an Arm Tattoo print is mesmerizing. There’s a tranquility but also vulnerability about a sleeping person. And as a Cancer Research Institute board member, I am confronted with our vulnerability as humans all too often.

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\n","publishDate","2026-02-10T21:36:04.000000Z","authorCredit","Jesse Limbacher","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/166216248/art-for-cancer-cri-charity-art-auction-february-march-2026-yacov-arnopolin","displayOrder","auctionEditorialID",7743,"editorialID",5186,"flocklerID",166216248,"https://flockler.com/thumbs/sites/889/artists-to-watch-lead-9812a787-fe31-41bb-bd30-da763b391b56_s600x0.jpg","A midwinter afternoon's hottest artists. ","Artists to Watch: New York","

Sasha Gordon, American Girl (detail), 2019. Modern & Contemporary Art New York.

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Sasha Gordon

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Sasha Gordon, American Girl, 2019. Modern & Contemporary Art New York.

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Standing tall inside a convertible and awash in glowing, vibrant colors, a lone female figure smiles and waves beyond our line of sight. This dreamlike work is yet another unexpected and intriguing image by Sasha Gordon, a young artist whose meteoric rise in the art world is only just beginning. Gordon often utilizes her own likeness to explore themes of otherness and the Asian-American experience, employing a distinctly hyper-surrealist approach that is on full display in American Girl. As the youngest artist represented by David Zwirner, she presented her first solo exhibition with the gallery in New York in 2025, and her work has already been acquired by institutions including the Whitney Museum of American Art and the Brooklyn Museum. Lingering before the present lot makes it clear why she is among the most in-demand young artists working today — this strangely distant yet evocative painting is remarkably inviting, a reminder that encountering “the other” is a profoundly resonant experience.

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Alexis Ralaivao

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Alexis Ralaivao, Roma, 2021. Modern & Contemporary Art New York.

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Drawing from his own autodidactic training and explorations of Dutch Golden Age genre painting, contemporary francophone society, and his own French-Malagasy heritage, Alexis Ralaivao (b. 1991) focuses on cropped depictions of gestures, objects, and, in the case of Roma, flesh in moments of quiet seclusion. The artist’s scenes balance subtlety and implication, mood and sensitivity, elevating quotidian moments into allusive spaces where the subject is at once immediate and formalized. Ralaivao’s keen sense of light and domesticity play off one another: we must look our best from all angles, including close-up.

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Naudline Pierre

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Naudline Pierre, A Kiss Three Times, 2018. Modern & Contemporary Art New York.

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Naudline Pierre’s (b. 1989) otherworldly oil paintings weave personal mythology with religious iconography through her syncretic, transformative vision. Channeling the spiritual influences of her Haitian-American upbringing, Pierre composes works populated by ethereal subjects, often with distorted or hidden features, whose spiritual intimacy draws the viewer into an alternate reality through art-historical narratives associated with transcendent encounters, mysterious visions, and corporeal transformation. Case in point, A Kiss Three Times evokes the traditional devotional scene, yet its cosmic wash of colors and embracing figures suggest a greater, more universal resonance than any individual doctrine. In this way, Pierre reimagines the conventions of immaterial sanctity by way of figurative intimacy.

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Genesis Belanger

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Genesis Belanger, His and Hers, 2020. Modern & Contemporary Art New York.

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Genesis Belanger’s uncanny works offer a surreal critique of consumer culture, gender, and advertising. Having worked in fashion prior to her art career, Belanger’s background lends itself to the peculiarity of His and Hers, which is comprised of two stoneware hands with oil-painted nude manicures. The works recall the impossible angles of fashion editorial photography: 90-degree wrists, post-production skin, and not a cuticle in sight. The signifiers of social rituals, the just-made-partner watch and the not-just-partners engagement ring, are structured no differently than the ankle monitor and the splint, creating an unsettling fragmentation of body parts and ornaments. We can easily picture these perturbing digits wandering one of the artist’s tablescapes and contorting just so to show off the wares while complementing the canapés.

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Dindga McCannon

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Dindga McCannon, JAZZMOBILE!, 2001. Modern & Contemporary Art New York.

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Born in 1948 in Harlem, Dindga McCannon has been creating mixed-media textile-based works since the 1960s, drawing on a fusion of fine art training and traditional needlework passed down by her mother and grandmother. A pioneer, she co-founded the collective of Black women artists, Where We At, in 1971, and has participated in group exhibitions in New York since the 1960s, when she was associated with the Weusi Artist Collective. This remarkable 2001 quilt assemblage JAZZMOBILE!, captures the vibrancy and motion of Harlem jazz culture through a lens of personal and collective memory. McCannon engages our full sensory capacity, inviting us to not only see these scenes, but to hear, feel and read their layered history.

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Following a record auction result in 2020, the depth of McCannon’s practice began to come into full scope within the global art world. The following year, Fridman Gallery presented In Plain Sight, the artist’s first major solo exhibition, and in 2024, she completed a major mural commission for Rikers Island. Her works are now in several prominent institutional collections, including The Whitney Museum of American Art, The Brooklyn Museum, The Studio Museum in Harlem, The National Gallery of Art, The Hirshhorn Museum and Sculpture Garden, and The Phillips Collection.

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Emily Kame Kngwarreye

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Emily Kame Kngwarreye, My Country, 1995. Modern & Contemporary Art New York.

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Upon first glance, the sensuous texture and dimensionality of this work by Emily Kame Kngwarreye (1910–1996) invite a deeper look. These colorful and airy forms seem to float against one another as if in motion, settling only when observed. A member of the Anmatyerr people, Kngwarreye developed a singular style that bridged traditional ritual forms with innovative mark-making, forging a profound spiritual connection between her canvases and her ancestral lands. Since her first major retrospective in 1998, Kngwarreye’s work has garnered global acclaim, featured in landmark surveys such as Women in Abstraction at Centre Pompidou (2021), a 2023 retrospective at the National Gallery of Australia, and major solo exhibitions at Gagosian Paris (2022) and Tate Modern (2025).

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Discover more from Modern & Contemporary Art >

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(76.2 x 61 cm)","medium","acrylic on Yupo paper","sigEdtMan","Executed in 2016.\r\n\r\nPriority Bidding is here! Secure a lower Buyer's Premium. Learn more >","provenance","Gallery Wendi Norris, San Francisco\r\nAcquired from the above by the present owner","exhibited","San Francisco, Gallery Wendi Norris, (ism): 80 Years of Nonconformity, July 13–September 15, 2017\r\nAtlanta, Oglethorpe University Museum of Art, HISPANIOLA: A Celebration of Haiti and the Dominican Republic with Selections from the Dion Kohler Collection, September 30–December 17, 2017","mainImagePath","https://dist.phillips.com/auction-assets/NY010126/229074_001.jpg","conditionReport","The work is in very good condition. The work is hinged on the reverse in places to its underlying mount. There are artist's pinholes to the upper and lower right corners. There is creasing along the left vertical edge. There are losses to the paper at all four corners. There are two minor paint losses to the upper right quadrant. 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4

Firelei Báez

Fragments of a crossroad

Full-Cataloguing

Firelei Báez