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This spring across Geneva, New York, Southampton and Zurich we present highlights from our 20th Century & Contemporary Art Evening & Day Sales in London.
\n
\nSouthampton
\n26 - 30 May
\nOpening Hours: 11:00am - 6:00pm southampton@phillips.com
\n
\nZurich
\n10 - 12 June
\nOpening Hours: 10:00am - 6:00pm
\npkurath@phillips.com
\n
\nLondon
\n22 - 30 June
\nOpening Hours:
\nMonday-Saturday 10:00am - 6:00pm
\nSunday 12:00pm - 6:00pm
\nClientServicesLondon@phillips.com

\n","auctionDetailsSmall","London Auction 29 June 2022","extraInfo","

\n\n

Specialist, Associate Director, Head of Day Sale, 20th Century & Contemporary Art
\n+44 20 7318 4084

\n\n

stovey@phillips.com

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Urs Fischer, Iron, 2015. 20th Century & Contemporary Art London.

\n\n

Tackling themes of perception and representation with characteristically sardonic wit, Urs Fischer’s 2015 painting Iron is an example of the artist’s use of distortion to subvert established modes of self-portraiture in art history. The monumental work takes Fischer’s own face as a starting point, as passages of rippling fleshy pinks, sky blues, and stormy grays chase each other across the surface. Fischer harnesses the techniques enabled by his multidisciplinary practice in photography and silkscreen to both represent and obscure his own likeness.

\n\n

Fischer’s self-portrait is made defiantly permanent by pushing the notional subject to its limit. The artist asserts a physical presence and place in art history through its huge scale and hefty aluminium support. Fischer is known for merging boundaries; the substantialness of the support allows the painting to move between the realms into sculpture. “The way I see it,” he notes, “my paintings are more like sculptures. I see them as objects on the wall that have a particular surface. The paint applied is just one possible layer.” Working on top of an enlarged photograph rotated 90 degrees, the artist’s fragmented face is barely permissible through the layers of silkscreen, ink, acrylic paint, gesso, and primer that encircle elements of his face, such as the eye, eyebrow and nose.

\n\n

Iron belongs to a small series of works from 2015 in which Fischer expands a syncretic approach to traditional forms with mutative characteristics. In these works, Fischer draws on his early studies of photography as a young artist at Schule für Gestaltung in Zürich. Rather than limiting his scope to straightforward engagement or critique, however, Fischer instead uses a swarm of materials and modes to create an assemblage that brings dark humor to a deliberately uncanny malformation of the human face. A self-proclaimed student of art history, Fischer references the collage techniques of Pablo Picasso and George Braque, as well as Surrealist master René Magritte’s practice of covering his subjects’ faces with everyday objects, thus concealing their identity.

\n\n

\n\n

Urs Fischer, Magnesium, 2015. Sold for $693,000 at Phillips' 20th Century & Contemporary Art New York Day Sale on 19 May 2022.

\n\n

Fischer’s use of material presence and immaterial concepts is further given dimension by its conversational quality, a practice he shares with friend and fellow installation artist Rudolf Stingel. By engaging the viewer to question their perception of a work, a dialogue forms between not only the viewer and the artist, but also with the work itself as an intermediary. How one takes in Iron is less about its abstraction and more to do with how absorbing its ambiguity can lead to different outcomes, which, in turn, shows Fischer’s influence from earlier Dada and Situationist movements. His relationship with Stingel is also evident in the use of gray as a utilitarian jumping-off point from which color springs to life, even in its most diffuse forms.

\n\n

Fischer has built his celebrated reputation on his longstanding investigational approach, exploring opportunities to contrast opposite phenomena through an array of media, from sculpture and installation, to drawing, painting, photography, printmaking, and digital montage.The details of materials used in his work are scrupulously documented and scientifically noted in the artist’s own cataloguing. Evidenced in Iron, Fischer creates what appears to be an enormous abstraction, but is in fact a self-portrait; heavily impasto in appearance, it is in reality almost flat; the density of the pigment is countered by the delicate patterning of the silkscreen technique.

\n\n

The subject of the human figure and self-portraiture placed alongside the notions of time and decay have been consistent sources of inspiration for Fischer. The theme has been at the core of his figurative wax works since 2001, and the artist often augments his forms through melting, fragmentation, decapitation, and penetration. As the melting candle distorts and dissolves the likeness of the wax sculptures over time, here Fischer uses brushstrokes to distort a previously recognizable image of his own face.

\n\n

Urs Fischer is currently the subject of his celebrated solo exhibition Urs Fischer: Lovers at Museo Jumex, Mexico City, through 18 September 2022.

\n\n

Discover More from 20th Century & Contemporary Art >

\n\n

Recommended Reading

\n\n

A New Generation of British Women Artists >

\n\n

Ex Machina: A History of Generative Art >

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There is minor rubbing to the corners and edges in places, only visible on close inspection. When examined under Ultra Violet light, there is no apparent restoration. Otherwise, there are no apparent condition issues with this work.",{"_166":72,"_167":168},"additionalImagePaths",{"_489":124,"_490":491,"_492":493,"_16":494,"_495":496},"isActive","componentType","RichText","componentId",9418,"DETAIL-HEADER-DISABLED 45166","componentItems",[497],{"_489":124,"_498":499,"_500":501,"_502":-7},"componentItemId",12734,"htmlCaption","

'My paintings are meant to function like TV, in a way. The viewer is supposed to become passive. Instead of alluding or whispering, like a lot of art does, this is art that tells you what’s up. It kind of does the work for you, like TV does.' —Jamian Juliano-VillaniAcclaimed for her montaged psychedelic dreamscapes, Jamian Juliano-Villani adopts visual culture, ephemera and borrowed materials, combining them together in her vivid painted canvases. Positioning her work as accessible and democratic in the manner of Pop art, Juliano-Villani’s surreal works are simultaneously familiar and unusual.

\n\n

\nJuliano-Villani’s library of images is meticulously chosen and curated according to her visceral and gut feelings, as the artist explains; ‘When I’m working, I have probably thirty images that, in a month or two months, I’ll keep on coming back to… But, they never look like they’re supposed to be together. That’s when shit gets good. That’s when the painting can change from “an image-based narrative” into something else.’ⁱ Juliano-Villani uses a projector as a method to facilitate her idiosyncratic scrapbook-like compositions. With humour and psychological complexity the artist draws together pictures from a vast array of recognisable sources such as internet memes and catalogue images as well as obscure Finnish advertisements and 20th Century British animations.

\n\n

\nSeeking to democratise her painting, the artist’s favoured source material are cartoons, a form of popular communication that she maintains can appeal to the masses above painting; explaining that ‘I just trying to use things that my little brother gets, and the Verizon guy who comes to my studio gets’.ⁱⁱ Alongside her universal inspirational sources, Juliano-Villani employs acrylic paint and an airbrush, providing her canvas with a polished and seamless commercial surface, a medium often used for large scale communication.

\n\n

Jamian Juliano-Villani Gets to Work | Art21 ‘New York Close Up’

\n\n

Swimming in hallucinogenic colour and visual noise, Juliano-Villani’s Apparition of Master is an uncanny imagining, recognisable yet absurd. Juliano-Villani overlays visibly disparate motifs to craft her eccentric narrative. Set on a beach at sunset, an illuminated bed, over which hovers an almost holographic image of a burning dog, is watched by cartoon dog spectators. A pile of teetering stools and a Roman-style vase are set in the foreground at the right of the composition. The central motif of the dog is taken from the Austrian artist Christian Ludwig Attersee’s 1971 work, Zungenschmuck für eine Schäferhündin (Tongue Jewellery for a German Shepherd), which she was attracted to because of its postmodern angle. Expressing her preference for using cartoons or animal surrogates in place of people, Juliano-Villani’s notes ‘I don’t like painting people that much…I use foxes, a lot of dogs, they induce sympathy for one reason even like an alien, it’s a placeholder, like the relationship to the creature is different. There’s a dominance, a sympathy and it’s cartoony”ⁱⁱⁱ. While individually, the chosen motifs are recognisable and relatable, even inducing pathos through our familiar affection with these cartoon characters, the overall effect of the composition transitions us to another world, reminiscent of a hallucinogenic fever dream.

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\"Christian — Christian Ludwig Attersee, *Zungenschmuck für eine Schäferhündin*, 1971. Artwork: © Christian Ludwig Attersee / DACS 2022

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\nLast year, Juliano-Villani opened her own gallery in New York City called O’Flaherty’s, which whilst functioning as a commercial gallery, is also something of a performance in disguise. Juliano-Villani has been widely celebrated with solo exhibitions at Kunsthall Stavanger (2021); JTT Gallery, New York (2020); Massimo De Carlo, London (2019); Studio Voltaire, London (2016) and Tanya Leighton Gallery, Berlin and Museum of Contemporary Art Detroit (2015).

\n\n

ⁱ Jamian Juliano-Villani, quoted in ‘Jamian Juliano-Villani's Painting Compulsion | Art21 "New York Close Up,"’ Art 21, 1 July 2015, online
\nⁱⁱ Andrew Russeth, ‘Jamian Juliano-Villani Talks Painting,’ ARTnews, 22 August 2014, online
\nⁱⁱⁱ Alex Bennett, ‘Portrait Jamian Juliano-Villani,’ Novembre Magazine, March 2017, online

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108

Jamian Juliano-Villani

Apparition of Master

Further Details

Full-Cataloguing

Jamian Juliano-Villani