Amanda Lo Iacono
\nHead of Evening Sale
\nNew York
\n+1 212 940 1278

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“This mirror idea allowed me to make an 'original' invention, but one that is bearable because it is so hackneyed” – Albert Oehlen
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\n\n\t\n\t\t\n\t\t\t\n\t\t\n\t\t\n\t\t\t\n\t\t\n\t\t\n\t\t\t\n\t\t\n\t\t\n\t\t\t\n\t\t\t\n\t\t\t\n\t\t\n\t\t\n\t\t\t\n\t\t\t\n\t\t\t\n\t\t\n\t\t\n\t\t\t\n\t\t\t\n\t\t\t\n\t\t\n\t\t\n\t\t\t\n\t\t\n\t\n

Depicting a somber gallery wall, Im Museum II is an important early example from Albert Oehlen’s Mirror Paintings series, or “Spiegelbilder.” In these seminal works, completed between 1982 and 1990, the artist rendered rooms in a muted palette of earthy colors punctuated by actual fragments of mirrors collaged directly onto the canvas. \n\t\t\t \n\t\t\tThe Mirror Paintings constitute a pivotal series in Oehlen’s oeuvre, sitting between the Bad Paintings and raw figurative works of his early career and the “post-non-objective” paintings of the late 1980s and 1990s. Embodying an idiosyncratic approach to light, scale, and color, which would permeate his later series, these paintings solidified Oehlen’s reputation as a master subverter of painterly tradition. One of Oehlen’s earliest bodies of work, the Mirror Paintings are currently being reconsidered as a decisive moment in his career, and were the subject of exhibitions at Galerie Max Heltzer and Nahmad Contemporary last year. \n\t\t\t \n\t\t\tIn his 2020 essay, “Albert Oehlen’s Mirror Paintings, An Inescapable Contingency,” Raphael Rubinstein analyzes the series by what he considers to be the three defining characteristics of the works: that they are simultaneously “paintings with mirrors,” “paintings with things attached to them,” and “room paintings.”[i]
\n\t\t\t \n\t\t\t $\"\"$ \n\t\t\t
\n\t\t\tA Painting with Mirrors \n\t\t\t \n\t\t\tMirrors, of course, have been recurrent motifs in the history of art for centuries, featuring in the paintings of Diego Velázquez and Johannes Vermeer as well as in Japanese ukiyo-e. Actual mirrors, as opposed to images, have also had a prominent role in art at least since Enrico Baj’s mirror on brocade works from the 1950s; the following decade, mirrors began turning up continually, such as in Yayoi Kusama’s Infinity Mirror Rooms, Michelangelo Pistoletto’s Quadri Specchianti, and Gerhard Richter’s 4 Panes of Glass, 1967, Herbert Foundation, Ghent.
\n\t\t\tA Painting with Things Attached to It \n\t\t\t \n\t\t\tThrough the 19^th century, artists very rarely attached objects to the surface of any painted support. In this sense, Im Museum II positions itself within an art historical lineage of modernism begun by Pablo Picasso’s Still Life with Chair Caning, 1912. Subsequently, innumerable works—such as Kurt Schwitter’s Merzbild assemblages and Francis Picabia’s Portrait of Cézanne, 1920—further interrupted pictorial illusion with actual three-dimensionality. By gluing mirrors on his paintings, Oehlen thrust himself into two 20^th century modes of art-making: “the mirror-work and the painting-with-object-attached.”[ii] \n\t\t\t \n\t\t\tA Room Painting \n\t\t\t \n\t\t\t“I only used mirrors in pictures depicting rooms, so that the viewer can place himself in the room. These rooms were chosen not on the basis of design, or architecture, or any other such criteria, but on the basis of their meaning, which I attribute to them in relation to society,” Oehlen elucidated. “Museum, apartment, Hitler’s headquarters, things like that: a summons to appear in the picture.”[iii] By placing the viewer—and ostensibly the room he or she is in—within the painting, Im Museum II reflects both the closeness and dissidence between the dark corners of the past and our present. \n\t\t\t \n\t\t\t \n\t\t\t [i] Raphael Rubinstein, “Albert Oehlen’s Mirror Paintings, An Inescapable Contingency,” Albert Oehlen: Spiegelbilder / Mirror Paintings 1982-1990, Berlin, 2020, pp. 9-21. \n\n\t\t\t [ii] Raphael Rubinstein, “Albert Oehlen’s Mirror Paintings, An Inescapable Contingency,” Albert Oehlen: Spiegelbilder / Mirror Paintings 1982-1990, Berlin, 2020, p. 13. \n\n\t\t\t [iii] Albert Oehlen, quoted in Wilfred Dickhoff and Martin Prinzhorn, Kunst Heute, no. 7, 1990, p. 37. \n\t\t\t		\n\t\t\t $\"\"$ \n\t\t\t \n\t\t\t \n\t\t\t \n\t\t\t \n\t\t\t \n\t\t\t \n\t\t\t \n\t\t\t \n\t\t\t \n\t\t\t \n\t\t\t \n\t\t\t \n\t\t\t \n\t\t\t \n\t\t\t \n\t\t\t \n\t\t\t \n\t\t\t \n\t\t\t Johannes Vermeer, The Music Lesson, circa 1662. Royal Collection, London, Photo credit: HIP / Art Resource, NY \n\t\t\t \n\t\t\t $\"\"$ \n\t\t\t \n\t\t\t \n\t\t\t \n\t\t\t \n\t\t\t \n\t\t\t \n\t\t\t \n\t\t\t \n\t\t\t \n\t\t\t \n\t\t\t \n\t\t\t \n\t\t\t \n\t\t\t Thomas Struth, Louvre III, 1989. Musee National d'Art Moderne, Centre Georges Pompidou, Paris, Photo credit: Philippe Migeat © CNAC/MNAM/Dist. RMN-Grand Palais / Art Resource, NY, Artwork © 2020 Thomas Struth \n\t\t\t


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Auction 2 July 2020 6pm EDT

\n\n

450 Park Avenue, New York (map)

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JOAN MITCHELL Noël, 1961-1962

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MATTHEW WONG Mood Room, 2018

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JEAN-MICHEL BASQUIAT Victor 25448, 1987

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TITUS KAPHAR Untitled (red thread lady), 2013-2018

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HELEN FRANKENTHALER Head of the Meadow, 1967

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CHARLES WHITE Sometimes I Feel Like a Motherless Child, 1958

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JULIO GONZÁLEZ L'arlequin / Pierrot ou Colombine, 1930

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CHRISTINA QUARLES Placed, 2017

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GERHARD RICHTER Abstraktes Bild (801-3), 1994

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FRANCIS PICABIA Portrait de femme, 1941-1942

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\n\n

Edward Dolman, Chief Executive Officer, and Phillips specialists take us on a personal tour of our 20th Century & Contemporary Art Evening Sale viewing at 450 Park Avenue in New York. Featuring more than 20 lots, the Evening Sale includes works by artists highly sought after in today’s market including Joan Mitchell, Helen Frankenthaler, Gerhard Richter, Jean-Michel Basquiat, Matthew Wong and more.

\n\n

\n","publishDate","2020-06-26T19:16:09.000000Z","coverPosX",50,"coverPosY","articleUrl","https://www.phillips.com/article/59828098/gallery-tour-20th-century-and-contemporary-art-new-york-auction-2020","auctionEditorialID",864,"editorialID",3050,"flocklerID",59828098,{"_1222":1244,"_1224":280,"_1225":1245,"_507":1246,"_1228":1247,"_1230":1248,"_1232":1233,"_1234":467,"_1235":1249,"_459":278,"_1237":1250,"_1239":1251,"_1241":1252},"https://flockler.com/thumbs/sites/889/10_001-97f598e6-aa9b-48e0-b8a1-eb8f79f90e31_s600x0.jpg","In an exclusive reading, poet Kevin Young, director of the Schomburg Center for Research in Black Culture and poetry editor of the New Yorker, shares one of his poems from To Repel Ghosts, his ambitious homage to Jean-Michel Basquiat.","Kevin Young on Jean-Michel Basquiat","

Jean-Michel Basquiat Victor 25448, 1987. Estimate: $8,000,000-12,000,000.
\n20th Century & Contemporary Art Evening Sale, New York.

\n\n

I began writing the poems that would become To Repel Ghosts in 1991, just three years after Jean-Michel Basquiat had died far too young at 27. The poems weren’t yet a sequence, much less the book-length poem it would become when published in 2001—a kind of jazz symphony or hip-hop epic for which Jean-Michel Basquiat would serve as a bass line. Basquiat, while certainly known, wasn’t yet an icon, so picking him to center my cantos wasn’t so obvious: when I told one Ivy League art historian I met at an artists’ colony in 1993 that I was working on the project, he offered that Basquiat was not only a has-been but a never-was. He was simply all hype that shouldn’t be believed. I wonder where that critic is now.

\n\n

While this attitude is thankfully nonexistent these days, a simple rereading of some of the press Basquiat received at the time, the rather odd, off-putting reactions to his fierce work while he was alive, reveals they weren’t uncommon then, and clearly racist—including many of those who praised him as exceptional, meant as a compliment but too seeing Basquiat in isolation. While Basquiat is, without doubt, a genius, his uniqueness comes from his being part of a Black community and continuity, whether with friends like Fred “Fab 5 Freddy” Brathwaite, the other Black artists whom he collaborated and competed with, or the music he listened to and made.

\n\n

\n\n

Jean-Michel Basquiat Defacement (The Death of Micheal Stewart), 1983. Photo: Allison Chipak © Solomon R. Guggenheim Foundation, 2018 © Estate of Jean-Michel Basquiat.

\n\n

His is a loss we still feel, and that after the fact can seem to be predicted by his work. The phrases and engagement with existence found in a painting like Victor 25448 evoke loss, even despair—the cartoonish brown body, pictured beaten or defeated, might seem prophetic. But of what? In our fiery time, Victor 25448 doesn’t seem to me merely a personal painting—instead, it pictures, as cartoons often do, a bent reality bigger than any autobiography. While others of his works offer more explicit comments on police brutality—take Defacement about the killing by police of his friend, the artist Michael Stewart—Victor 25448 also conjures violence, practically enacting it.

\n\n

My eponymous poem figures the painting’s brown body as almost mechanical, robotic—its failures and falling are the result of a technology rigged against Blackness, the crosshairs of racism that renders eyes as Xs, and turns even kid logos like “IDEAL” as ominous. It appears now that like Philip Guston, what Basquiat captures on canvas isn’t a cartoon manipulating reality but one reflecting a reality that is already bent—one that seeks to bend and break Black and brown bodies to its grotesque, lethal will.

\n\n

The painting is filled with play and puns, references and riffs, hobo signs and sayings left for us to discover—for instance, Victor is a record label—and my poem, published some 20 years ago, seeks much the same, riffing off “His Master’s Voice.” Rather than outline such samplings, I hope the selections featured here unmask some of the feelings of the paintings, their harmony and disharmonies—ones that also mark jazz, that African American invention that Basquiat loved, and that like the painter regularly makes beauty out of the ugly all around us.

\n\n

—Kevin Young
\nJune 2020

\n\n

A portion of the proceeds from 'Victor 25448' will benefit the Art for Justice Fund >

\n\n

Learn more about Kevin Young >

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\n","2020-06-29T22:19:00.000000Z","https://www.phillips.com/article/59945509/kevin-young-on-jean-michel-basquiat-victor-25448-new-york-auction",873,3056,59945509,{"_1222":1254,"_1224":280,"_1225":1255,"_507":1256,"_1228":1257,"_1230":1258,"_1232":1233,"_1234":467,"_1235":1259,"_459":382,"_1237":1260,"_1239":1261,"_1241":1262},"https://flockler.com/thumbs/sites/889/arruda-762ba027-c8c3-42c1-b520-74af4abf7682_s600x0.jpg","We're rounding up some relative newcomers to the auction world who are poised to make a splash in this season's 20th Century & Contemporary Art auctions. ","Today's Emerging Talent: 10 Artists to Watch","

Lucas Arruda Untitled, 2014. Estimate: $80,000-120,000.
\n20th Century & Contemporary Art Evening Sale, New York.

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Amoako Boafo

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Amoako Boafo Joy in Purple, 2019. Estimate: $50,000-70,000.

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Executed in luscious blues, browns, and violets, Joy in Purple exemplifies the investigation of black representation and identity explored in Amoako Boafo’s Black Diaspora series. Usually painting friends or people in his community, this series is according to the artist, “first a celebration of blackness and second a form of documentation.” Coalescing his Ghanaian heritage with European art history, Boafo thrusts members of the African Diaspora into traditional modes of Western portraiture through a visual lexicon that is his alone. Boafo uses brushes to render the monochromatic backgrounds and his figure’s clothing, but he paints the subjects themselves directly with his fingers. “I am trying to find ways to celebrate individuality, which is reflective in my technique,” he says. “When I paint with my fingers, I have less control, which I believe is beneficial.”

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Amoako Boafo After the nail color, 2018. Estimate: $50,000-70,000.

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Boafo’s After the nail color, 2018, is another stunning example of the artist’s distinctive style of portraiture. Boafo describes his oeuvre as being dedicated to the celebration and documentation of the black experience; a topic which the artist feels has otherwise been brashly misrepresented throughout art history. Despite being only 36 years old, preeminent institutions—such as the Solomon R. Guggenheim Museum, New York, and the Albertina Museum, Vienna—have rapidly begun acquiring his work. His paintings are rare-to-market, and Phillips achieved the world record for the artist this past February in London.

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Lucas Arruda

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Bridging abstraction and figuration, the landscapes and seascapes of Lucas Arruda’s paintings recall the Romantic sublime, as epitomized by 19th-century landscapes, through a contemporary lens. In Untitled, Arruda presents us with what appears to be a blue sea cloaked by a stormy grey foreboding sky. Intended to more closely represent the landscape of the artist’s imagination than real environments, Untitled and Arruda’s other meditations comprise the Deserto-Modelo series that the artist has been working on for the last decade. This long-term investigation of painting’s nature is on one hand influenced by the writings of Brazilian poet João Cabral de Melo Neto and Dino Buzzati’s 1940 book O Deserto dos Tártaros, but Arruda was also inspired by a wide range of artists such as Alfredo Volpi and Agnes Martin. Evocative of so many pictures—an ocean by J. M. W. Turner; a misty beach scene by Armando Reverón; James Abbott McNeill Whistler’s Nocturne: Blue and Silver – Chelsea, 1871 at Tate, London— Untitled encourages the viewer to examine nature through the astute and diverse eyes of the artists we so admire.

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Lucas Arruda Untitled from the series Deserto-Modelo, 2012. Estimate: $60,000-80,000.

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Despite being only 37 years old, Arruda has already received widespread institution and critical recognition for his exquisite land- and seascapes. His first large-scale institutional solo show, Deserto-Modelo, was at the Fridericianum in Kassel, Germany last year, and works by the artist are already in the permanent collections of J. Paul Getty Museum, Los Angeles; Fondation Beyeler, Basel; the Rubell Family Collection, Miami; and the Pinacoteca do Estado de São Paulo in Brazil. Well-known in his native country of Brazil, Arruda has catapulted to international acclaim after shows at David Zwirner in London in 2017 and New York in 2019. With his paintings rare to market, this is only the fifth Deserto-Modelo at auction. Phillips achieved the world record for the artist this past February in London.

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Otis Kwame Kye Quaicoe

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Otis Kwame Kye Quaicoe Shade of Black, 2018. Estimate: $20,000-30,000.

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Evoking the postmodern, realist portraiture of Barkley Hendricks and Kerry James Marshall, Otis Kwame Kye Quaicoe’s luminous, bold paintings of black men and women exude a sense of pride and aristocratic dignity. Born in Accra, Ghana, but now living and working in Portland, Oregon, he usually depicts his friends (from real life or those he met online) or people he encounters on the street in classically derived poses. Shade of Black is a work from Quaicoe’s series of cowboys, and likely portrays model David Theodore, who wore a similar ensemble for a 2019 photoshoot. As all of the artist’s figures, the present subject is depicted with conspicuously vibrant sartorial choices, donning a bright purple jacket atop a tangerine turtleneck, outfitted with a straw yellow cowboy hat. The lush treatment of these garments harmonizes with Quaicoe’s rendering of black skin—replete with golden, coral, and burgundy tonalities. Quaicoe’s paintings are influenced by hand-painted Ghanaian film posters from the 1980s and 1990s, which is clear in the compositions of the canvases, usually featuring a single figure against a monochrome impasto-rich expanse. Quaicoe’s work is incredibly rare-to-market, and Shade of Black represents the artist’s debut at auction.

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Christina Quarles

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Christina Quarles Placed, 2017. Estimate: $70,000-100,000.

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A superb example from an artist rare to auction, Placed exemplifies Christina Quarles’ fresh painterly approach to universal themes of identity and sexuality, which has earned her a reputation as one of the most innovative voices of her generation. In her launch to widespread acclaim over the last three years, the painter has enjoyed international museum attention, and her unique vision will be celebrated in a major solo exhibition at the Museum of Contemporary Art Chicago next year. This global recognition—virtually unprecedented for an artist only 35 years old—has translated into her status as one of the most sought-after painters among her contemporaries. Only three paintings by Quarles have ever been offered at auction, with Phillips having achieved the artist’s current record price in 2019.

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Robert Nava

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Robert Nava The Tunnel, 2019. Estimate: $40,000-60,000.

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Evoking ancient hieroglyphics, Robert Nava’s mythical monsters teeter between commemorative gravitas and childlike levity. Intrigued by the mystery inherent to viewing ancient images, such as those in cave painting, when viewed within a contemporary context, the artist envisions enigmatic creatures with untold stories. Nava’s approach was informed by myriad influences spanning art history, from the Old Masters to Huma Bhabha, ancient art—primarily Egyptian, Mayan, and Sumerian—to Vincent van Gogh. Interested in the soul and immense impact of the these images, Nava also became obsessed with the “mistakes” he found in the works by this diverse selection of creators. “And even looking at a Renaissance painting, I would be looking for error, like mistakes were more alive to me. By drawing things ‘incorrectly,’ I found more things to do in that realm,” Nava explained. “So that's why I find it more interesting and why I draw and paint like this. It's been like that since probably 2007 or 2008, but now it's getting really refined, and I know what I want to do more.”

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Nava’s exhibitions at Night Gallery, V1 Gallery, and Sorry We’re Closed were sold out, and The Tunnel marks the artist’s auction debut.

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Titus Kaphar

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Titus Kaphar Untitled (red thread lady), 2013-2018. Estimate: $40,000-60,000.

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Titus Kaphar’s work questions the nature of history and its representations in the past and today. By altering the materiality of his paintings, sculptures, and installations, Kaphar subverts conventional understandings of historical representations and exposes the uncomfortable and troubling realities of the racism in America’s past. This is the artist’s first auction season since joining Gagosian’s roster of artists.

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Coalescing fact and fiction, Titus Kaphar’s much-acclaimed Vesper Project explores the precariousness of memory and social constructions of identity. After mistakenly recalling an experience with an aunt that never occurred, the artist—whose work is often informed by the perennial destructiveness—began to communicate with a character in his work, named Ben Vesper. Their five-year-long fictional exchange is documented by a series of letters, journal entries, and other ephemera regarding Vesper’s family history on the project’s website. This experiment evolved into an installation set in an actual 19th-century house, in which Untitled (red thread lady) was hung on the wall, and is Kaphar’s most exhibited—and arguably most famous—body of work.

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Jonathan Lyndon Chase

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Jonathan Lyndon Chase Clothes Shopping, 2018. Estimate: $10,000-15,000.

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Jonathan Lyndon Chase directly addresses his personal history and manifests the complex matters of race, gender, sexuality and class across his practice. His work encourages viewers to confront their preconceptions and the ways in which subjective social constructs affect the way we live. By initiating this introspection, Chase contributes a new narrative to contemporary discourse and inspires viewers to do the same. In Clothes Shopping, Chase explores the ways by which traditional notions of masculinity can be challenged and overturned. His subjects are black queer figures that incorporate a compositional fantasy informed by his own life experiences in pornography, books, social media, and dreams. Last November, Phillips set the world auction record for Chase with the work rose petals on bed.

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Noah Davis

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Noah Davis 100 Years of Entertainment 1-5, 2008. Estimate: $120,000-150,000.

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Painted in 2008, Noah Davis’ 100 Years of Entertainment 1-5 is a characteristic example of the artist’s lush, moody paintings of themes representative of African American life. Davis's decadent brushwork portrays the quotidian reveries of the urban dreamer; his surreal, sensitive works are marked by an unexpected optimism and their gentle immersion of the viewer into the somnambulistic world of the artist’s musings as much by their velvety surfaces. As such, the present work vividly portrays five vignettes consisting of various forms of entertainment in intense detail. Davis’ studies of various forms of enjoyment attest to the universality of our means of amusement and to the artist’s skillful rendition of his subjects. As Helen Molesworth proclaims "Oh man, Noah Davis: That work speaks for itself.” Earlier this year, Phillips set the world auction record for Davis in our March New Now sale.

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Vivian Springford

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Vivian Springford Untitled (Tanzania Series), 1972. Estimate: $60,000-80,000.

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Untitled (Tanzania Series)’s bold concentric pooling of pigment is wholly representative of Springford’s signature “one-shot” paintings, which are created in a single attempt without edits or alteration. By the 1970’s Springford had developed her distinctive technique for staining her raw canvases with thin washes of pinks, blues and greens, in a method that almost mimics the application of watercolor. The present work’s brilliant hues and organic pattern work in tandem with the delicacy and thoughtfulness of Asian artistry to form an awe-inspiring burst of passion.

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Bold in approach and vision, but timeless in appeal, Springford’s compositions are finally receiving long-overdue popular and critical acclaim. With more international exhibitions of her work on the horizon, Springford’s place in the canon of postwar abstract painting is certainly being sealed. This is only the fifth painting by the artist to come to auction, the last three of which were all sold within the last year and a half.

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Matthew Wong

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Matthew Wong Mood Room, 2018. Estimate: $60,000-80,000.

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Matthew Wong’s refulgent paintings are prisms of art history. From Chinese literati painting to the expressive brushwork of Vincent van Gogh and Chaim Soutine, the Nabis and Henri Matisse’s fervor for color to the gestural approach of the Abstract Expressionists, numerous influences are palpable in his vibrant vignettes. An enigmatic, psychologically-charged depiction of a space of the artist’s imagination, Mood Room is a superb example from the brief yet profound body of work Wong executed before his untimely death last year.

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A self-taught artist, it wasn’t until 2012 that Wong first began to experiment with drawing. “At first I just bought a cheap sketch pad along with a bottle of ink,” Wong said, “and made a mess every day in my bathroom randomly pouring ink onto pages — smashing them together — hoping something interesting was going to come out of it.” The artist’s mother recalled that “he would go to libraries and study all the masters—Picasso, van Gogh, Matisse,” and participated in Facebook communities of artists who introduced him to new techniques and ideas. Among these online friends included painters Peter Shear and Brian Calvin, and prominent art dealer John Cheim even counseled Wong on which oil paint to try.

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Matthew Wong Landscape with Young Bather, 2018. Estimate: $20,000-30,000.

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Landscape with Young Bather, 2018, also epitomizes Wong’s celebrated landscape paintings informed by modernist traditions. Replete with rich color and pattern, the present work nods to the hypnotic pointillism of Georges Seurat and the moody skyscapes of Vincent van Gogh. Here, the lone, almost indiscernible figure, further enriches the meditative quality of this work on paper as he moves in tandem with the rhythmic waves of his surroundings.

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\n","2020-06-29T19:29:48.000000Z","https://www.phillips.com/article/59932361/contemporary-emerging-artists-new-york-auction",871,3055,59932361,{"_1222":1264,"_1224":280,"_1225":1265,"_507":1266,"_1228":1267,"_1230":1268,"_1232":1233,"_1234":467,"_1235":1269,"_459":170,"_1237":1270,"_1239":1271,"_1241":1272},"https://flockler.com/thumbs/sites/889/gettyimages-1054316850-d356fb38-c8e9-4cee-87fc-4fbd7a6a5298_s600x0.jpg","Robert Manley, Phillips Deputy Chairman and Worldwide Co-Head of 20th Century & Contemporary Art, speaks with Jill Weinberg Adams, who worked closely with Joan Mitchell at Xavier Fourcade Gallery. ","Jill Weinberg Adams on Joan Mitchell ","

Joan Mitchell in her Paris studio, 1962. Photo by BIOT Jean-Pierre/Paris Match via Getty Images, Artwork © Estate of Joan Mitchell.

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ROBERT MANLEY: Jill, tell us about your connection to Joan Mitchell’s painting, 'Noël,' 1961-1962.

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JILL WEINBERG ADAMS: I was at the Xavier Fourcade Gallery during the '70s and '80s, and this painting was exhibited there in 1985, as part of a very important exhibition of paintings from 1961 and '62. They had never been seen in New York before and only been exhibited only once previously.

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Joan Mitchell and Xavier Fourcade in the artist's studio, circa 1983.

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In the summer of 1979, Xavier was in Paris during which time he visited Joan and that appears to have been the occasion when Joan told him there is a group of paintings that were stored at Klipstein and Kornfeld in Bern. They had remained there, after having been originally exhibited there in 1962. Xavier immediately went about retrieving them from Switzerland. Most of them were held back until the right opportunity to devote a show specifically to these paintings. The Fourcade show was “Joan Mitchell: The Sixties,” held April 3rd to May 4th in 1985.

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Joan Mitchell Noël, 1961-1962. Estimate: $9,500,000-12,500,000.
\n20th Century & Contemporary Art Evening Sale.

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RM: Do you remember the first time you saw 'Noël' and this whole body of work?

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JWA: It would have been in the warehouse when they arrived after shipment. I was the person who accompanied the photographer to the warehouse and had the experience of seeing all 13 of the paintings, including Noël.

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In Michael Brenson’s review in The New York Times, he described the power of the paintings, their lyricism, their centers like two squalling cats. He made the point that a lot of these paintings seem to revolve around the conflict between two primary areas of activity—and you certainly see that in Noël. The juxtaposition of the underlying green mass becomes the stage set for establishing the chromatic contrast between this hot, bright orangey-red and the whole range of greens.

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In this period of time, between 1960 and 1962, Joan was exploring and navigating a whole different method and range of paint application, from throwing paint on the canvas to squeezing paint directly onto the canvas to using brushes. It's also said she used her fingers, I’m not sure about that. There's a tangle of staining and impasto and articulated brushstrokes and blurry areas that are distinctive in this period. Noël has a kind of a limpid, liquid, airy quality that extends to the brushy, washy passages - I call them atmospheres - that surround the central composition. And those are the things that knit the painting together. She described the figure/ground relationship as the only formal issue in painting that interested her. And that really has to do with establishing a foundation, building on top of it, and then connecting the entirety to the format of the canvas itself.

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RM: Did Joan ever talk about her work from this period?

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JWA: I helped prepare for her first traveling retrospective exhibition, which opened in 1988 and traveled through 1989. The curator was an art historian named Judith Bernstein. Judith elicited from Joan the comment that these paintings were “very violent and angry paintings,” though at the same time, there is a lightness and a lyricism and a breadth to them.

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But in looking back on these paintings, Joan would also have remembered what a difficult time it was in her life. Her father was ill, her mother had been diagnosed with cancer. She was going through her whole drama with Riopelle, settling in Paris, the art world changing, the Abstract Expressionist community fragmenting, the rise of pop art. There is a vigor and an expressiveness, in the way that this painting and other paintings from this period are created, that does give them their storms. They have an emotional tone that does, to some extent, express a certain kind of contrast between darkness and light, between lovely experiences like a garden party in the afternoon, (which is the title of one of the paintings in the series) to another painting in the series called Grandes Carrières, a section of Paris known for the cemetery located in the abandoned quarries. So there are hints of death as well as memories of a garden of light and loveliness.

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I think, that Noël has a specificity of its color palette that's not true of all of the other paintings—more than ones like Grandes Carrières at the Museum of Modern Art. It's a little bit more violent, it's a little bit more reddish. It has an overall tonality and a narrower contrast range. Whereas this painting really does sparkle with the juxtaposition of near complementary colors. Joan's sense of color was very nuanced and she was really sensitive to the specific hues that she was using.The inclusion of ochres and ambers and earth tones and greys were always very important in setting off her use of color.

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RM: 'Noël' was included in the 1962 exhibition at Klipstein and Kornfeld, can you tell us about that?

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JWA: The 1962 show that Joan Mitchell had with Klipstein and Kornfeld in Bern, Switzerland was a very, very important exhibition for her. It was an opportunity to show a larger, interrelated and extraordinarily dynamic body of work in Europe with the support of a really established, highly regarded historic organization that was both publisher, auction house, and exhibition gallery. It appears likely that her connection with Kornfeld and Klipstein came out of her close friendship with Sam Francis, who was already working with them.

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Joan Mitchell Noël, 1961-1962 (installation view). Estimate: $9,500,000-12,500,000.
\n20th Century & Contemporary Art Evening Sale.

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RM: Do you have any insight into how Mitchell named her paintings?

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JWA: Mitchell loved poetry. She liked the sound of words, such as 12 Hawks at Three O'clock. Her titles came afterward; she didn't start with a title. Sometimes friends would participate in titling sessions. These paintings would have been given titles as they were chosen to leave the studio and go out into the world for the exhibition in Switzerland.

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I think it's reasonable to conclude that she chose Noël for this painting because of its juxtaposition of green and this reddish color that would not be atypical for her. It is interesting to note that most of the paintings in this group of works were given French titles, but some had English titles. Noël is kind of an interesting case because it's both. There may have been other references. It may be a painting that was finished in the wintertime.

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I paint from remembered landscapes that I carry with me – and remembered feelings of them, which of course become transformed…
\n— Joan Mitchell
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Joan Mitchell Untitled, 1975. Estimate: $80,000-120,000.
\n20th Century & Contemporary Art Day Sale, Morning Session.

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RM: Can you talk about the paints Joan used and how she painted?

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JWA: Mitchell's paintings would tend to begin with a washy underlayer as an establishment of the composition. In this case, it would be the whole rear ground green that largely ends up getting covered up. When she was starting a canvas, she was beginning it generally with broad brushes and a thinned down paint. That established an environment in which drips are inevitable. During the ‘50s where one sees glimpses of drips, she tended to continue to build her structure on top of the drips and ultimately covered overall, but clearly she allowed them in these paintings.

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By the time you see drips for the first time in a painting like this and others of this period, she appears to be taking a loaded brush and throwing it at the canvas and accomplishing this dollop of paint followed by a trail. Compared to works from four or five years earlier—which tend to be much more all over, more architectural—in this period, she is exploring and navigating a whole different method and range of paint application, from throwing paint on the canvas to squeezing paint directly onto the canvas using brushes. This continued the rest of Mitchell's life as a painter, which went on another 30 years. She alternated between pulling her compositions into the center and extending them and expanding them back around to the boundaries. This is the first time that she gathered the composition into these knots of activity.

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Joan Mitchell always used very high-quality painting materials. She wasn't like de Kooning or Kline who just sometimes used whatever they had at hand. It was always really important to her to use the best oil pigments in order to achieve the desired results. She worked as carefully as she could, and knew to put thick over thin and not thin over thick. But she did really push her pigments around sometimes in ways that are impossible, painting thicker than paint is really engineered to be and she oftentimes pushed the capacity of the paint to the brink. Noël is in really remarkably good condition. During its initial period of drying and stabilizing, it wasn't moving around, it was presumably in some kind of a reasonably temperature-controlled environment. So it could sit. And then, because it only changed hands a couple of times and has been in a private collection where it's obviously been loved for such a long time, it hasn't been subjected to the indignities of poor handling and temperature changes and all of that.

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Jean-Paul Riopelle and Joan Mitchell photographed in their apartment-studio on Rue Frémicourt, Paris, 1963.

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RM: Were there special challenges Joan faced as a woman?

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JWA: She might stand in front of a painting, nudge a companion and say, "Not bad for a lady painter”. She was never not aware of the reality that her gender, her identity as a woman, put her in a category that she bridled against, that she worked to not allow to impede her. She really insisted that it didn't limit what she did or how she approached it. I sometimes think that it affected Joan more in her social and professional life than it did in the studio. In the studio, it didn't matter at all what her gender was.

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I feel strongly that one of the reasons that Joan Mitchell's work is increasingly recognized, increasingly held in high regard is because of how she authentically viewed painting. Her goal for her paintings was that a painting should be a repository that reflects some aspect of lived experience. So that like a great poem or a Shakespearean sonnet or a great piece of musical composition, the greatest of them are never dated. They're always alive. We don't care about this painting only because it's an important example of a historical period. Although we do care about it because of that, we really primarily care about this painting because of the way it's alive in front of our eyes.

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Jean-Michel Basquiat Defacement (The Death of Micheal Stewart), 1983. Photo: Allison Chipak © Solomon R. Guggenheim Foundation, 2018 © Estate of Jean-Michel Basquiat.

Amoako Boafo

Amoako Boafo Joy in Purple, 2019. Estimate: $50,000-70,000.

Amoako Boafo After the nail color, 2018. Estimate: $50,000-70,000.

Lucas Arruda

Lucas Arruda Untitled from the series Deserto-Modelo, 2012. Estimate: $60,000-80,000.

Otis Kwame Kye Quaicoe

Otis Kwame Kye Quaicoe Shade of Black, 2018. Estimate: $20,000-30,000.

Christina Quarles

Christina Quarles Placed, 2017. Estimate: $70,000-100,000.

Robert Nava

Robert Nava The Tunnel, 2019. Estimate: $40,000-60,000.

Titus Kaphar

Titus Kaphar Untitled (red thread lady), 2013-2018. Estimate: $40,000-60,000.

Jonathan Lyndon Chase

Jonathan Lyndon Chase Clothes Shopping, 2018. Estimate: $10,000-15,000.

Noah Davis

Noah Davis 100 Years of Entertainment 1-5, 2008. Estimate: $120,000-150,000.

Vivian Springford

Vivian Springford Untitled (Tanzania Series), 1972. Estimate: $60,000-80,000.

Matthew Wong

Matthew Wong Mood Room, 2018. Estimate: $60,000-80,000.

Matthew Wong Landscape with Young Bather, 2018. Estimate: $20,000-30,000.

Joan Mitchell and Xavier Fourcade in the artist's studio, circa 1983.

Joan Mitchell Noël, 1961-1962. Estimate: $9,500,000-12,500,000.\n20th Century & Contemporary Art Evening Sale.

Joan Mitchell Noël, 1961-1962 (installation view). Estimate: $9,500,000-12,500,000.\n20th Century & Contemporary Art Evening Sale.

Joan Mitchell Untitled, 1975. Estimate: $80,000-120,000.\n20th Century & Contemporary Art Day Sale, Morning Session.

Jean-Paul Riopelle and Joan Mitchell photographed in their apartment-studio on Rue Frémicourt, Paris, 1963.

Joan Mitchell Noël, 1961-1962. Estimate: $9,500,000-12,500,000.
\n20th Century & Contemporary Art Evening Sale.

Joan Mitchell Noël, 1961-1962 (installation view). Estimate: $9,500,000-12,500,000.
\n20th Century & Contemporary Art Evening Sale.

Joan Mitchell Untitled, 1975. Estimate: $80,000-120,000.
\n20th Century & Contemporary Art Day Sale, Morning Session.

18

Albert Oehlen

Im Museum II

Further Details

Full-Cataloguing

Albert Oehlen