Rosanna Widén
\n晚間拍賣主管暨資深專家
\n+44 20 7318 4060
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\nOlivia Thornton
\n二十世紀及當代藝術歐洲主管
\n+44 20 7318 4099
\nothornton@phillips.com
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\nclientserviceslondon@phillips.com

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“I’m not interested in the autonomy of the artist or of his signature style. My concern, my project, is to produce an autonomy of the painting, so that each work no longer needs that legitimising framework.”
\n—Albert OehlenBursting with bright, bold colours, its surface animated by an unbridled, kinetic energy, Ascension encapsulates Albert Oehlen’s restlessly inventive approach to painting, and the subversive spirit that has characterised his work from the 1980s to today. The work is utterly absorbing, its densely layered surface rapidly shifting between more complex structures and thinner washes of paint. Psychedelic in its visual effects, this interplay of more clearly defined shapes with softer, mutating forms that appear to consume each other as our eye shifts across the canvas brings the work to life in glorious technicolour. Alongside the transitions between sprayed, dripped, and more conventionally painted passages, Oehlen’s fluctuating tones here also play an important role in mediating the spatial complexity of the work, darker passages and matte textures counterpointing the glossy, luminous bursts of neon yellows and hot pinks to powerful compositional effect. A cacophony of contrasts, Ascension exemplifies Oehlen’s unique pictorial language in the early 2000s and its combinations of ‘delicacy and coarseness, colour and vagueness, and, underlying them all, a base note of hysteria.’ⁱ

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Legacies of Abstraction

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In its treatment of surface, pictorial space, painterly gesture, and vibrant colour, Ascension engages with the radical legacy of 20^th century abstraction, while showcasing the artist’s restless experimentalism and unique pictorial idiom. Recalling in particular the all-over experiments pioneered by Abstract Expressionist artists in the middle decades of the 20^th century, this painting belongs to an important body of work that radically developed the abstract language of ‘post non-representational painting’ that Oehlen pioneered in the 1990s. Rejecting the straightforward binary of abstract and figurative painting, Oehlen’s canvases began instead to adopt ‘a chorus of contradictory gestures; figuration is set against abstraction, form against anti-form, the rhythm of pattern versus a meandering stroke’.ⁱⁱ A keen student of art history, Oehlen has been vocal about his attraction to modes of mid-century abstraction, developing an especially deep and long-lasting interest in Willem de Kooning’s gestural mark-making. Like de Kooning, Oehlen’s painting during this period moved towards a radical openness, refusing fixity as a principle, and instead exploring the formal possibilities of treating the canvas as a space perpetual shift and change.

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\"Willem — Willem de Kooning, *Abstraction*, 1949-50, Museo Thyssen-Bornemiza, Madrid. Image: Bridgeman Images, Artwork: © The Willem de Kooning Foundation/ARS, NY and DACS, London 2023

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Hetzler Boys

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It was during an extended period in Spain with friend, and fellow ‘Hetzler Boy’ enfant terrible Martin Kippenberger in 1988-89 that Oehlen first began to consider the possibilities that abstraction might open up for his practice, a pivotal moment representing, in the artist’s own words, ‘the start of my abstract paintings, a radical revolution in my painting, the decisive step in my development.’ⁱⁱⁱ Tongue-in-cheek, Oehlen also is quick to point out the teleological aspect of this kind of thinking, as if ‘art history went from figurative to abstract […] And I should do the same.’^iv

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\nWhile Kippenberger was known for the rapid execution of his works, Oehlen continued to develop a slower kind of painting in these years, taking obvious pleasure in the specific qualities and technical possibilities presented by his chosen medium. The two spurred each other on though, sharing ideas, exhibitions, homes, and painterly problems as they refined their distinct approaches. The inclusion of a hand curled around what looks like the stem of a rose, just discernible beneath the layers of acid colour and flurry of painterly marks perhaps references this important and deeply collaborative friendship, the rendering of hands being something of a running joke between the two artists. As Oehlen explains, “The hands were a theme that we competed about. I once mentioned to him that I had heard that one could see from painted hands whether someone could really paint. We were standing in front of one of my self-portraits where the hands were really bad. He wanted to go one better.”^v

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In the late 1970s Oehlen moved to Hamburg to study at the Hochschule für bildende Kunste Hamburg under renowned painter Sigmar Polke, synthesising the school’s atmosphere of experiment and avant-gardism with the raw aesthetic, anti-establishment attitude, and shock tactics associated with the punk scene at the time. Polke’s treatment of pattern, depth, and surface, as well as his experimental approach to a range of different materials including wood and fabric, acted as provocations for the young Oehlen, who later explained ‘I couldn’t say what Polke’s influence was, but it’s his radicality. When you start to work as an artist everybody thinks about radicality, like how could you make the most shocking thing. And it’s not easy. [...] Polke is somebody who had a role in that; in a way he made very radical things.’^vi

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\nDuring the 1990s Oehlen too would experiment with the use of a textile ground in his Fabric Paintings, works whose fractured surfaces allowed Oehlen to advance his inquiry into pictorial depth and surface, while complicating notions of the role played by the artist’s hand in the act of creation. Continuing to advance these material or mechanical interventions, Oehlen also embarked on his Computer Paintings during this period. Using a rudimentary, early iteration laptop, Oehlen confounded distinctions between the handmade and the technologically produced, transferring the computer’s pixelated images from the screen to the canvas as he continued to home his abstract idiom. Generating fascinating and rapid transitions between form, tone, and texture, Oehlen also expanded the tools used in his practice, applying paint using a range of brushes, spraycans, and rollers as he continued to probe the paradoxical flatness and depth of the picture surface.

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One of the most important artists working today, the significance of Oehlen’s work on an aesthetic as well as conceptual level continues to be emphasised, with major publications and important retrospectives held at Whitechapel Art gallery, London, the Palazzo Grassi, Venice, and the Serpentine Gallery, London held in recent years. With the rise in new media and ever-shifting digital horizons, Oehlen’s work is more relevant today than ever before, and his influence continues to be felt amongst a generation of new, emerging artists. Engaging with the history of painting as it involves new technologies, Ascension is a provocation, pushing the fundamental painterly principles of form, colour, and gesture into new territory for the 21st century.

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Collector’s Digest

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\n\t
Under the tutelage of Sigmar Polke at the Hochschule für bildende Künste Hamburg and the mentorship of figures such as Jörg Immendorff, Albert Oehlen emerged from the Neue Wilde German art movement of the 1980s. On the back of the Neo-Expressionist debate, and in the context of the fall of the Berlin Wall alongside the end of the GDR in 1989, Oehlen sought to liberate abstract art and did so through his revolutionary “post-non-representational” style.
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Examples of Oehlen’s work are held in major international collections including The Museum of Modern Art in New York, the Tate Collection in London, and the Museum für Moderne Kunst, Frankfurt, amongst others.
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In 2018, he was the subject of a major career survey at the Palazzo Grassi in Venice, which was then followed up by another retrospective at the Serpentine Gallery in London in 2019. In the Serpentine exhibition, Oehlen introduced the first of a series of installations created in reaction to the Rothko Chapel in Houston. Always showing a keen interest in emerging technologies, Oehlen has most recently been experimenting with the aesthetic possibilities of Virtual Reality.
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ⁱ Peter Schjeldahl, ‘Albert Oehlen: Painting’s Point Man’, The New Yorker, June 2015, available online:
\nⁱⁱ Hamza Walker, ‘Albert Oehlen: The Good, the Bad, the Ugly’, in Albert Oehlen: Recent Paintings (exh. cat.), Chicago, 1999, online.
\nⁱⁱⁱ Albert Oehlen, quoted in Raphael Rubinstein, ‘The Accidental Abstractionist’, Art in America, 29 May 2015, online.

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^iv Albert Oehlen, quoted in Glenn O’Brien, ‘Albert Oehlen’, Interview Magazine, 24 April 2009, online.
\n^v Martin Kippenberger The Problem Perspective, (exh. cat.), Museum of Contemporary Art, Los Angeles, 2008, p. 94
\n^vi Albert Oehlen, quoted in ‘Interview with Albert Oehlen’, Pataphysics Magazine, 1990.

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CAROLINE WALKER Threshold, 2014

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WILLEM DE KOONING [no title], 1984

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MICHEL MAJERUS Express, 2001

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JEFF KOONS Cherubs, 1991

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ALBERT OEHLEN Ascension, 2001

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ANSELM KIEFER Walhalla, 2016

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HOWARD HODGKIN Summer Rain, 2002

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JOHN CHAMBERLAIN Sprayed Myopia, 1988

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LOIE HOLLOWELL Split Orbs in purple, ochre, and brown, 2021

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Howard Hodgkin, Summer Rain, 2002 – 2013. View lot >
\nJohn Chamberlain, Sprayed Myopia, 1988. View lot >

\n\n

Phillips invited the celebrated poet to share his insights on two masters featured in our 20^th Century and Contemporary Evening Sale upcoming in London on 2 March.
\n
\n

\n\n

Howard Hodgkin once observed that "People are afraid of pictures which have visible emotions in them. They feel calmer in front of pictures which are placid." His usually small, gemlike paintings do radiate a certain calm, in the Baudelairean sense of 'luxe, calme et volupté'. Always painted on wood, these works are front loaded with emotion and sensuality. John Chamberlain's ferocious looking steel sculptures, reassigned to artistic purpose from salvaged motor vehicles, would seem diametrically opposed to the operatic lushness of Hodgkin's paintings, yet place this unlikely pairing together in a room, and their inapposite points seem to easily commune, disparities dissolved.

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The two artists and their respective works are certainly unlikely bedfellows; Hodgkin a highly erudite and rather austere Englishman, Chamberlain a U.S. Navy vet and wild reveler who originally used the G.I. Bill to study hairdressing, in order, he said, to meet more girls. This was before his epiphany in Larry Rivers' backyard in Southampton, when he ripped the chromium fenders off a vehicle abandoned there, beat them into shape by driving over them with his truck, and thus created his first sculpture in steel, which he named Shortstop.

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Chamberlain was fond of saying that he got his sense of color from de Kooning, and 'gesture' from Franz Kline, two major exponents of the AbEx ethos, both of whom were friends and drinking companions. It's difficult to imagine Hodgkin carousing with them at the Cedar Bar while Pollock was busy tearing the door off the lavatory, and yet the threads of his expressionistic work intertwine comfortably with the more explosive outbursts of the New York AbEx crew.

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Hodgkin's sensuous, intense paintings, infused with his love of late 19th-century French painters like Degas and Vuillard, also reflect his passion for the vivid light and colors of India, a country he visited frequently throughout his life. These tropical colors contrast sharply with the white glare of the studio in which he worked, full of light and devoid of any decoration.

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Many of Chamberlain's turbulent steel pieces, whose gaudy colors exude a jingle jangly urban rhythm, were produced in the sylvan setting of Shelter Island, where Chamberlain finally settled after sojourns in New York City, Los Angeles, Santa Fe, Connecticut, and Florida. The vast studio on Shelter Island is a step away from his living quarters, and both areas were filled with the materials he used in his art, which was never limited to disassembled cars — he also produced works in sculpted sponge, in paper and aluminum foil, each piece crumpled and squeezed until the form pleased the artist's eye, often guided by his early love of poetry, which he had studied at Black Mountain College with Robert Creeley and Charles Olson. "If I have a room full of parts, they are like a lot of words, and I have to take one piece and put it next to another and find out if it really fits."

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Hodgkin on the other hand wryly observed that "I never try to understand anything I do — it's a waste of time." But, he was also a lover of poetry, although he preferred more traditional English poems. The painting Green Thought in a Green Shade takes its name from Andrew Marvell’s 17th-century poem The Garden, “Annihilating all that’s made / To a green thought in a green shade.” In certain of his paintings a raw sensuality punches through the abstraction to evoke remembered moments as powerfully as one of Proust's madeleines. He is an artist who redefined the way we look at the world, bringing passion and memory into the language of painting. Both Hodgkin and Chamberlain shied away from describing or explaining their art, afraid that words would only limit the viewer’s mind and imagination. The sense of powerful feelings and emotion coursing through the work of both is more than enough to energize a room and anyone standing in it.

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About Max Blagg /

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Max Blagg, born in England, has lived in NYC since 1971. Long recognized as a highly respected poet, visual artist, and performer on the New York art and literary scene, he has appeared at innumerable venues including the Kitchen, Guggenheim Museum, Parrish Museum, St. Marks Church, The National Arts Club, and Bowery Poetry Club. Blagg has published several volumes of poetry and prose internationally and in the U.S. with Carpe Diem Press, Paradigm Press, and Shallow Books. Blagg's collaborations with artists, including Alex Katz, Richard Prince, Nan Goldin, Keith Sonnier, Jack Pierson, and Larry Clark, have culminated in books, artworks, and videos. His artworks have been exhibited at The Parrish Museum, Luring Augustine, Exhibition A, and collected by artists Richard Prince, Larry Clark, Nate Lowman, and Adam McEwen. Four of his "flyers" from 1984 were included in the Nan Goldin exhibition, MoMA, NYC, 2016. A poem/painting collaboration with Richard Prince was included in the Richard Prince Retrospective, Guggenheim Museum, NYC, 2007.

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Auction /

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20th Century & Contemporary Art Evening Sale
\n2 March, 5pm
\n30 Berkeley Square, London (map)

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\nViewing /

\n\n

23 February – 2 March
\nMonday – Saturday, 10am – 6pm
\nSunday, 12pm – 6pm

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Discover More from 20th Century & Contemporary Art >

\n\n

Recommended Reading

\n\n

New Talent Speaks: Five emerging artists to benefit Foster Pride >

\n\n

Wave After Wave: Paul Laster on six women artists on the contemporary crest >

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\n","publishDate","2023-02-20T17:35:37.000000Z","authorCredit","Don Carroll","coverPosX",50,"coverPosY","articleUrl","https://www.phillips.com/article/115035458/an-unexpected-pairing","auctionEditorialID",1743,"editorialID",4123,"flocklerID",115035458,{"_1251":1275,"_1253":198,"_1254":1276,"_544":1277,"_1257":1278,"_1259":1279,"_1261":1262,"_1263":1264,"_1265":499,"_1266":1280,"_491":196,"_1268":1281,"_1270":1282,"_1272":1283},"https://flockler.com/thumbs/sites/889/young-dekooning-b33d52c3-53ea-4735-8e15-d427303b6ae1_s600x0.jpg","A reflection on the late great Willem de Kooning by Anthony Haden-Guest.","On a Very Good Day","

The artist Willem de Kooning as a young man, August 1953, East Hampton. Photo by Tony Vaccaro/Getty Images.

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Phillips invited elder statesman of the art world, Anthony Haden-Guest to take the long view of the life and career of Willem de Kooning — whose monumental triumph [no title] of 1984 features in our 20th Century & Contemproary Evening Sale in London on 2 March.
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Willem de Kooning traveled from Holland to the United States as a stowaway, made it to New York in 1926, and soon, the 22 year old was putting bread on the table by painting houses, doing illustrations, and making displays for department stores as he worked on his art. In this he was doubly gifted, both at making incisive figurative drawings and painting abstractions, and such was his need to make art that he gave up that Depression rarity — a paying job — to work for the Works Progress Administration (WPA), the federal arts project, so as to be near working artists. There he was an assistant to Fernand Léger and, crucially, grew close to Arshile Gorky, through whom he learned how to absorb what he needed from Picasso’s Cubism, without being crushed by the maestro’s heft and reach.

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De Kooning shortly became part of the emergence of Abstract Expressionism, the movement which would be swiftly accepted as having enabled New York to replace Paris as global capital of the contemporary art world. The AbEx group included Mark Rothko, Clifford Still, Barnett Newman, and Franz Kline, so it was hardly low on talent, but de Kooning and Jackson Pollock had soon emerged as contenders for leading roles. Then, as was humanly inevitable, came the sniping as to which deserved the number one spot; sniping in which both, from time to time, participated.

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Their differences went deeper than manners of painthandling. When Hans Hofmann, the German AbEx artist, asked Pollock if he worked from nature, Pollock riposted “I am nature.” When de Kooning was explaining why he so liked the Hamptons in a letter to friends, he wrote: “For a painter like me it is much better to be surrounded by a small nature. Places like the Grand Canyon would frighten me to death.”

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That was just a coincidence of phrasing, but it reflects the fact that the swirling planes on a Pollock canvas appear to have been executed with a deliberate indifference to the long-standing norms of composition, however these are the norms in which de Kooning was well schooled and used to his own remarkable ends. “De Kooning blew open the Cubist grid, changing its mode from structural to fluid,” in the words of the late New Yorker critic Peter Schjeldahl, a writer with un uncanny gift for getting into an artist’s head and brush hand, “De Kooning is to classical Cubism as flying is to walking.”

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In 1950 de Kooning painted Excavations, a tremendous canvas, interpreted by his fellow AbExes, as a direct challenge to Pollock. This was one of the four de Koonings that Alfred Barr presented at the Venice Biennale in 1953. Three years later Pollock died, drunkenly crashing his car in Springs, New York. “It’s over. I’m number one,” de Kooning said at the funeral.

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De Kooning settled down to decades of making abstractions infused with a sense of the real, works which could seem crowded, but each of which was singularly resolved. He matched Picasso and Matisse for longevity, but his progress was very different from either. Matisse’s final work, his paper cut-outs, were well received. Picasso’s last canvases were expressively Picassoid, indeed controversially so, and it took a while before they got critical recognition and market acceptance.

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The changes in the paintings of de Kooning’s last period were more striking than either. These spare, pure canvases are at once serene and high energy, alive with looping, form-defining lines, and always achieving a deeply satisfying resolution; they take abstraction to places where it has never been. In his old age, de Kooning retained a magic wrist such as few others, and had decades of craft moves embedded in his head.

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“Pollock may be our greatest artist,” wrote Carter Ratcliff in The Fate of a Gesture. “Some have nominated Jasper Johns or Andy Warhol for that position. Undoubtedly, though, our greatest painter is de Kooning.” Peter Schjeldahl wrote, “The art of painting does not get more exciting than Willem de Kooning on a good day.” This painting was made on one of his best.

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Willem de Kooning, [no title], 1984. 20th Century and Contemporary Art Evening Sale, London.
\nEstimate: £7,000,000–9,000,000. View lot >
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Anthony Haden-Guest is a writer, cartoonist, art critic, and frequent contributor to publications across the art and culture spheres. An elder statesman of the art scene, his books include TRUE COLORS: The Real Life of the Art World and The Last Party: Studio 54, Disco and the Culture of the Night, along with collections of verse, cartoonery, and critique. He lives and works in New York and London.

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Auction /

\n\n

20th Century & Contemporary Art Evening Sale
\n2 March, 5pm
\n30 Berkeley Square, London (map)

\n\n

\nViewing /

\n\n

23 February – 2 March
\nMonday-Saturday 10am – 6pm
\nSunday 12pm – 6pm

\n\n

Discover More from 20th Century & Contemporary Art >

\n\n

Recommended Reading

\n\n

New Talent Speaks: Five emerging artists to benefit Foster Pride >

\n\n

Wave After Wave: Paul Laster on six women artists on the contemporary crest >

\n\n

\n","2023-02-16T20:06:58.000000Z","https://www.phillips.com/article/114705140/the-perfect-day",1744,4119,114705140,{"_1251":1285,"_1253":198,"_1254":1286,"_544":1287,"_1257":1288,"_1259":1289,"_1261":1290,"_1263":1264,"_1265":499,"_1266":1291,"_491":405,"_1268":1292,"_1270":1293,"_1272":1294},"https://flockler.com/thumbs/sites/889/lead-565b4840-7232-4125-a5e8-8f32a7a68c46_s600x0.jpg","Photography is essential to the process of five artists in our upcoming London Auctions.","The Painter’s Lens","

Caroline Walker, Threshold, 2014. 20th Century & Contemporary Art Evening Sale, London.

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With source material ranging from archival photographs to photographic portraits of one’s own community, we explore how five figurative artists working today employ photography in their practice to pose important questions about childhood, gender, and race in contemporary culture.

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Sarah Ball

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Sarah Ball, Elliot, 2020. 20th Century & Contemporary Art Evening Sale, London.

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Sarah Ball works primarily from found imagery — photographic portraits borrowed from newspapers, social media, and historical archives documenting immigration and criminality. As such, she approaches her paintings a step removed from her sitters, endowing her portraits with an air of detached anonymity which in turn encourages viewers to search deeply in their faces for these hidden narratives. As is typical of Ball’s spellbinding portraits, Elliot is titled after its sitter, a recurring subject in Ball’s work and one of the faces found through her photographic research. Closely cropped and set against a softly flattened, void space, the square format engaged here suggests the vernacular of studio photography, photobooth portraits, and even the rigid framing of the Instagram grid.
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\nStemming from an early interest in illustration and graphic design, Ball gradually honed the economic approach to form used to such powerful effect in the arrangement of crisp, flattened, monochromatic shapes at play in Elliot. Rather than cluttering her compositions with symbolically charged details, Ball’s paintings are radically reduced to better focus our attention on the most defining characteristics of her subjects. In this way, her strikingly clear portraits capture both a physical likeness and something more essential. The artist explains that she might be initially drawn to the source photograph by the small aesthetic details her subjects use to present themselves; but she focuses our attention beyond these visual markers. This method elicits an empathetic response in viewers, in a manner that at once recalls the denuded settings favored by Dutch and Flemish Old Masters and the cool psychological focus of Lucian Freud’s meticulous portraits.

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Claire Tabouret

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Claire Tabouret, L’Attente, 2015. 20th Century & Contemporary Art Evening Sale, London.

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At once haunting and immediately engaging, Tabouret’s painted characters are inspired by photographs, some taken from her personal archive and others from anonymous shots collected during her research. As Tabouret eloquently describes, in restoring something lost or otherwise absent from these source images, the painting emerges as “a palliative to everything I am feeling that isn’t actually visible in the photograph.” Tabouret’s figures appear suspended in space and time, ghostly impressions that seem to bring us into a direct and intimate relationship with history.
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\nImmersed in a seductive, phosphorescent light, L’Attente portrays a group of costumed children lined up in two rows. She arranges them closely together in the shallow pictorial space, stacking them in a tight, vertical format in a manner that visually recalls the more rigid configuration favored by studio photography. The figures are seen head-on, in a direct but hermetic attitude, confronting the viewer with a powerful and disarming gaze. As stated by the artist, the children she represents “have a particular mood — they are not sad, but rather solemn, serious. There is latent violence and anger in their eyes.” The use of historical photographs in her process aligns with the artist’s approach to painting — placing us in the middle of an unfolding narrative that feels both recognizable and foreign. It leaves the impression that we’re being welcomed into the past but are unable to enter it.

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Caroline Walker

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Caroline Walker, Threshold, 2014. 20th Century & Contemporary Art Evening Sale, London.

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Threshold is a late work from Caroline Walker’s series In Every Dream Home. Working exclusively with women, Walker developed a rather distinct approach to her compositions during this period. Having found the right location, she hired actresses and models to spend time in the space with her, posing and photographing them before returning to her studio to work from these carefully staged images. Repeatedly seen in the same luxurious residential setting, the paintings feature a recurring cast of women whom we glimpse in moments of unguarded stillness, the passage of time propelling them through a set of familiar domestic and leisure activities.
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\nWidely regarded as one of the most technically accomplished figurative artists of her generation, Walker’s paintings privilege the female gaze. They use domestic environments to pose questions around looking and being looked at, the slippery boundary between public behavior and private space, and the relationship between the spaces that we occupy and the kind of narratives that unfold in them. Threshold, is framed by dense, overhanging foliage, and depicts two women dressed in identical orange swimsuits lying head-to-head at the edge of an outdoor swimming pool. Distinctively, their faces are hidden by broad-rimmed, black sunhats. Mirroring each other, both trail an arm languorously in the water. The strange symmetry of Walker’s careful arrangement of their pose and attire echoes in the doubled reflection of the pool, which is reinforced by the strict symmetry of the alternating panels of oak and glass behind them. Walker’s pool paintings recall David Hockney’s but carry us further into a kind of narrative disquiet that is difficult to place, but that undoubtably calls on cinematic and photographic reference points.

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\nAmani Lewis

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Amani Lewis, Star and Be, 2021. 20th Century & Contemporary Art Day Sale, London.

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Photography serves as the conduit for the expressive truths of Amani Lewis’ work, which frequently retells the stories of their own Baltimore community on the terms of its lived identities. Beginning with a photographic image, they then manipulate their source material, often applying contour lines and other digital effects. The resulting images are then transferred to canvas, and painterly techniques are applied with a variety of media to build out the surface texture. The otherworldly effect of this process shifts the viewer’s perception from questions of a perceived external reality to a more nuanced appreciation of a subject’s inner life.

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As the artists explains, these portraits “have to do with following the lines and characteristics of my subject’s body that makes them the person who they are — while also mapping the lineage of that person to the likeness of a topographical map.” Most often working directly with members of their community as sitters, Amani Lewis’ subjects are treated as equal partners in the artistic process. This is clear in the immediately arresting canvas Star and Be. Here, the viewer is invited into a private interior moment shared between the two figures. The boundaries of media are so intricately blurred that we lose sight of where photography ends, and painting and collage begin. A deeply physical, yet ostensibly digitized image, the figures appear strong, on their own terms, yet open, exposed, and intimate. The enigmatic expressions of the characters are difficult to discern, but their stories are felt.

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Otis Kwame Kye Quaicoe

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Otis Kwame Kye Quaicoe, Dapper II, 2020. 20th Century & Contemporary Art Day Sale, London.

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African artist Otis Kwame Kye Quaicoe’s powerful portraits of black subjects begin with photography. Born and raised in Ghana, he was fascinated at an early age by the detailed hand-painted movie posters in cinemas, which led to his interest in painting. Searching for his own voice and artistic style after graduating from the Ghanatta College of Art and Design, he took a brief break from painting and studied photography. It was during this time that he met his wife, a photography enthusiast, and relocated with her to Portland, Oregon, in 2017. Confronted with the realities of American racism in Portland, he turned his work towards themes of empowerment. In 2020, the artist told Juxtapoz magazine, “I try to find other Black people that are living here. Talk to them. Photograph them. And then try to capture everything that is there in their personality and put it in a still image.”
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\nHis portraits are celebrations of blackness and reclamations of cultural dignity. His work frequently includes bright color in the clothes adorning his figures, as well as in thick impasto backgrounds. These colors, at times reminiscent of Ghanian Kente cloth, are often set against the tonal greyscale palate used to render the skin tones of his subjects. Suggestive of black-and-white photography, this virtuosic contrast draws our gaze to the majesty of the lives depicted. With its purple background executed in thick paint and its depiction of resplendent patterned cloth, Dapper II exemplifies the powerful effectiveness of this approach.

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Auction /

\n\n

20th Century & Contemporary Art, London

\n\n

Evening Sale
\n2 March, 5pm GMT
\n30 Berkeley Square, London (map)

\n\n

Day Sale
\n3 March, 1pm GMT
\n30 Berkeley Square, London (map)

\n\n

\nViewing /

\n\n

23 February – 3 March
\nMonday-Saturday 10am – 6pm
\nSunday 12pm – 6pm

\n\n

Discover More from 20th Century & Contemporary Art >

\n\n

Recommended Reading

\n\n

A Life of Living with Art: Personal insights on collecting from Jimmy Belilty himself >

\n\n

On a Very Good Day: A reflection on the late great Willem de Kooning by Anthony Haden-Guest >

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Legacies of Abstraction

Hetzler Boys

Collector’s Digest

Willem de Kooning, [no title], 1984. 20th Century and Contemporary Art Evening Sale, London.\nEstimate: £7,000,000–9,000,000. View lot >\n\n

Sarah Ball

Sarah Ball, Elliot, 2020. 20th Century & Contemporary Art Evening Sale, London.

Claire Tabouret

Claire Tabouret, L’Attente, 2015. 20th Century & Contemporary Art Evening Sale, London.

Caroline Walker

Caroline Walker, Threshold, 2014. 20th Century & Contemporary Art Evening Sale, London.

\nAmani Lewis

Amani Lewis, Star and Be, 2021. 20th Century & Contemporary Art Day Sale, London.

Otis Kwame Kye Quaicoe

Otis Kwame Kye Quaicoe, Dapper II, 2020. 20th Century & Contemporary Art Day Sale, London.

Willem de Kooning, [no title], 1984. 20th Century and Contemporary Art Evening Sale, London.
\nEstimate: £7,000,000–9,000,000. View lot >
\n
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11

Albert Oehlen

《上升》

更多資訊

完整圖錄內容

Albert Oehlen