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Auction 15 May 11am EDT

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450 Park Avenue, New York (map)

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Viewing 3-14 May

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Monday-Saturday 10am-6pm
\nSunday 12pm-6pm

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432 and 450 Park Avenue, New York

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Learn more about Property from the Miles & Shirley Fiterman Collection >

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Learn more about Important Works by Jean-Michel Basquiat from the Collection of Matt Dike >

\n","auctionDetailsSmall","New York Auction 15 May | On View at 432 and 450 Park Avenue","extraInfo","John McCord
\nHead of Day Sale, Morning Session
\nNew York
\n+1 212 940 1261
\njmccord@phillips.com
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Atsuko Tanaka in her studio in Asukamura, Nara, 1999

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“Engage in the newness!” “Don’t imitate others!” Such were the calls to action that Jiro Yoshihara put forth when he formed the Gutai Art Association in the Ashiya region of Japan in 1954. Atsuko Tanaka is among the best-known and important artists of this influential group, which radically redefined art for the post-war age by exploring the relationship between art, body, space and time. Born in Osaka in 1932, Tanaka was part of the pioneering Zero-kai (Zero Society) when Shozo Shimamoto asked members of this group to join the newly founded Gutai group. If Tanaka had radically reinvented painting as part of the Zero-kai, she became the key forerunner in the Gutai group’s goal of creating “an art which has never existed before”.

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Atsuko Tanaka in her famous Electric Dress, 1956

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Her contributions to the first and second installments of the Gutai Art Exhibition, in 1955 and 1956 respectively, were significant precursors to the happenings and performance that would take the New York art world by storm some years later. Tanaka’s most famous work is without a doubt Electric Dress, 1956, a wearable contraption composed entirely of light bulbs and tubes that echoed the technological developments that were radically transforming Japan. Borrowing from the aesthetic of neon advertising signs, Tanaka re-interpreted the traditional form of the kimono with a language that vividly echoed the visual spectacle and sensory immersion of modern Japan.

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Tanaka was notably the only female artist that critic Michel Tapié highlighted in his 1957 A Mental Reckoning of My First Trip to Japan, based on his travels to Japan with Jackson Pollock: “I have a deep respect for the whole group [Gutai] as a group, but I would like to name four artists who should appear alongside the most established international figures: Shiraga Kazuo, Shimamoto Shozo, Yoshihara Jiro, and Tanaka Atsuko”.

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Atsuko Tanaka 85-E, 1985

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Tanaka’s innovations with light art in the 1950s catalyzed her conceptual painting practice, which would consume her after she left the Gutai group in 1965 until her passing in 2005. Abstract paintings such as 85-E embody the dynamism and sense of immediacy of Electric Dress in two-dimensional form – with its bursts of radial, vibrant color and fluid network of lines allude to the wires and colored bulbs.

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Atsuko Tanaka Untitled, 1964, part of the permanent collection at MoMA

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Working with her canvases on the floor of her studio, Tanaka created this painting by first freely creating bright circles, and then adding meandering lines to join them. Tanaka’s effervescent forms are charged with an energy that electrifies the pathways dancing between them, brilliantly enhanced by her use of synthetic polymer paint: her favored medium for its fluidity and high-shine finish. While Tanaka created these paintings directly on her studio floor in a manner reminiscent of Jackson Pollock’s drip paintings, they operate on a very different conceptual level. Fusing art and technology in direct reference to the rapid transformation and modernization of Japan, 85-E acts as a two-dimensional performance – powerfully demonstrating Tanaka’s almost singular preoccupation with capturing energy and connectedness.

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While Tanaka was featured in the seminal exhibition The New Japanese Painting and Sculpture at the Museum of Modern Art, New York, in 1966-1967, her legacy has only recently received the international attention it deserves in the past decade – notably with her inclusion in the documenta 12 in Kassel in 2007. Atsuko Tanaka's work is included in a number of internationally important public collections, including that of the Museum of Modern Art in New York.

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\n","publishDate","2019-05-07T20:43:49.000000Z","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/42889483/atsuko-tanaka","displayOrder",3,"auctionEditorialID",565,"editorialID",628,"flocklerID",42889483,"https://flockler.com/thumbs/sites/889/p8-9_001-14cb1e02-ac17-4c9e-aaf6-9e71ec71b59f_s600x0.jpg","The Art Market Monitor's Marion Maneker speaks to Scott Nussbaum and Fred Hoffman about the unique collection coming to auction in New York. ","Phillips x Artelligence Podcast: Jean-Michel Basquiat's Self Portrait from the Collection of Matt Dike","

Matt Dike and Jean-Michel Basquiat hanging artwork in Basquiat’s studio in Larry Gagosian’s home, Venice, California, 1982–1983. Photograph courtesy of Brian David Williams aka B. DUB. Artwork © 2019 The Estate of Jean-Michel Basquiat/ADAGP, Paris/Artists Rights Society (ARS), New York

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In this podcast, made in collaboration with Art Market Monitor, Marion Maneker sits down with Scott Nusbaum, Head of 20th Century and Contemporary Art, New York, to find out more about Jean-Michel Basquiat, his works coming to auction in May and how his market has shifted in recent years.

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Maneker is also joined by curator and writer Fred Hoffman, author of The Art of Jean-Michel Basquiat, to discuss Basquiat's time in Los Angeles and the special relationship he shared with Matt Dike.

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Jean-Michel Basquiat Self Portrait, 1983

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To Repel Ghosts: Important Works by Jean-Michel Basquiat from the Collection of Matt Dike will be featured across our 20th Century and Contemporary Art Day and Evening Sales on 15 & 16 May 2019.

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View the dedicated e-catalogue to learn more >

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\n","2019-05-02T18:09:38.000000Z","https://www.phillips.com/article/42809537/phillips-x-artelligence-podcast-jean-michel-basquiat",2,556,622,42809537,"https://flockler.com/thumbs/sites/889/p6-7_001-2a81fa4b-f3c3-4dda-b33f-3a57312b8bb5_s600x0.jpg","'To Repel Ghosts' provides an extraordinary glimpse into Basquiat’s time in L.A. and his working friendship with record producer Matt Dike. Writer Peter Relic recounts the story, based on his years spent interviewing Dike.","Got the Time: Matt Dike & Jean‐Michel Basquiat","

Matt Dike and Jean-Michel Basquiat, Los Angeles, circa 1986. Photo by Salomon Emquies.

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By Peter Relic

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Los Angeles, April, 1982: A top‐down burgundy 900 Saab Turbo rolls up to the curb at LAX, Johnny Taylor’s “Eargasm” playing from the Blaupunkt stereo. The driver is Matt Dike, Larry Gagosian’s 20‐year old gallery assistant, there to pick up a New York artist in town for a solo gallery show. As Jean‐Michel Basquiat slides into sedan’s back seat, Matt Dike thinks, ‘I know this guy!’ For the moment, he doesn’t mention that they’ve already met.

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To Repel Ghosts: Works by Jean-Michel Basquiat from the Collection of Matt Dike provides an extraordinary glimpse into Basquiat’s time in L.A. and his working friendship with record producer Matt Dike. The uncanny double door Self‐Portrait was painted by Basquiat while Dike was his assistant and displayed for many years inside Dike’s apartment at 6122 1/2 Santa Monica Boulevard in East Hollywood. That second‐story railroad flat was also, crucially, where Dike and his musical partner Michael Ross started their legendary record label Delicious Vinyl and produced massive crossover hip-hop hits including “Wild Thing” and “Bust a Move”.

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It was while researching the history of Delicious Vinyl that I was able to interview Matt Dike in his Echo Park home. Throughout a handful of visits between 2009‐2012, Dike recounted his friendship with Jean-Michel with enthusiasm and love.

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\n
I don't know if the word is bohemian...he was wild.
\n— Matt Dike on Jean-Michel Basquiat
\n

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Matt Dike and Jean-Michel Basquiat hanging artwork in Basquiat’s studio in Larry Gagosian’s home, Venice, California, 1982–1983. Photograph courtesy of Brian David Williams aka B. DUB. Artwork © 2019 The Estate of Jean-Michel Basquiat/ ADAGP, Paris/Artists Rights Society (ARS), New York

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“I worked for him for four years,” Matt Dike told me. “He was a great guy. I don't know if the word is bohemian...he was wild. He used to buy stuff at Maxfield's, like an Armani suit, then go into the studio and get yellow paint all over his hands and just wipe them down the suit, a twenty‐five hundred dollar brand new suit. Like what?!” During those first couple months together, Dike remembers, he and Jean‐Michel got in a groove. “He liked the wooden frames I was making for him, and even if we weren't working, he'd call me up: ‘What are we doing tonight?’ I was his guy.”

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Between painting sessions at the mid‐L.A. loft of Matt’s older brother Lane and various studios Gagosian rented for Basquiat, Dike was present at the creation of a number of significant Basquiat artworks. “I remember Jean painting and thinking, this is the ugliest hospital green I’ve ever seen. I’m going, this is a bad choice of color. Then, I can’t believe how dope this looks! Jean is amazing with color!”

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Matt Dike, wearing a suit given to him by Jean-Michel Basquiat, and his father attend Vikyana Dike’s wedding. Photo courtesy of Vikyana Dike.

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When fellow artists Rammellzee and Toxic flew into L.A. at the behest of Jean‐Michel to coincide with his second Gagosian solo show. Dike squired the crew around town: "I took Ramm, Jean, and Toxic to Tower Records on Sunset. I remember them buying double copies of everything. I was wondering, Why are you buying two copies of that record? That's when I learned about using double copies to keep the break going." That night, Rammellzee and Toxic performed at the Rhythm Lounge nightclub. Filmed on Super‐8 by promoter Salomon Emquies, Basquiat bops his head to the beat as Ramm raps: “Rammellzee is in the place / Jean‐Michel rockin’ that gangster bass!”

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One afternoon that summer, Dike and Basquiat were hanging out alone. As Dike recalled: “I said to him, ‘Hey, I know you.’ I wanted to see what he’d say. And he said, ‘What do you mean?’”

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\n
This big smile came over his face, the greatest smile, because he remembered, and it validated that I knew him from before everything, from when we were 15 years old.
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In the fall of 1978, an incoming freshman named Philip Volkoff matriculated at New York University. Volkoff, a childhood pal of Matt, moved into Weinstein Dormitory at 5‐11 University Place, where he became friends with painting student Christopher Panzner. Panzner knew Basquiat, then still tagging obstreperous slogans around downtown under the joint pseudonym SAMO with his friend Al Diaz. Panzner: “Jean would come to my dorm — security always rang up — and we would go to Alphabet City which, at that time, looked like it had been carpet‐bombed." Panzner invited Basquiat to parties in the Weinstein basement where Dike, still a junior at Tuxedo Park High School, had his first stints as a DJ. Dike's initial glimpse of Basquiat remained vivid: "Jean had a mohawk with an arrow cut into it. He was wearing a bedsheet with a hole cut out of it like a poncho and it was covered in all this graffiti, with Gumby stapled to it.” It was the memory of those Weinstein nights that, five years later, hanging out in L.A., Dike recounted to Jean-Michel.

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“I told him, ‘I know you. I know you from Weinstein dorm. From before your fame and everything. I used to DJ those parties at Weinstein. You kept telling me to play ‘Got the Time’ by Joe Jackson.’ And when I said that detail, he knew it was true. I'd played ‘Got the Time’ twice, Jean was doing this pogo dance, and he was shaking me, ‘Play it again! GOT THE TIME! GOT THE TIME!’ This big smile came over his face, the greatest smile, because he remembered, and it validated that I knew him from before everything, from when we were 15 years old.”

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The validation of that pre‐fame connection resurfaced the last time Dike saw Jean‐Michel. It was the summer of 1988, and Dike was in his home studio on Santa Monica Boulevard, about to begin working with Beastie Boys on their opus Paul’s Boutique, when Jean‐Michel showed up at the door.

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“He'd been in Hawaii and was on his way back to New York, and he stopped in L.A. He asked me, ‘Can I stay here?’ And I was about to say, ‘Jean, what're you talking about? You can stay at the Mondrian!’ But instead I said ‘Sure!’ I had two or three other guys crashing there already. No one knew who Jean was. No one knew he was famous. Nowadays he's the iconic Jean‐Michel. Trust me, it wasn't like that hanging out. Nobody treated him like anything. He must've needed that at the time. He was in career limbo. Andy Warhol had just died. He kept bringing that up, that they'd killed Andy, that it was a conspiracy…Jean was contemplating his mortality.

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“At that moment, he got very emotional. Jean was not a touchy‐feely guy, not the type to put his arm around you. But he hugged me and wouldn't let me go. He was crying. He said, ‘You're like the only friend I've got right now.’ I'm not a really touchy‐feely guy either, but it was really moving.”

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Matt Dike with a painting by Jean-Michel Basquiat, 1984. Photo © Brad Branson Photography Estate, Artwork © 2019 The Estate of Jean-Michel Basquiat/ADAGP, Paris

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Jean‐Michel Basquiat died in New York City on August 12, 1988. Back in Los Angeles, Delicious Vinyl was on the brink of unimaginable success. Within six months, Tone‐Loc’s singles “Wild Thing” and “Funky Cold Medina” and Young MC’s “Bust A Move” would all hit the top ten of the Billboard pop charts. Even as his record label went supernova, Matt Dike’s own issues were drawing him towards a seclusion lasting the final two decades of his life. Yet the music Matt Dike made still brings wonder to millions of people around the world—not unlike the iconic work of his old friend Jean‐Michel. The art lives on.

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Peter Relic is a writer based in Savannah, Georgia. He is co-author, with Dan LeRoy, of For Whom The Cowbell Tolls: 25 Years of Paul’s Boutique (6623 Press, 2014).

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\n","2019-05-02T20:08:23.000000Z","authorCredit","Peter Relic","https://www.phillips.com/article/42810482/got-the-time-matt-dike-and-jean-michel-basquiat",557,623,42810482,"https://flockler.com/thumbs/sites/889/tobey_comp1-02a6e40a-9bb9-485a-8a9d-62a830c33b6f_s600x0.jpg","Mark Tobey's 'Desert Town (Wild City)' takes us back to a momentous time in the artist's career. Making its way from New York to Paris and Basel, this work's esteemed and storied provenance captures the remarkable trajectory of an artist garnering widespread international acclaim.","Mark Tobey Over Time: Charting a Painting's Provenance from the 1950s","

Mark Tobey in his studio (1949). Courtesy Arthur Lyon Dahl. Photo by Larry Novak

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1950. Desert Town (Wild City) exemplifies the acclaimed calligraphic visual idiom Mark Tobey had honed in the preceding 15 years. Tobey, who had emerged as an artist in Chicago and New York in the 1910s, developed his mature style in Seattle following his move there in 1922. It was notably his exposure to Chinese ink painting while traveling and living in China that prompted his signature "white writing style." Described by famous art critic Clement Greenberg as a "calligraphic, tightly meshed interlacing of white lines which build up to a vertical, rectangular mass reaching almost to the edges of the frame," Tobey's all-over compositions put him at the forefront of the American avant-garde and notably preceded the drip paintings Jackson Pollock would start in the late 1940s.

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Created at a time when Tobey had been garnering widespread critical acclaim, Desert Town (Wild City) is a stellar example of the artist's series of City paintings. Intricate and obsessive in detail, Tobey's web-like forms exist within the vast expanse of a rose-hued field of color. It simultaneously evokes the serenity of the desert landscapes that Tobey, who was born in Wisconsin in 1890, grew up around, and pulsates with the frantic movement found in everyday post-war urban life.

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Mark Tobey Desert Town (Wild City), 1950

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1952. Desert Town (Wild City) was notably loaned by Marian Guthrie Willard, Tobey's primary dealer, to the 5th Annual Exhibition of Contemporary American Painting at the California Palace of the Legion of Honor in San Francisco in 1952 — a year after Tobey's first ever retrospective at the institution. Just a month after the exhibition closing, the work was one of the 15 works selected for the Renaissance Society's Mark Tobey exhibition in Chicago alongside such icons as Threading Light, 1942, which already then was held in the collection of the Museum of Modern Art, New York.

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Tobey's International Breakthrough

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1955. By the mid-1950s, Tobey had reached what MoMA curator William C. Seitz called "international prominence." His retrospective exhibitions at the Institute of Contemporary Art, London and his first solo show in Paris, at the Galerie Jeanne Bucher in 1955, cemented his reputation in Europe. This period of success was crowned when he was awarded the International Great Prize at the Venice Biennale of 1958; soon after, in 1961, he became the first non-French artist ever to get a solo show at the prestigious Musée des Arts Décoratifs in Paris.

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At present, it would appear Tobey is even more highly regarded abroad than he is at home. — William C. Seitz, 1962
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Desert Town (Wild City) captures this unique moment: It was from Galerie Jeanne Bucher in Paris, where Tobey had had his first Paris solo show, that the famed art critic, curator and collector Michel Tapié acquired this work. Tapié was an early and influential theorist of "tachisme," a French style of abstract painting popular in the 1940s that echoed the concerns of Abstract Expressionism. Ever since meeting Tobey in Paris in 1954, Tapié lauded the artist as one of the two leading representatives of this type of post-war painting.

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Jean Dubuffet Michel Tapié, 1946. This work will also be offered in our 20th Century & Contemporary Art Day Sale on 15 May 2019.

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1960-1971. In 1960, Tobey moved to Basel in Switzerland permanently and, eventually, Desert Town (Wild City) entered the hands of legendary art dealer and collector Ernst Beyeler. The work was included in the Galerie Beyeler's 1970-1971 exhibition Tobey, on the occasion of his 80th birthday.

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Ernst Beyeler

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1970s. Eventually, Desert Town (Wild City) made its way back to the United States into the esteemed collection of Martha Jackson in Buffalo. A supporter of both American and European emerging art, Jackson opened her New York Gallery in 1953 and amassed a remarkable collection of post-war art that was inherited by Jackson's son and daughter-in-law, David and Becky Anderson.

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2019. Nearly 60 years later after leaving the Willard Gallery in New York, Desert Town (Wild City) returns as a key highlight of our 20th Century & Contemporary Art Day Sale on 15 May in New York.

\n\n

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129Ο︎

露易絲·奈維遜

Column IV

完整圖錄內容

露易絲·奈維遜