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拍賣 2022年11月16日東部時間下午2:00
\n
\n紐約公園大道432號 NY 10022（地圖）
\n
\n預展 11月5至15日
\n星期一至六上午10:00-下午6:00
\n星期日下午12:00-下午6:00

\n\n

\n","auctionDetailsSmall","紐約拍賣 2022年11月16日","extraInfo","

Patrizia Koenig
\n日間拍賣主管（下午部分）暨專家
\n+1 212 940 1279
\npkoenig@phillips.com

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Danica Lundy, Miss Fist Kiss, 2019. 20th Century & Contemporary Art Evening Sale.

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Danica Lundy

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Canadian artist Danica Lundy’s work draws on a long, painterly interest in the human body and perspective in art history, which she uniquely interprets with disorienting, complex canvases. Lundy cites Italian Renaissance masters like Leonardo da Vinci and Battista Alberti as an early reference point, first learning to draw figures by copying Renaissance sculptures from a book. Yet unlike her Renaissance inspirations, who sought order and harmony in their compositions, Lundy’s paintings lean into the chaos of bodily existence. Seen here, the claustrophobic composition of Miss Fist Kiss depicts bodies with transparencies and overlapping limbs, obscuring where one body ends and another begins. “We live in bodies we can’t usually see into, so why shouldn’t painting be a forum for that imaginary observation?” the artist asks. Lundy completed her BFA at Mount Allison University, Sackville, and her MFA at the New York Academy of Art. Her recently exhibited works include solo shows in the United States, Canada, and Europe, as well as a summer 2022 solo exhibition "Stop Bath" at White Cube in London, where she is represented.

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Devan Shimoyama, Anthony, 2017. 20th Century & Contemporary Art Day Sale, Afternoon Session.

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Devan Shimoyama

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Highlighted in a solo museum exhibition “Devan Shimoyama: Cry, Baby” at the Andy Warhol Museum in 2018, Devan Shimoyama often incorporates three-dimensional materials such as jewelry, flowers, or feathers into his distinctively layered portraits — a practice the artist relates to "the same process a drag queen may use to get ready for a gig. I’m essentially creating a glamorous, sparkling, magical, fictitious version of myself and others... I’m always striving to create my own origin mythology or folklore of the queer Black male.” Shimoyama's collaged portraiture deals largely with themes of societal transformation, referencing both personal narratives and wider cultural touchstones, like classical mythology, tarot cards, films, and pop music icons. Born in Philadelphia, Shimoyama studied drawing and painting at Penn State, followed by an MFA from Yale. His work has been featured at Kavi Gupta Gallery, De Buck Gallery, and the Studio Museum in Harlem.

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Ilana Savdie, Marimonda Desplegada, 2020. 20th Century & Contemporary Art Evening Sale.

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Ilana Savdie

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For Ilana Savdie, painting is form of protest — themes of power and play inform both the content and the process of creating her work. Savdie’s Marimonda Desplegada fuses the folkloric and the grotesque in a composition inspired by the artist’s upbringing in Barranquilla, the Colombian city that hosts the world’s second-largest carnaval. The painting prominently features several fluorescent marimonda, Columbian jester costumes dating to the 1800s, which mock the elite with their primate-cum-elephant forms. But her works are also festive and hopeful, containing a celebration that pushes against societal boundaries. Moving to Brooklyn, the artist noticed parallels between carnaval and queer spaces in Bushwick. “We can locate in [the marimonda] a very queer history of exaggerating the body, and taking up space beyond imposed and oppressive boundaries as forms of resistance and protest,” Savdie says. “I’m always going to be bigger than the space allotted for me, and embracing that is liberating.” Savdie received a BFA from the Rode Island School of Design and an MFA from Yale. Recent exhibitions include "In Jest" at White Cube in London and "Entrañadas" at Kohn Gallery in Los Angeles.

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Left: Lucy Bull, Untitled, 2019. Right: Lucy Bull, Untitled (Green), 2017. 20th Century & Contemporary Art Day Sale, Afternoon Session.

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Lucy Bull

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After a breakout solo show at David Kordansky Gallery in Los Angeles last year, Lucy Bull is making a name for herself as one of the most exciting young abstract painters. Bull’s tessellating compositions are both surreal and psychedelic, prompting a visceral experience. “I am a representational painter, but not a painter of appearances," she says. "I paint representational pictures of emotional situations... The paintings kind of function like Rorschachs. If someone were to tell me they see a certain thing in them, it's telling me more about their psychology than about the work itself.” Bull’s work has recently produced stunning auction results, including at Phillips Hong Kong where the work exceeded more than seven times its high estimate. In addition to two solo shows in just as many years at David Kordansky, Bull has been the subject of solo exhibitions at High Art, Human Resources, and Smart Objects. She recently exhibited in "Women of Now" at the Green Family Art Foundation in Dallas, featured alongside Lauren Quin, Anna Weyant and Issy Wood.

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Alannah Farrell, The Dream (Lucky), 2021. 20th Century & Contemporary Art Day Sale, Afternoon Session.

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Alannah Farrell

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Making their auction debut this season, trans-identifying artist Alannah Farrell spotlights subjects from their local queer community — whether strangers or friends — through powerfully intimate portraits that bring the experiences of each sitter to the surface. “I make paintings that celebrate the brilliant misfits, the survivors, the hustlers, the entrepreneurs, the advocates, the ones thinking and speaking outside the status quo," Farrell says. "My work underlines the perseverance of the community and individual spirit." Now based in Manhattan, Farrell grew up surrounded by a family of painters in Upstate New York. The artist studied at The Cooper Union and is represented by Harper’s Gallery in New York and Anat Ebgi in Los Angeles. Farrell most recently exhibited in a solo show "I Want to Thank You" at Harper's, as well as in previous shows at The Painting Center, Thierry Goldberg Gallery, and Prior Art Space.

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Discover More from 20th Century & Contemporary Art >

\n\n

Recommended Reading

\n\n

A Glimpse at Two Rare, Early Andy Warhol Paintings >

\n\n

Meet the Specialists of Phillips Los Angeles >

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\n","publishDate","2022-10-26T13:07:47.000000Z","authorCredit","Phillip Crook","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/107125954/artists-to-watch-phillips-new-york-auctions","displayOrder","auctionEditorialID",1671,"editorialID",3997,"flocklerID",107125954,"https://flockler.com/thumbs/sites/889/frankenthaller3-70ea89c8-31ad-426f-aa01-ee8370d0b15e_s600x0.png","Spotlighting the contributions of female abstractionists to their historical and contemporary landscapes.","Women in Abstraction","

Helen Frankenthaler, Saturday Night, 1985. 20th Century & Contemporary Art New York Day Sale, Morning Session.

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This November, Phillips’ 20th Century & Contemporary Art Sales highlight the contributions of over 20 women artists whose practices engage and question the canon of abstraction. Alongside exceptional works by Joan Mitchell and Yayoi Kusama in the Evening Sale, the Morning and Afternoon sessions of the Day Sale feature early pioneers in abstraction such as Helen Frankenthaler and Emily Mason, whose contributions are finally being addressed in retrospect, as well as artists like Amy Sillman and Lucy Bull, who continue to challenge conventions today. The works presented here communicate the range and scope with which these artists expand the domain of abstraction.

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Marginalized Visionaries

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Although Abstract Expressionism has been historically tied to the names of its male practitioners, including Jackson Pollock, Mark Rothko, and Willem de Kooning, female artists also played a central role in shaping the movement. Emily Mason and Helen Frankenthaler, now understood as masters of abstraction, made important, early contributions, though the scant history of their critical reception stands in stark contrast to the overwhelming acceptance of their male peers’ work.

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Helen Frankenthaler, Brown Bird, 1959. 20th Century & Contemporary Art New York Day Sale, Morning Session.

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Recognized as one of the most important female American artists of the 20th century, Frankenthaler is considered a leader in the transition from Abstract Expressionism to Color Field painting. She first entered the New York scene in 1950, when Adolph Gottlieb selected one of her paintings to be included in Fifteen Unknowns: Selected by Artists of the Kootz Gallery. By 1959, the year she painted Brown Bird, her paintings had a regular presence in exhibitions around the world alongside some of the most important mid-century artists. Mason had her first solo show in 1960, after having spent time in Venice on a Fulbright grant, a move that allowed her to develop her practice away from the spotlight of her more well-known contemporaries — including her husband, Wolf Kahn. While many other Abstract Expressionists were grappling with existential intensity and raw affect, Mason probed the realms of memory and nature, themes which would come to the fore over subsequent decades and have received renewed critical attention in recent years.

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The painter Hans Hoffmann once said, “This is so good, you wouldn’t know it was done by a woman,” ostensibly to compliment the work of his female peer, Lee Krasner. His famous line encapsulates the barbed tension of the term “female artist” in the mid-20^th century. On the one hand, in a male-dominated field, being told one’s painting was so good, “you wouldn’t know it was done by a woman,” was a compliment. But at the same time, the statement implies that women in general are incapable of creating art at the same scale or intellectual level of their male peers. To be a “female artist” is thus to be both a remarkable exception and a liability in the historical moment of Abstract Expressionism.

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Carried over into the present, the term is similarly problematic in its reliance on narrow definitions of gender identity, as this limits the interpretive scope of an artist’s work. As Elaine de Kooning argued: “To be put in any category not defined by one’s work is to be falsified.” Frankenthaler and Mason stand as models here, their contributions to a history of Abstract Expressionism obscured and somewhat complicated by the caveat “woman artist.” Following de Kooning’s suggestion, we can approach the work of these artists on its own terms, even while we address the limitations and challenges faced by women working in a man’s world in the post-war period.

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Frankenthaler’s Brown Bird showcases her prowess in the gestural improvisation central to definitions of Abstract Expressionism, predating her signature soak-stain technique and her transition into a more subtle and calligraphic style of painting. In Saturday Night, Frankenthaler’s deep purple pigment forms the backdrop to the minimal brushstrokes that make up the foreground. The marks swing backwards and forwards, their densities varying to make them appear as if they’re fading in and out. Within the canvas’ geography, her marks defy recognition while demanding interrogation. As with most of Frankenthaler’s works, Saturday Night functions on ambiguity – a quality that the artist herself attributes to any painting’s success. Likewise, Mason’s practice made use of improvisation and ambiguity in original ways. Her decades-long exploration of spatial relations, the fluidity of color and ethereal lyricism are on full display in Like Frost Upon a Glass. In a 2005 interview with The Brattleboro Reformer, she compared her method of working on a canvas to playing chess: “Pick it up, make a move, wait, let time go in between,” she said. “Then I know what to do.”

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Emily Mason, Like Frost Upon a Glass, 1985. 20th Century & Contemporary Art New York Day Sale, Morning Session.

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Contemporary Interpretations

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In the decades following the mid-century heyday of Abstract Expressionism and Color Field Painting, approaches to abstraction have remained as numerous and diverse as the artists working in this vein. Alongside these pioneering works, we look to a contemporary generation of women working in abstraction – each artist pushing against prevailing trends in exciting ways whether well-established, or just beginning to make waves at auction and exhibition.

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Amy Sillman, Cart, 2001. 20th Century & Contemporary Art New York Day Sale, Afternoon Session.

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Painted in 2001, Amy Sillman’s Cart showcases her signature mode of process-based paintings that move between abstraction and figuration, combining sweeping gestural strokes with a palette gone rogue and hovering at the boundaries of figuration and abstraction. Given the range of the artist’s scope, color itself serves as an “engine,” or a form of movement that adapts to the many layers Sillman imbues to a single work, from humor and doubt, to informality and approaches to conventional modes. The New York-based painter came of age in the 1970s, a time when the medium was largely repudiated by critics, and developed her practice through the 1990s with subversive acid and pastel hues, cartoon-like lines, and conceptual engagement with liminal space and discovery through the unknown in her compositions. Sillman champions "the relevance of painting" with what critic Phyllis Tuchman describes as "messy, multivalent, lively" art, which "reframes long-held notions regarding the look and emotional character of abstraction." Cart exemplifies this notion perfectly: Sillman is an artist fluent in the language of Abstract Expressionism to the level of infraction; she demystifies the movement while pushing its boundaries into the 21st century. Sillman’s work was featured as part of The Milk of Dreams exhibition at the 2022 Venice Biennale, and her contemporaneous influence on younger artists is a testament to her ability to continually innovate her practice.

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Michaela Yearwood-Dan, Muddlin on through, 2020. 20th Century & Contemporary Art New York Day Sale, Afternoon Session.

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Born in 1994, Michaela Yearwood-Dan is among the generation of young painters reflecting on questions of subjectivity and identity, as well as themes of class, culture, race, and gender through abstraction. Replete with a host of cultural and personal references, her lush works exemplify an artist whose approach explores collective experience through a deeply personal lens, often incorporating song lyrics, drafted notes of text messages never sent, and her conversations with Apple’s virtual assistant, Siri, exploring the realms of human and non-human experience. Yearwood-Dan avoids trite stereotype or reductive cliché by inflecting this visual language with her own, lived experience. Text written in Yearwood-Dan's expressive gold script further relates to past emotional experiences – a breakup, the global solitude of 2020 – drawing viewers into a two-way mirror of emotional and physical abstraction as Yearwood-Dan creates the space in which to engage. More than reflection on her technological present, Yearwood-Dan also responds to the socio-cultural experience of being a Black British woman, borrowing cultural signifiers including carnival culture, acrylic nails, and hooped earrings for her lexicon. In Muddlin on through, we catch snippets such as “I know that it’s hard, I know that it’s hard to be in this position,” or “Run away whilst you still can,” mixing lyrical elegance with a defamiliarizing landscape to great effect.

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Left: Lucy Bull, Untitled (Green Dot), 2019. 20th Century & Contemporary Art New York Day Sale, Afternoon Session. Right: Lucy Bull, Untitled (Green), 2017. 20th Century & Contemporary Art New York Day Sale, Afternoon Session.

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Heralded by W Magazine as “The Painter Bringing Back Abstraction,” American Artist Lucy Bull (b.1990) is among the standout artists in the new generation of women in abstraction. Known for her surreal and psychedelic compositions, Bull's practice prompts a visceral sensory experience in what the artist describes as a “timed release”: “The layers start to shift and unravel, and the more you look, the more you start to see," Bull notes. This interplay between subjectivity and distinction creates a friction Bull considers relational in her approach to abstraction. Such is the defamiliarizing effect of Untitled (Green Dot), wherein Bull employs an array of colors and textures in a way that balances density and lightness, silence and sonic overload, all in a deceptively inviting composition. Beautiful but also unsettling, Untitled (Green) engulfs the viewer in its imagined geometry. Bull encourages viewers to make peace with her work’s concord and discord through her use of repeated forms, establishing a sense of movement that allows the viewer to find order within the chaos. After a breakout solo show at David Kordansky Gallery in Los Angeles last year, exceptional auction results have followed: Phillips’ sale of Bull's 2020 painting 8:50 in June 2022 achieved over seven times its high estimate. Her work is in the permanent collections of MAMCO Geneva, Museum of Contemporary Art, Los Angeles, and Institute of Contemporary Art, Miami, and more. In view of this contemporary resurgence, Phillips is commited to elevating the present artists and many more, for their contributions to be celebrated in their time, and also for those who emerge in the generations to come to embrace the rich and continually evolving history of women in abstraction.

\n\n

Discover More from 20th Century & Contemporary Art >

\n\n

Recommended Reading

\n\n

A Glimpse at Two Rare, Early Andy Warhol Paintings >

\n\n

Artists to Watch: New York >

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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…The question ‘abstract or not abstract’…is irrelevant to me”
\n– Albert Oehlen

\n\n

In Albert Oehlen’s Untitled, 1992, paint detonates across the canvas as a diverse explosion of color and mark. Vividly exemplifying the key tenets of Oehlen’s celebrated “post non-representational” paintings, which he executed between 1988 and 1997, the present work, in all its abstract excess, belies the studied formal complexity of the German painter’s style. Oehlen, known for pushing boundaries in his artistic practice, creates audacious works that challenge what painting can do.

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Beyond Abstraction

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Painted in 1992, Untitled was executed four years after Oehlen achieved his artistic breakthrough during his now legendary sojourn with partner-in-crime Martin Kippenberger to Spain. As Oehlen recalled of the secluded period living and working with Kippenberger in early 1988, “I wanted to start something new that I was dreaming of for a long time, which was abstract painting…In a way it was because I thought that art history went from figurative to abstract. And I should do the same. I should have the same development in my life as art history.”ⁱ

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\"\" — Sigmar Polke, *Untitled*, 1983, © ARS, NY. Digital Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY

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Emulating, but also transcending the progression of 20th century modernism from figuration to abstraction, Oehlen sardonically labeled his efforts “post-non-representational.” Walking in the conceptual footsteps of his mentor Sigmar Polke, Oehlen produced an unprecedented mashup of seemingly incompatible aesthetics, vocabularies, and materials–irreverently pulling apart the art historical legacy of such movements as Cubism, Surrealism, Abstract Expressionism, but also the then dominant tendency of Neo-Expressionism.

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Critics have seen in Oehlen’s work from the early 1990s a nonchalance that masks a deep skepticism about the opportunities painting offers. But it is in the embrace and continual challenge of this anxiety that Oehlen’s works sing. The present work displays all the tormented experimentation of an artist grappling with painting as the cacophony of line and color at once situate the artist in, and separate him from, a dialogue with art history.

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A Chorus of Gestures

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It is the abolition of the difference between figurative and nonfigurative art that is at the core of Oehlen’s project. He achieves this through a process of negation; not in the sense of erasure or subtraction, but, as he defined, “the visible working through of inferences, misunderstandings, ideas to be criticized, and also your own mistakes.”ⁱⁱ Oehlen to this end puts forth, as Hamza Walker discerned “a chorus of contradictory gestures; … form against anti-form, the rhythm of pattern versus a meandering stroke, and a muddy mix of colors juxtaposed against vibrant pigment straight from the tube…Oehlen's paintings are always autonomous in so far as they have managed to eliminate through contradiction an allegiance to any particular style.”ⁱⁱⁱ Within the crowded canvases, a multi-pixelated snapshot of today’s world appears, offering reflection to any viewer that transcends the categorization of abstract or not.

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“It’s comparable to a classic jazz soloist. He runs riot within his harmony and stretches it as far as it can go.”
\n– Albert Oehlen

\n\n

Oehlen’s singular achievement is to fuse disparate elements into a powerful composition that seems frozen in a deafening and liberating crescendo of both discordant and harmonious form and color. His syncretic approach is not unlike that of a jazz musician riffing on a set of classics. Oehlen, who was associated with the Punk scene, uses a similar analogy when speaking of artistic freedom: “I see it this way: it’s the confluence of earnestness and ridiculousness that allows the artist to run riot. It’s comparable to a classic jazz soloist. He runs riot within his harmony and stretches it as far as it can go.”^iv

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Whilst seemingly announcing itself with the tempo of impromptu brushstrokes, the electrifying composition of Untitled is in fact the achievement of a deliberate methodology. Each drip, smudge and stroke that would otherwise be the product of improvisation is carefully painted, just as the composition is intentionally constructed to teeter at the edge of total dissolution. Untitled viscerally exemplifies how the uninhibited freedom and excess of Oehlen’s radical practice has reconfigured the possibilities of the medium of painting.

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ⁱ Albert Oehlen, quoted in Glenn O’Brien, “Albert Oehlen,” Interview Magazine, May 2009, p. 106

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ⁱⁱ Albert Oehlen, quoted in Diedrich Diederichsen, “The Rules of the Game," Artforum, November 1994, online

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ⁱⁱⁱ Albert Oehlen, quoted in Albert Oehlen: Home and Garden, exh. cat., New Museum, New York, 2015, p. 102

\n\n

^iv Hamza Walker, “The Good, The Bad, The Ugly,” The Renaissance Society, 1995, online

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Albert Oehlen

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Albert Oehlen