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拍賣 2023年10月13日
\n英國夏令時間下午3:00
\n

\n\n

倫敦伯克利廣場30號 W1J 6EX（地圖）
\n

\n\n

預展 10月4至13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星期二上午10:00-下午8:00
\n

\n\n

精品巡展
\n

\n\n

米蘭
\n9月13至15日
\nVia Lanzone 2
\n20123 Milan
\n
\n巴黎
\n9月20至24日
\n46 Rue du Bac
\nParis 75007
\n
\n紐約
\n9月18至25日
\n美國紐約公園大道432號 10022
\n

\n\n

Admission to this sale is by ticket only.
\nPlease email tickets@phillips.com
\n

\n","auctionDetailsSmall","倫敦拍賣 2023年10月13日","extraInfo","

Rosanna Widén
\n晚間拍賣主管暨資深專家
\n+44 20 7318 4060
\nrwiden@phillips.com
\n

\n\n

Olivia Thornton
\n二十世紀及當代藝部術歐洲區主管
\n+44 20 7318 4099
\nothornton@phillips.com
\n

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Daniel Richter, Schakal Reloaded, 2009. 20th Century & Contemporary Art.

\n\n

In the divided Germany of the 1980s, a group of outcasts in Hamburg emerged as a creative community united by a shared belief in a socialist future and a disdain for leadership in both the East and West. “In the early ‘80s, late ‘70s when I was young, punk was the way out,” painter Daniel Richter once recalled of his youth. Richter joined this informal group in his early 20s, squatting in abandoned buildings and engaging with the city’s thriving punk scene. The artist spent a decade living in this Hamburg community, satisfying his creative urge by making punk concert posters. He preferred to work alone, not favoring the inherently collaborative nature of music-making, later noting that making imagery “was the natural role the subculture chose for me.”

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The artist has recounted that this period was not without conflict, as the group often faced public backlash and assaults from the police, as well as violence from neo-Nazi groups. These early encounters added steam to Richter’s already established skepticism of authority, which can be seen throughout his later work.

\n\n

\n
“The idea was not to wait for the communist party, but instead to do it ourselves.”
\n—Daniel Richter
\n

\n\n

When the Berlin Wall fell, Richter’s reality crumbled, and the unification of Germany prompted the painter’s creative expansion into fine art. He remembers that when “the Soviet Union collapsed it was clear to me that there would be shifts of power in the world and that the idea of what a democracy is will be massively changing.” It was at this point, at the age of 30, that the artist realized he needed to find a new path, as many in his orbit had either become bitter with age or died young. It was a struggle for him to make this leap, recalling, “I didn’t have money, I didn’t have wealthy parents, I didn’t have any education, so I was a bum by definition of the State. The only thing that I had always done, and I’d always been obsessed with, was images.”

\n\n

He enrolled at the Hochschule für bildende Künste in Hamburg to discover what can define art, led by a questioning of the artistic validity of his own posters. Upon graduation he worked as assistant to several artists, most notably Albert Oehlen, as he refined his painterly style, initially emerging on the scene with colorful abstract paintings before shifting to the more figurative and politically charged paintings that are emblematic of his social outlook.

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A Symbolic Jackal

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Daniel Richter, Schakal Reloaded, 2009. 20th Century & Contemporary Art.

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Richter’s 2009 work Schakal Reloaded is a striking canvas that reflects the fraught political landscape of the early 2000s and the horrors of the war on terror. In this painting we’re confronted with what at first seems to be an enchanted mountain landscape, the complex narrative concentrated in Richter’s flattened pictorial space. This graphic visual language coupled with the work’s expressive use of color are somewhat reminiscent of graffiti and street art, perhaps relating to the artist’s early experience. On closer look, we discover a jackal figure at the left of the composition, rendered in a hazy orange. Its presence is menacing, and the nearby human figures scream in terror. It is the turbans of these figures coupled with Richter’s visual suggestion of the jackal’s symbolic associations that call to mind the charged political atmosphere of the time, reminding us of the nickname given to the powerful armored vehicles deployed to the Middle East by the United Kingdom. The overtones of the associations in this image can be considered as ascribed to the Western militaries, assigning them the personality of a cunning trickster, indifferent to the plight of others. Poignantly, we realize this scene places us in the mountainous border region between Afghanistan and Pakistan, where the “jackal” vehicle roamed.

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Daniel Richter, Schakal Reloaded (detail), 2009. 20th Century & Contemporary Art.

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This work is deeply rooted in the events that have defined Richter’s creative life. If the German reunification was the first historical event that shook Richter’s world, the terrorist attacks of September 11th were the second. The two are linked for Richter, as he has noted, “The fall of the Wall and the crumbling of the Soviet Union are the reason for the reappearance of religions and nationalism haunting us today.” By suggesting through charged symbolism that Western militaries are untrustworthy, Schakal Reloaded presents us with the tragic absurdity of such political tensions. The artist has made countless pointed comments on this dynamic in the post-9/11 era. He has remarked of Islamic extremism that “it’s a war for dumb guys believing in lord penis, in guns and violence, and all that kind of paranoid, fascist, megalomanic power scheisse.” In turn, he’s also pointed out that the very same ideals flow through the male leadership of some recent Western administrations and has questioned how the war machine has allowed Western economies to flourish. These ideas represent what perhaps defines Daniel Richter’s thinking — a continuous challenge of authority demonstrated not just by an approach to art and imagery, but to a way of life.

\n\n

Discover More from 20th Century & Contemporary Art >

\n\n

Recommended Reading

\n\n

Unreliable Witness: On memory and veracity in ‘Rome’ by Luc Tuymans >

\n\n

\n","publishDate","2023-10-02T15:27:02.000000Z","authorCredit","Jesse Limbacher","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/132403391/art-auction-london-daniel-richter-forever-punk","displayOrder","auctionEditorialID",1932,"editorialID",4345,"flocklerID",132403391,"https://flockler.com/thumbs/sites/889/tuymans-lead-8dc9c8f8-d133-471c-a2a4-6d1175c6d8bb_s600x0.jpg","On memory and veracity in ‘Rome’ by Luc Tuymans.","Unreliable Witness","

Luc Tuymans, Rome, 2007. 20th Century & Contemporary Art Evening Sale, London.

\n\n

Luc Tuymans’ highly distinctive painting practice navigates the complex ambiguities between history, power, imagery, and memory; probing, in essence, these themes to question the very existence of absolute truth. “There is no truth in the work,” Tuymans asserted of his practice in an interview with Iona Whittaker, noting further and quite obliquely: “I have a high distrust for images, even my own.”

\n\n

Ahead of Phillips’ 20th Century & Contemporary Art auctions in London this October, where Tuymans’ monumental 2007 painting Rome will be offered at auction for the first time, we look to the artist’s work and ideas to explore memory and its relationship to truth, power, and identity.

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As the fresh-to-market Rome has been on loan since its initial acquisition — first to the Stedejlik Museum in Amsterdam and then to the Kunstmuseum in The Hauge — the occasion presents a rare opportunity to discover the painting, which will be on view at Phillips’ Berkeley Square gallery from 4 October through the auction on 13 October.

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Critically regarded for his belief in painting at a time when conceptual art circles had declared the practice futile, Tuymans has proved painting to be the only medium appropriate for his investigations into questions of power, memory, and visual representation. Moreover, as many of his contemporaries were moving increasingly into abstraction, Tuymans privileged the figurative, coming to prominence in the early 1990s as a painter of peculiar and affecting images that explored history and its antimonies, the strangeness of routine objects, and the ways in which power, technology, and time impact our vision in an increasingly fraught and rapidly evolving cultural landscape. His work has challenged the supposedly honest relationships between seeing, believing, and remembering, interrogating the forms and functions of images and the ways in which truth and falsehood are codependent entities.

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A consummate example of Tuymans’ painterly practice, Rome is one of nine canvases that make up Les Revenants — the first in a trilogy of series that confront the image as an instrument of power. First shown in 2007 at Zeno X Gallery in Antwerp, works from the series have gone on to be included in some of Tuymans’ most significant subsequent exhibitions. Only three works from the series have ever appeared at auction.

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Monumental in scale, Rome is the largest of the nine canvases from the series. Typical of the artist’s practice, the source material of the image was a homemade print of a digitally compressed image. The result is a painting that the writer Hans Theys describes as “reminiscent of illustrations in old textbooks. The reality has the air of a disintegrating cardboard theatre or thousands of scattered, tiny patches of light.” A muted tonal palette and soft, diffused brushstrokes are characteristically employed by Tuymans to present a cinematic image of St. Peter’s Basilica in Vatican City. The architectural heft of the basilica is conveyed by the sheer scale of the canvas and the spaciousness of the asymmetrical composition. Imposing structural details including massive sculptures and columns combine to present a majestic vision of the building, rendering the assembled enormous congregation almost insignificant before the weight of the occasion. Yet, much of the vital action is seen bottom right, where Belgian Archbishop Daneels is sparsely depicted among a group of candidates for elevation to cardinal. Just a moment after our first sight of this image, the newly elevated cardinals — including Daneels — will kneel.

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Luc Tuymans, Rome (detail), 2007. 20th Century & Contemporary Art Evening Sale, London.

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As noted by Theys, the muted tonal palette and Tuymans’ practice of working from manipulated old photographs presents this image as professedly historical. When we realize this image depicts a contemporary ceremony, one of great importance to Belgium, we realize how Tuymans uses imagery to play with our perception of time and memory. The artist has explained his approach, stating, “Art creates its own time span and in that sense also creates its own time lapse: you are looking at something that accords time to an image, as it is made and as it shows itself.” Tuymans’ work challenges our perception of time to pose questions between memory and belief and reveal to us the dangerous reality that memory, and thus our understanding of history, may be fallible. In turn, the work proves that the image is also fallible. As writer Christina Ruiz has remarked, “At the heart of Tuymans’ project is a central conceit: that images are unreliable, that they can offer us no more than a fragment of reality and that our own memories, personal or collective, mislead us.”

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Tuymans employs a masterful and carefully considered approach to the physicality of paint, tone, and color to impress these ideas. He explained in a 2021 recorded discussion for David Zwirner gallery that he is interested how his work can influence people, to make them stop and think, or to play off their own memories. He shared that this is the principal reason that his works explore tonality rather than simply color, as he has observed that when we perceive imagery monochromatically (even if his paintings are not monochromatic) the images return to our mind at a later point. In this sense, his work not only calls upon our existing memories but plants new ones — it seeks to leave an indelible mark, not simply an impression. “I wanted my paintings to look old from the start, which is important because they are about memory,” the artist has stated.

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Luc Tuymans, Rome, 2007. 20th Century & Contemporary Art Evening Sale, London.

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It is understandable why Tuymans so frequently turns to historical imagery to add weight and significance to his canvases. In the case of Rome — its pale muted color scheme appearing almost preternaturally faded — Tuymans calls upon our memories of historic religious imagery. As such, the work doesn’t just showcase the grand and theatrical nature of the religious ceremony, but also reminds us that much of the weight of the tradition and reverence for these spaces lies in the history of the church and, accordingly, the collective memories of its constituents.

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This notion of a cultural collective memory, understood through history and stories, leads us to consider memory’s impact on identity, as much personal consideration of identity lies in such shared memories, or even in the rebellion against them. In Rome, Tuymans confronts his own identity and background head on, as a Belgian painter who was raised Catholic. The artist explained to Artnet in 2010, “I come out of a country where painting is genetically understood. Highly Catholic because Catholics like images because they keep the people stupid. Western image building was born in that region, and, of course, huge trauma with it.” This wasn’t the first time the artist considered his own background and the history of Belgium in a critical light — at the 2001 Venice Biennale he presented work that explored the colonial brutality of Belgium’s occupation of Congo.

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Ultimately, in viewing Rome, we are presented with a complex web of associations that functions on us much like memory does. The painting leaves an impression, but we’re forced to connect the visual cues to find understanding in it. The experience is reminiscent of the effort we make in constructing a logical narrative from the memories of our dreams. It also recalls a tenet of Tuymans’ early work, which he described as being “about what history could mean if you dream it, and how inadequate our memory is.” Further ambiguity is lent to the image as it remains almost burned in our inner eyes after viewing, as though we’re still trying to understand the impression it leaves but unable to articulate it. As Tuymans’ himself has offered, “Every visual is in opposition to language because if we could say everything, why make a picture of it?”

\n\n

Discover More from 20th Century & Contemporary Art >

\n\n

Recommended Reading

\n\n

Forever Punk: Daniel Richter’s innate challenge of authority emerges in ‘Schakal Reloaded.’ >

\n\n

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“For Katz the image, and his TV, billboard or movie close-up discovery, provided a way of both isolating and abstracting each separate feature, as if it were an arc, a rhomboid, an ellipse, within the psychological unity which the audience imparts to a recognisable form.”
\n—Frank O’Hara

\n\n

Recalling the scale, format and graphic immediacy of towering billboards featuring the smiling faces of beautiful young women advertising everything from consumer products to Hollywood movies, Ariel is a bright and bold example of Alex Katz’s radical take on realism which has, over the course of the last eight decades, redefined the vocabulary of contemporary portraiture. Like Katz’s portraits of his wife and primary muse Ada, the subject here is at once highly individuated and universal, a technique which has enabled the artist to anchor the idealised elegance and mysterious impassivity of his unique visual style, granting an emotional depth to his fascination with surface and the fleeting moment.

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Movement and Muybridge

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Set against a sizzling ground of saturated tangerine tones, the titular Ariel appears in white bathing suit and sunhat, Katz deftly capturing the languorous summer heat and laid-back glamour of the East Coast and its photogenic inhabitants. Carefree, she passes in front of us, catching our eye as she goes. Borrowing at once from the visual language of film and the statuesque, static quality of horizontal frieze reliefs, the painting is a study in motion, the subject shown in three, sequential poses as if caught in a series of snapshots as she moves through the frame, swinging her sunhat out in front of her.

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Paradoxically magnifying the sense of kinetic energy and movement by localising it in a series of static, sequential images, Ariel visually recalls the radical photographic experiments of Eadweard Muybridge, whose 1887 Animal Locomotion introduced entirely new ways of thinking about photography, movement, and the concept of time. Amassing over 100,000 images of animals and humans moving and engaged in a variety of tasks, these pioneering studies of motion presented huge innovations in the fields of both photography and science, paving the way for cinema and more complex conceptualisations of our experience of time and perception.

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\"\" — Eadweard Muybridge, *Woman Opening a Parasol*, 1883-86, printed 1887, Metropolitan Museum of Art, New York. Image: © Metropolitan Museum of Art, New York. Gift of the Philadelphia Commercial Museum, 1938, 38.82.1

\n\n

Now in his 96^th year, ideas around movement and, more specifically, dance have preoccupied Katz throughout his long career. During the 1960s, the artist started working with the choreographer Paul Taylor, a rich and rewarding collaboration which evolved over 20 years and saw Katz produce innovative sets and costumes which experimented with scale, framing mechanisms, and the same flat lighting that would come to define his painting. At the same time, Katz developed a body of work based on the dancers he was working with, their own focus on the primacy of movement and gesture encouraging the artist to work towards capturing that same immediacy in painting.

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“I had seen Paul dance for the first time shortly before we met with Edwin [Denby] and thought his choreography was one of the most surprising things I had seen as an artist. Paul’s dancing seemed to be a real break with that of the previous generation: no expression, no content, no form, as he said, and with great technique and intelligence.”
\n—Alex Katz

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A student at New York’s Cooper Union during the 1940s, Katz was immersed in the culture of American Modernism, befriending a community of dancers, theatre types, and poets of the so-called New York School, and yet the artist found himself out of step with the gestural dynamism of a then-ascendent Abstract Expressionism. Similarly, while his fluid sense of line, crisp, flattened forms, and smooth, unblemished surfaces anticipated Pop Art’s heightened graphic sensibility in many ways, their fascination with commodity culture and consumerism was not shared by Katz, whose painterly themes chimed more closely with those of an earlier generation of artists.

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While undoubtably a painter of urbane, contemporary life, his preference for intimate subjects of the everyday – including family, friends, and the various leisure pursuits they enjoy – aligns him thematically if not stylistically to Impressionism’s focus on the fleeting moment. Fascinated by the body in motion, Edgar Degas’ almost obsessive rendering of ballerinas offers an especially resonant reference here, Katz’s own combinations of bodily gesture and the radical, close-cropping techniques learned from film and advertising recalling the French Impressionist’s own interest in emergent photographic technologies and his tendency to employ unexpected perspectives, setting his figures at a sharp angle to the picture plane.
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\"\" — Edgar Degas, *Blue Dancers,* c. 1899, Pushkin Museum, Moscow. Image: Bridgeman Images

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Executed in 2016, the year after The Metropolitan Museum in New York mounted an exhibition dedicated to works by the artist in their collection, Ariel sits in close relation to Katz’s slightly later Coca-Cola Girls series, adopting the same graphic sensibility, sequence of balletic gestures, and richly nostalgic atmosphere as we see in the present work. Highly characteristic of Katz’s iconic visual style in its use of bold blocks of colour and clean contours, Ariel also captures something more essential about the mechanics of looking, the desire activated in spectatorship, and the nature of portraiture itself. Slowing down this fleeting moment and separating it into its constituent parts, Katz dissects the sudden flash of self-awareness as Ariel becomes aware of herself being looked at, giving weight to critic Donal Kuspit’s claim that ‘Katz’s portraits are true to the way we experience others […] convey[ing] the tension between the determinate outer appearance and the indeterminate inner reality of someone known only from the outside.’ⁱ

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Colby College, drawing connections between Katz’s painting and choreography in Alex Katz Theatre and Dance | ‘Finding inspiration from Alex Katz’s Pas de Deux Paintings’

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Collector’s Digest

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Most recently honoured with a major career retrospective at the Solomon R. Guggenheim Museum in New York, Alex Katz has been painting for over 80 years, during which time he has been the focus of over 200 solo exhibitions all over the world.
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His work is found in the most prestigious public collections The Museum of Modern Art in New York, Musée de l'Art moderne, Centre Pompidou in Paris, Museo Nacional Centro de Arte Reina Sofia, Madrid, and the Tate Gallery, London.
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ⁱ Donald Kuspit, Alex Katz Night Paintings, New York, 1991, p. 8.

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15

Alex Katz

《愛麗奧》

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Alex Katz