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網上拍賣 2024年12月2至12日
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東岸時間
\n2024年12月2日下午12:00 開始
\n2024年12月12日下午2:00 結束
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參閱富藝斯業務規定 >
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\n","auctionDetailsSmall","2024年12月2至12日 ","extraInfo","

Katerina Blackwood
\n現代及當代藝術部
\n網上拍賣主管暨專家
\nkblackwood@phillips.com
\n+1 332 239 8940
\n

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Arman, Souvenir de Geneve, 1970. Modern & Contemporary Art Online Auction, New York.

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Arman

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Arman, Souvenir de Geneve, 1970. Modern & Contemporary Art Online Auction, New York.

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French artist Armand Pierre Fernandez, known as Arman, was a co-founder of Nouveau Réalisme alongside Yves Klein, Pierre Restany, and others. His works commonly bring everyday and found objects together in assemblages cast in polyresin boxes. In Souvenir de Genève, the pieces of many broken violins pile together inside a clear Plexiglas casing. In this dynamic jumble, the smooth curves of a violin’s outer edge are juxtaposed by the jagged linearity of wood broken into shards. Some fragments are burned black, while in others we see the warmth and gloss of varnished wood or the naked grain of the violins’ unfinished interiors. This arresting play of materials silences the purpose-built nature of the instrument, opening its voice to the visual.

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Sterling Ruby

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Sterling Ruby, EXHM/DS29, 2011. Modern & Contemporary Art Online Auction, New York.

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In his EXHM collage series — the title short for exhumation — Los Angeles-based artist Sterling Ruby repurposes scraps of cardboard used to protect his studio floor during the creation of other works. Visible on the textured surface of EXHM/DS29 are splashes of polyurethane, footprints, and pieces of tape, such that this wall work makes vertical what had once been grounds to walk on. Added to the layered cardboard pieces are aerial photographs and the flattened cardboard box of a prescription medication for asthma. This combination of selection and chance, composition and unplanned traces, seems to oscillate between topography and architecture, calling to mind both the formal process of mapping and the richness of a city street experienced in the first person.

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Sergej Jensen

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Sergej Jensen, Untitled, 2013. Modern & Contemporary Art Online Auction, New York.

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Sergej Jensen’s practice explores and explodes the canvas of painting. Often working with textiles, Jensen recasts the modernist grid as a gathering of imperfections and irregularities. In Untitled, pieces of found fabric are sewn together, mounted on panel, and coated with acrylic. The grid’s insistence is mottled by the varied patterns of the fabric, and the uneven seams pull each would-be square into slight misalignment, causing wrinkles and puckers to intercede against a deferred rectilinearity and flatness. Many of the fabric pieces are striped, drawing attention to the relationship between what we perceive as line and what we perceive as negative space. In Jensen’s hands, palpably conjured by his stitchwork, Minimalist impulses circle back upon gesture and toward the picture.

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Hulda Guzmán

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Hulda Guzmán, The medicine, 2019. Modern & Contemporary Art Online Auction, New York.

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Plywood does not typically present as a vibrant material; rather, in its utilitarian duty, it tends to disappear. Not so in Hulda Guzmán’s The Medicine, a geometric abstraction on mahogany plywood and wood veneer. The shifting tones and contrasting grain of each piece of the work’s substrate showcase the painterly possibilities of natural growth, while actual painted shapes, some bright and solid and some in ombré or other variation, construct what might be a landscape or an architecture. Guzmán often works in figuration, drawing references from her Caribbean home environs as well as from Surrealism’s colonial fascination with that imagery. In this work, no clear figures present themselves, but through the restrained means of its color and composition, the painting suggests the cycling of the natural world — perhaps a horizon, a sunset, a river becoming rain — along with the smallness of human presence within it.

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Kaari Upson

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Kaari Upson, Untitled, 2009. Modern & Contemporary Art Online Auction, New York.

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Kaari Upson’s wide-ranging artworks tend toward the strange, the psychological, and the intimate. Best known for her obsessive “Larry Project,” a multi-year series in which the artist explored the real and imagined identity of an unknown man who was her parents’ neighbor, Upson takes a quieter and more focused approach in Untitled. Made by applying soot directly onto panel, this work encourages a patient viewer. Even in the composition’s darkest areas, subtle variations in the density of the soot create an unstable sense of depth and movement. The few lighter patches then appear as if from another dimension — they might be fingerprint smudges, lights in the distance, or objects floating up out of the darkness. Upson’s handling denies us any simple foreboding, proffering the gentle fascination of surface as a way to experience what is within.

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Discover More from Modern & Contemporary Art Online Auction, New York >

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Recommended Reading

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Damien Hirst: Mantras in Colour >

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Artists to Watch: New Now London >

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(47.6 x 45.7 cm)","medium","acrylic gouache and wood veneer on mahogany plywood","sigEdtMan","Executed in 2019.","provenance","Dio Horia, Athens\r\nAcquired from the above by the present owner","literature","Keith Estiller, \"Artist Hulda Guzmán Explores Narrative & Space in First Greece Exhibition,\" Hypebeast, October 14, 2019, online (illustrated)","exhibited","Athens, Dio Horia, Hulda Guzmán: With the Mother, October 23–November 24, 2019","mainImagePath","https://dist.phillips.com/auction-assets/NY090424/210462_001.jpg","additionalImagePaths",[613,614],"enhancedLotComponents",[598],"conditionReport","The work is in very good condition. There are some frame abrasions to the extreme edges, not visible when the work is framed. There are some hairline cracks to the veneer element, inherent to the artist's working method and chosen materials. There are some faint surface scratches and a light layer of surface dust in places. When examined under ultraviolet light there is no indication of restoration. The work is framed in a natural wood frame measuring 21 1/2 x 20 3/4 in.",{"_156":72,"_157":158},{"_599":126,"_600":601,"_602":603,"_16":604,"_605":606},"isActive","componentType","RichText","componentId",20241,"DETAIL-HEADER-DISABLED 30719","componentItems",[607],{"_599":126,"_608":609,"_610":611,"_612":-7},"componentItemId",24024,"htmlCaption","

Hulda Guzmán’s The Medicine, 2019, is an exploration of the artist’s Dominican heritage, environmental consciousness, and surrealist storytelling. The artist’s signature choice of colors and surrealist spatial arrangement of those colors are on full display in the present work. Moreover, exemplifying Guzmán’s unique fusion of narrative and materiality through the execution of acrylic gouache and wood veneer on mahogany plywood – a hallmark of her practice – The Medicine embodies the very essence of the luscious landscapes of the Dominican Republic, where Guzmán lives and works.

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Within the same year that she executed The Medicine she exhibited the work at Dio Horia in her first solo show in Athens called With The Mother. The exhibition was organized coincidentally with Guzmán’s participation in the 2019 Venice Biennale, where her work was included in the Dominican Republic national pavilion.

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Through The Medicine, Guzmán invites the viewer to look at their surroundings not as generally perceived but as how we feel and experience it. She wants us to reconsider our often overlooked wild surroundings – plants, animals and other elements of life such as water, earth, wind, rain, sun, fire – and encounter nature as a motherly and pedagogic figure, revealing its magic of existence.

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Resonating with Guzmán’s broader oeuvre, in which she frequently interrogates themes of identity, colonization, and our intrinsic relationship with nature. The Medicine draws these parallels between the cyclical rhythms of the natural world and human existence, reflecting Guzmán’s belief in an interconnected ecosystem. Through the intricate use of layering colors and forms, Guzmán offers not only a celebration of the rich cultural and ecological heritage of the Dominican Republic, but she also invites one to contemplate the transcendence of nature and its enduring mysteries.

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Whether viewed as a meditation on her homeland or a vibrant portal into her fantastical imagination, The Medicine stands as a testament to Guzmán’s ability to merge material, narrative, and meaning seamlessly. It exemplifies her talent for creating immersive, thought-provoking works that linger in the viewer’s mind long after the first glance.

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69

Hulda Guzmán

The Medicine

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Hulda Guzmán