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拍賣 2023年10月12日
\n英國夏令時間下午1:00
\n

\n\n

倫敦伯克利廣場30號 W1J 6EX（地圖）
\n

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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","auctionDetailsSmall","倫敦拍賣 2023年10月12日","extraInfo","

Charlotte Gibbs
\n副專家
\n+44 73931 41144
\ncgibbs@phillips.com
\n

\n\n

Simon Tovey
\n副總監暨專家
\n+44 20 7318 4084
\nstovey@phillips.com
\n

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Jean Dubuffet, Mire G 95 (Kowloon), 1983. 20th Century & Contemporary Art Day Sale, London.

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Between February 1981 and January 1982, Jean Dubuffet produced 500 small paintings on paper without interruption. The artist retrospectively named these works Psycho-sites, a title that emphasizes their common theme: an indeterminate site — or place — inhabited by unspecific characters. In Site avec 6 personnages, as well as in the entire series, forms are blurred and decomposed. The spatial relationship between the various elements is erratic, creating a composition charged with disordered tension. The figures, with their primitive contours, appear to float in a delimited but abstract space.

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Jean Dubuffet, Site avec 6 personnages, 1981. 20th Century & Contemporary Art Day Sale, London.

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In the introduction to Fascicule XXXIV of his catalogue raisonné, Dubuffet explains: “these [paintings] are ideas of characters who populate ideas of sites ... an enterprise aimed at escaping [from the reasonable], at freeing the figuration and hence the vision.” In that respect, the artist's cursive pictorial language aims to relativize the physical status of the Psycho-sites, thus highlighting their imagined status. Through these experimental compositions featuring bold colors Dubuffet questions our ability to see reality, and the rational framework with which we decipher the world. Do our eyes really see? Can we equate reality with the vision of things surrounding us? Is our desire to analyze our chaotic universe futile?

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Jean Dubuffet, Mire G 95 (Kowloon), 1983. 20th Century & Contemporary Art Day Sale, London.

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In Dubuffet’s following Mires series which began in February 1983, the artist further extended his attempts to take a renewed perspective of the world. In Mire G 95 (Kowloon), the figures have practically disappeared, and the sites are left completely undetermined. Bordering on abstraction, the composition evokes nothing that can be strictly named. The large and the small, lines and curves, voids and volumes mingle, prompting viewers to forget “everything we have been taught to name.”

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Dubuffet added the term “Kowloon” to the titles of his early Mires, a reference to the Chinese citadel destroyed in the early 1990s. Their bright yellow backgrounds are indeed reminiscent of bright Hong Kong store signs and Mandarin procession banners.

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Jean Dubuffet, Dramatique X, 1984. 20th Century & Contemporary Art Day Sale, London.

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The Non-lieux paintings (translated as “non-places”) are Dubuffet’s ultimate series. Aiming to go beyond abstraction, the artist “questions the overall relevance of human views ... denies... that what we think we see... is anything other than fantasy, the ravings of our imagination.” As the artist states, his intention is to represent the non-being, a field of pure thought. The black background of Dramatique X evokes that empty space, and the reduced colour palette, made up of thick white, blue, and red curves, leaves more room for personal interpretation. The Non-lieux series occupied the artist until the dawn of his death in 1985, as an anticipation of his departure from the material world.

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Jean Dubuffet, Lieu rouge au château, 1975. 20th Century & Contemporary Art Evening Sale, London.

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Rejection of established values and deconstruction of academic rules of art constituted the guiding thread of Dubuffet's work. Throughout his career, he drew inspiration from those who expressed themselves outside of formal artistic training — including graffiti artists, tattooists, patients in psychiatric hospitals and children — in search of a spontaneous, wild, and raw pictorial vocabulary. Site avec 6 personnages, Mire G 95 (Kowloon) and Dramatique X offer an exceptional panorama of Jean Dubuffet's last creative years. These works testify to the preoccupations that engaged the artist from his earliest artistic experiments and reveal how they have evolved over the years.

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Discover More from 20th Century & Contemporary Art Day Sale >

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Recommended Reading

\n\n

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

\n\n

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

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There is light surface dust to the work in places, most noticeable to the impasto areas and very occasional pinpoint accretions to the surface of the work in places, only visible on very close inspection. There is a hair accretion to the upper left vertical edge of the work, only visible on very close inspection. The work has been examined under ultraviolet light and there is no evidence of restoration. Otherwise, there no apparent condition issues with this work.",{"_166":72,"_167":168},{"_538":124,"_539":540,"_541":542,"_16":543,"_544":545},"isActive","componentType","RichText","componentId",15825,"DETAIL-HEADER-DISABLED 46468","componentItems",[546],{"_538":124,"_547":548,"_549":550,"_551":-7},"componentItemId",19530,"htmlCaption","

‘‘Each time I approach a new show, I usually start with some word or idea, or it could be an appropriated image… I do a site visit, or I’ll work with the idea of what the location has as a context or something that motivates me that I then take as a starting point. Because every time I’m starting a new work, I’m taking it as an opportunity to start over.’’
\n—Laura Owens

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Laura Owens produced five large-scale works for the 2014 group exhibition Wake up Early, Fear Death curated by Philipp Kaiser in Vienna. Untitled was the centrepiece of this gestalt series. The artist approaches each new body of work and exhibition conceptually to produce site-specific work; this series took popular Viennese imagery as its starting point. In the present work, Owens silk-screened and overlaid a photograph with thick swooping lines of matte black paint, intermittently splattered with fluorescent blues, pinks, reds and greys. Untitled is exemplary of Laura Owens’ heterogeneous painterly approach to painting. The artist’s revitalisation of the medium and eclectic style earned her a mid-career retrospective at the Whitney Museum of American Art in 2017. New York Times art critic Roberta Smith describes the artist’s approach as ‘a rare combination of sincerity and irony. Distinguished by a sly, comedic beauty, her work has a playful, knowing, almost-Rococo lightness of being in which pleasure, humor, intelligence, and a seductive sense of usually high color mingle freely.’ⁱ

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Laura Owens’ artistic practice relies upon an amalgamation of technical processes – Adobe Photoshop and silkscreen printing – and unconventional experiments with paint. The artist plays on the historical trope of the trompe l’oeil in the present work. Owens has edited the source image in Photoshop to fashion drop shadows within the crisp white letters of the text and underneath the sweeping lines of impasto. This effect conveys the impression of a faux relief which creates tension between the two-dimensional and three-dimensional space and the actual and depicted image. Further to this, Owens refers to the thick paint as ‘goop’, which is made from a mixture of safflower oil, aluminium stearate, vinyl and oil paint.ⁱⁱ This dull and coarse compound contrasts with the garish turquoise and the pristine smoothness of the silk-screened canvas.

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‘‘All art is now collage’’
\n—Laura Owens

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Laura Owens stated that ‘art is all about being constructed out of relationships between parts’ – a rebuttal to the ‘total’ image prized by historic artists like Mark Rothko and Jackson Pollock – and that the surface, texture and paint should be heterogeneous in form.ⁱⁱⁱ The artist satirises the post-war tradition of Pop Art, Color Field and Action painting by juxtaposing their archetypal features. Two planes of saturated turquoise and black-and-white silkscreen oppose one another and the unknown ‘consumer’ item – the Greek menu – is not part of the everyday cultural lexicon. The overlaid black swirls are unabashedly material; they are brazen and gestural in their apparent spontaneity and mockery of Action painting – the reality is that the impasto is carefully applied. For Owens, there is neither low nor high culture: leaflets, advertisements, greeting cards, drawings from children’s books and other digital images appear sporadically in her work. For example, in Untitled, she has taken the front cover of a menu for a Greek restaurant Elias Ouveri, originally small in size, stylising and changing it into a monumental image within a fine art context. In this way, Untitled becomes a tapestry to 21^st-century modes of making, being and seeing.

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ⁱ Roberta Smith, ‘The Comedic Beauty of Laura Owens’s Work’, The New York Times, 16 November 2017, online

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ⁱⁱ Laura Owens, 'The Materiality of Abstraction | The Getty Conservation Institute', Youtube, 5 March 2020, online

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ⁱⁱⁱ Laura Owens, quoted in Peter Schjeldahl, “The Radical Paintings of Laura Owens,” The New Yorker, 23 October 2017, online

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Laura Owens

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Laura Owens