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拍賣 2022年5月18日東部夏令時間下午7:00
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紐約公園大道432號 10022（地圖）
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預展 4月30日至5月18日
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\n5月18日的拍賣只准攜帶有效疫苗接種記錄的持票人士進場。由於場地容量限制，入場門票數量有限。請發送電郵至：tickets@phillips.com查詢相關門票。
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倫敦
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洛杉磯
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南安普敦
\n4月1至24日

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台北
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Amanda Lo Iacono
\n全球董事總經理及紐約拍賣主管暨晚間拍賣主管
\n+1 212 940 1278
\naloiacono@phillips.com
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\nCarolyn Mayer
\n紐約晚間拍賣副主管暨副專家
\n+1 212 940 1206
\nCMayer@phillips.com

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Justin Caguiat, Doll 3 Eros, 2020. 20th Century & Contemporary Art New York, Evening Sale.

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Auction Debut

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Dominican-born, New Jersey-based painter Bony Ramirez takes an outsized approach to his distinctive practice. Entirely self-taught, the artist paints large, multimodal works featuring towering, distorted figures with imaginative use of color, physicality, and presence in the style of Italian Mannerist paintings. His characters reflect the artist’s heritage, and often repurpose traditional modes of representation for contemporary Caribbean life and the latent colonialist history that undergirds the psychology of the islands.Ramirez has exhibited with the group show Shattered Glass, curated by Melahn Frierson and AJ Girard, Jeffrey Deitch, as well as two recent solo shows, Noblesse Oblige at Bradley Ertaskiran, Montreal, Canada, and MUSA X PARADISIACA at Thierry Goldberg Gallery, New York.

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Chloe Wise, Making inoffensive magic in your house, 2018. 20th Century & Contemporary Art New York, Afternoon Sale.

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Chloe Wise

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Chloe Wise engages with the subjects that define the contemporary era with a mix of acrimony and humor that can only emerge from our hyper-indulgent, terminally connected landscape. Beneath the social-friendly presentation, however, Wise examines questions around consumption, both physical – as her breakthrough Bread Bags series demonstrated – and as mediated through various gazes, from screens to intrapersonal experiences. This all adds up to an imagined, or constructed notion of the self for Wise, whose ability to weave narratives between art, fashion, culture, and food emphasizes the female body at the center of her focus. Born in Montreal and based in New York, the artist's recent solo shows include Thank You For The Nice Fire at Almine Rech Gallery, New York, and And Everything Was True at HEART, Herning Museum of Contemporary Art, Denmark.

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Discover More from 20th Century & Contemporary Art >

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Recommended Reading

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Two Days at the Venice Biennale 2022 >

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Mapping David Wojnarowicz >

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\n","publishDate","2022-04-26T20:59:26.000000Z","authorCredit","Arian Murati","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/95405518/artists-to-watch-20th-century-and-contemporary-art-new-york","displayOrder",2,"auctionEditorialID",1541,"editorialID",3844,"flocklerID",95405518,"https://flockler.com/thumbs/sites/889/david-woj2-7a9a1f34-7642-475d-9c80-f895e359350a_s600x0.jpg","The artist's legacy endures from the exhibition to the red carpet. ","Mapping David Wojnarowicz","

David Wojnarowicz, Fuck You Faggot Fucker, 1984. 20th Century & Contemporary Art New York, Evening Sale.

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Phillips' 20th Century & Contemporary Art New York Evening Sale features an exceptional work by David Wojnarowicz which showcases several of the American multidisciplinary artist's signature themes in concert with striking visual and narrative overlays. The subject of a recent exhibition at P·P·O·W, New York, examining the artist's deeply influential time in Paris and his relationship with Jean Pierre Delage, Wojnarowicz's and work amassed critical gravity in the wake of the AIDS crisis which would tragically cut short the artist's life in 1992.

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Dan Levy at the 2021 Met Gala. Photo: REUTERS / Alamy Stock Photo.

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Testifying to the present work’s enduring cultural significance nearly 40 years after its creation, actor Dan Levy of Schitt’s Creek recently donned a custom outfit inspired by Fuck You Faggot Fucker at the 2021 Met Gala. Designed by Jonathan Anderson, Levy’s ensemble featuring the work reflects an homage to Wojnarowicz, whose singularly bold artistic voice would shape the contemporary fabric of American culture, so to speak, by offering an image that celebrates universal love and acceptance. Levy expressed in an Instagram post, “We wanted to celebrate queer love and visibility — acknowledging how hard artists like Wojnarovicz [sic] had to fight, while also presenting the imagery in a way that offered a hopeful message. Tonight, we’re celebrating the resilience, the love, and the joy of the community while honoring a crucial American voice that was taken from us too soon.”

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The artist with the present work at his 1990 retrospective in Normal, Illinois.

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Carlo McCormick, a longtime New York cultural critic, curator, and friend of Wojnarowicz, explores the many ways in which the artist's practice developed alongside his increasingly widening scope and eye for combining incisive social commentary with dreamlike compositions and radically inventive arrangements.

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Acquired directly from a solo exhibition Wojnarowicz mounted in 1984 at Civilian Warfare, the first gallery to offer the artist sustained representation, Fuck You Faggot Fucker (hereafter abbreviated to FYFF) remains a landmark in the artist’s oeuvre. It was featured in his major posthumous 2018-2019 survey History Keeps Me Awake at Night (Whitney Museum, New York and Reina Sofia, Madrid). As disquieting and incendiary today as it was 38 years ago, in no small part for its confrontational title, this major painting counterpoises the utopian networks of community forged in the abiding abandonment that characterized New York City after the fiscal crisis a decade earlier against the prevailing forces of misunderstanding and violence that directly threatened the practical and idealistic dimensions of these alternate, ad hoc and temporal societies. Full of life, it presages a sense of doom, inherent if not immanent, an embrace and tenderness cast adrift from the body politic in a psychologically isolating miasma of inky waters.

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David Wojnarowicz, Fuck You Faggot Fucker, 1984 (detail). 20th Century & Contemporary Art New York, Evening Sale.

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Considering the wide array of different elements Wojnarowicz includes in his imagistic maelstrom — with painted passages of dreamlike expanse and erasure, photographs and varying found elements including maps — there is much in the way he structures his storytelling that remarks on the then first rising tendencies of Postmodernism. […] He clearly understood history — philosophically as well as viscerally — to be a doubtful inheritance, a disorienting and ultimately afflictive cultural construct that undermined individuality and subjugated autonomy. Regarding the evolution of this David Wojnarowicz’s work, what it meant to be an artist in 1984, and the ways art would go forward in the increasingly contested cultural landscape that would follow, Fuck You Faggot Fucker is of immeasurable historical significance. A portrait of love and desire in a socio-political paradigm of hate and fear, here Wojnarowicz articulates his abiding artistic concerns for the survival and struggle of the socially marginalized as a narrative of liberation sung against the shackles of oppression.

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David Wojnarowicz, Fuck You Faggot Fucker, 1984 (detail). 20th Century & Contemporary Art New York, Evening Sale.

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Carlo McCormick is a New-York based art critic and curator who has authored numerous catalogues and artist monographs. He was a friend and collaborator of David Wojnarowicz.

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Recommended Reading

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Two Studies in Intimacy: Henry Moore & Jean Dubuffet >

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How Art Imitmates Life >

\n","2022-04-20T15:42:56.000000Z","https://www.phillips.com/article/94968003/a-map-of-david-wojnarowicz",1531,3835,94968003,"https://flockler.com/thumbs/sites/889/ykb1-c7b4565b-4ccb-44bd-aafb-fd473ce7412a_s600x0.jpg","On the purposeful ways in which Yves Klein, Mark Rothko, and Yayoi Kusama interact with color and the depth of meaning revealed by a single hue. ","The Power of Color","

Yves Klein, Monochrome bleu sans titre (IKB 267), 1957. 20th Century & Contemporary Art New York, Evening Sale.

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Despite Piero Manzoni’s famous statement that "Infinity is strictly monochromatic, or better still, colorless," artists have long been fascinated by the power of color and have oriented their practices around it in revealing ways. Color is the quiet force which guides human life; it is implicated in science, physiology, psychology, philosophy, and art. From how we describe ourselves and each other to our surroundings to our disposition, color is attributed — feeling blue, tickled pink, yellow bellied, seeing red, green with envy. Colors are ascribed to everything from race to gender to politics; it has an unavoidable yet essential role in how mankind experiences the world. The power of color is in its ability to operate at once as a sensation and a cultural perception; to be its own language yet remain unspoken; and to be both physical and allusive. In the words of French Cubist Fernand Léger, "Man needs color to live; it's just as necessary an element as fire and water."

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One day in 1947 while on a beach in Nice, Yves Klein, Claude Pascal, and Arman claimed the earth’s elements for themselves. Pascal seized the air; Arman claimed the land; and Klein took the infinite blue sky for himself. In a grand symbolic gesture of ownership, Klein reached out, and famously signed his name across the azure sky to stake his claim. Together with other Modernists, Klein pursued total transcendence through his art. By the early 1950s, he had determined that the only answer to his questions was color, leading him to boldly proclaim: "Colors alone inhabit space, whereas line only travels through it and furrows it. The line travels through infinity, where color is infinity. Through color, I experience total identification with space; I am truly free." Klein’s earliest monochromatic experimentations were executed in an array of colors — yellow, pink, violet, red, green, white, and green, but by 1955, he realized that only one would satisfy him: blue.

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Blue has no dimensions, it is beyond dimensions, whereas the other colors are not [...] All colors arouse specific associative ideas, psychologically material or tangible, while blue suggests at most the sea and sky, and they, after all, are in actual, visible nature, what is most abstract.
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-Yves Klein
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However, the perfect blue did not yet exist; nothing satisfied the color his imagination had mixed. To give life to this dream, Klein enlisted the help of the renowned Parisian colorist Édouard Adam — the famed tripatouiller of Montparnasse. His solution? Mixing ultramarine pigment with the synthetic resin Rhodopas M, thus creating an absolute blue whose saturation would stand the test of time. Klein trademarked this discovery, coining it International Klein Blue (IKB). Art history’s affinity for blue is well documented; Giotto used it in Assisi (it left Klein awestruck), Pablo Picasso notoriously had a Blue Period a half century before, and even Joan Miró referred to it as "la couleur de mes rêves" (the color of my dreams). Unlike Picasso’s ability to "to give form to a sigh" with his use of empty, tragic, melancholy blues wrought with the emotional turmoil of his youth, Klein’s color was ecstatic, intense, and lustrous. The pigment premiered at Galleria Apollinaire in Milan during Klein’s January 1957 exhibition, which featured eleven 30¾ x 22 in. (78 x 56 cm) canvases covered in IKB. To further unlock the chromatic power of his perfect hue, Klein primed the canvases with casein before applying the pigment with a lambskin roller. Immersing oneself in a Klein is both breathtaking and all-consuming as it creates an optical vibration which unsettles the retina, thus inducing an out-of-body experience, leading observers to feel untethered to the world around them. In Monochrome bleu sans titre (IKB 267), this is achieved through the ebb and flow Klein created with the softly raised ridges and the smoother recessions to create a fluorescent blue sea, manifesting the dynamic incandescence that this color could achieve through his painterly experimentations with surface texture. Upon seeing Klein’s blue works, his Spatialist contemporary, Lucio Fontana, even remarked that "Klein is the one who understands the problem of space with his blue dimension [...] He is really abstract, one of the artists who have done something important."

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Choosing blue allowed Klein to free himself from the prison of the picture plane. During a 1959 lecture at the Sorbonne in Paris, Klein declared: "The painting of the future will be a colorist of a kind never seen before, and that will occur in the next generation. And without doubt it is through color that I have little by little become acquainted with the Immaterial." Through IKB, Klein created a physical visualization of the French philosopher Gaston Bachelard’s poetic phrase, "First there is nothing, next there is a depth of nothingness, then a profundity of blue;" the poignancy of these works for the artist were immortalized in the dedication to his friend Charles Wilp on Relief Éponge bleu sans titre (RE 49).

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Mark Rothko, Untitled, 1959. 20th Century & Contemporary Art New York, Evening Sale.
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A collector once visited Mark Rothko’s studio desperately trying to acquire a canvas from him and asked, "Mr. Rothko, I want a happy painting, a red and yellow and orange painting, not a sad painting," to which the artist countered with a laugh, "Red, yellow, orange — aren’t those the colors of an inferno?" The intensity of the scorching red field radiating between a glowing orange band and lustrous yellow passage in the present work, Untitled, conjures Rothko’s statement that he "wanted a presence, so when you turned your back to the painting, you would feel that presence the way you feel the sun on your back." Red was the paramount color of Rothko’s painting. As Diane Waldman observed: "No other color appears so insistently in his oeuvre […] It dominates Rothko's work of the fifties and sixties and, in fact, was the color of his last painting. Red is so potent optically that it overwhelms or obliterates other hues unless it is diluted or controlled by juxtaposing it […] Perhaps Rothko was so drawn to red because of its powerful and basic associations: it is identified with the elements and ritual — with fire and with blood — and thus with life, death and the spirit." Red’s extraordinary power lies not only with its ability to recall these elemental identities, but also because it has diverse and contradictory meanings including the "various phases of life, such as love, happiness, physical strength, wine, passion, power, excitement, anger, turmoil, tragedy, cruelty, revenge, war, sin, and shame. These are all different, yet in certain respects they are the same. Red may be the color of the revolutionist’s flag, streets may run red with the blood of rioters, yet red may be used in a church ritual for Pentecost as a symbol of sacrifice. Whether blood is spilled upon the battlefield in an approved cause or whether it drips from the assassin’s dagger, blood still runs red […] Love gently warms the blood. The delicacy or strength of a shade of red will suggest the type of love."

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He’ll create a painting that looks like it’s a step from the abyss, and yet he’ll nearly always give you something that creates light.
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– Christopher Rothko
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With translucent layers of red, yellow, and orange, Rothko unravels the drama at the core of his painting. "Standing that close to a Rothko, security alarms notwithstanding, means that you are engulfed by, swamped by, his huge fields of rich color. This might or might not have the desired effect. Many people are put off by this sort of grandiosity. Being put off by Rothko was, in fact, a starting point for many innovative ideas in modern art," reflects the art historian Ben Street. "But, regardless of one’s response, it remains of use in our thinking about color in art, because Rothko evidently recognized that color alone, without it needing to be translated into language or used to describe the visual world, might be able to speak to a spectator directly, in an immediate way, that cuts across levels of expertise, prior knowledge or experience. The hundreds of people who visit rooms of Rothko paintings in museums across the world and remain there, transfixed, moved, or overwhelmed, are testament enough to the artist’s understanding of how color speaks."

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Yayoi Kusama, Untitled (Nets), 1959. 20th Century & Contemporary Art New York, Evening Sale.

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One of the most complicated colors — Isaac Newton falsely described it as mixture of all the colors — white is achromatic and loaded with symbolic meaning. Deemed the purest and most perfect color, from blank pages to white walls, in culture we constantly seek out white in its cleanest, most ultra-bright state to eliminate the imperfections of the world. In the 18^th century, Johann Winckelmann declared "the whiter the body is, the more beautiful it is" in reference to ancient Greek sculpture, despite having been ornately painted originally. Winckelmann’s statement contributed to a false definition of classical beauty and an overall collective blindness in Western culture, which led restorers at the British Museum in the 1930s to polish The Parthenon Sculptures, "the most treasured sculptures from the Acropolis, until they were as white and shiny as pearls" to maximize their greatest beauty.

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Often associated with purity, clarity, fresh starts, and white lies, this color has fascinated artists of the 20^th century from Kazimir Malevich to Robert Ryman to Piero Manzoni to Agnes Martin — who spent their careers painting with white. Following the creation of his radical Suprematist masterpiece, Suprematist Composition: White on White, 1918 Malevich euphorically wrote, "I have overcome the lining of the colored sky…The white free abyss, infinity is before you."

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Everything — myself, others, the entire universe — would be obliterated by white nets of nothingness connecting astronomical accumulations of dots … and the spell of the dots and the mesh enfolded me in a magical curtain of mysterious, invisible power.
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- Yayoi Kusama
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At a distance Yayoi Kusama’s Untitled (Nets) appears to read as a monochrome, but upon close inspection it reveals a delicate latticed network of small arcs and loops across an obscured pale grey surface. Pulsating before the viewer’s eye, the nets extend beyond the canvas’ surface expanding indefinitely. In her early Infinity Net paintings from the 1950s and 1960s, Kusama compulsively painted for hours on end, often without eating or sleeping, determined to give visualizations to the hallucinations she experienced from childhood. The visual impact of this most coveted early series of Infinity Nets resulted in many of her fellow Minimalists to acquire them for their personal collections; her close friend, the artist Donald Judd even commented, "There is a remarkable variety of configuration and expression from point to point across the surface."

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Unlike Newton who stated "whiteness is the usual color of light," Kusama used her white Infinity Nets as visualizations of her psychological turmoil, at the precise moment when her visual field would be obscured with nets and dots, covering her surroundings obscuring what lies beyond. Kusama and her white nets made their New York debut with five mural-sized examples in October 1959 at Brata Gallery. Attracting immediate attention from critics, the Infinity Nets marked a departure from the Abstract Expressionists’ gestural brushwork and instead utilized feverish brushwork and obsessive repetition to create a work which was once meditative and demonstrated the artist’s utmost patience.

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Discover More from 20th Century & Contemporary Art >

\n\n

Recommended Reading

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Two Days at the Venice Biennale 2022 >

\n\n

Mapping David Wojnarowicz >

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"Making a painting is being alone in a room with a very sensuous object, and making a painting is a very sensuous experience."
\n—Lisa Yuskavage

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Painted in 2000, Northview (Impressionist Jacket) is a paramount example of Lisa Yuskavage’s acclaimed practice that reimagines the canonical trope of the female nude. Belonging to her eponymous series of six paintings that set her figures in a lavish Northview mansion in Westchester, New York, the present work marks the pivotal moment when the artist first began incorporating richly detailed environments into her compositions, signaling the shift to her mature practice. Here, a semi-nude woman looks out at a glowing dusk sky from an extravagant boudoir. Donning an Impressionist-era jacket as that seen in Berthe Morisot’s Young Girl on the Grass, The Red Bodice, the figure chromatically blends with her environment and stands in three-quarter view, recalling René Magritte’s nude in La Magie Noir. At once empathetic and jarring, intimate and sexualized, the present work showcases Yuskavage’s painterly dexterity in “moving between the triad of the female body, the gaze, and the female soul.”ⁱ

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\"\" — [left] René Magritte, *La Magie Noir (Black Magic)*, 1945. Musée d’Art Moderne, Brussels. Image: Banque d'Images, ADAGP / Art Resource, NY, Artwork: © 2022 C. Herscovici / Artists Rights Society (ARS), New York [right] Berthe Morisot, *Young Girl on the Grass, The Red Bodice (Mademoiselle Isabelle Lambert)*, 1885. Ordrupgaard, Copenhagen

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"The [Northview] series marks the first time the artist has dealt with a fully articulated interior instead of a fantasy or neutral space. In addition to the art-historical references, other layers of meaning emerge."
\n—Carey Lovelace

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Exhibited at the artist’s solo show at Marianne Boesky, New York in 2001, Northview (Impressionist Jacket) and its series reflect an evolution in Yuskage’s subject matter and technique that mark the beginnings of her mature practice. Departing from the surreal spaces inhabited by her earlier subjects of enormous-breasted women that were infused with overt vulgarity, the artist moved towards “a more traditional realism, with a hint of poignancy and even, here and there, of narrative emotional content,” as Carey Lovelace explained.ⁱⁱ This shift came in part by Yuskavage’s turn to using life-based models, which began several years earlier for her famous series inspired by the imagery in Penthouse magazine. Around the time of the present work’s creation, the artist started using her childhood friend Kathy as a live model and, for her Northview paintings, staged her in an opulent boudoir at an acquaintance’s mansion. Compared to the more cartoony countenances seen in other examples in the series, Northview (Impressionist Jacket) stands out for Yuskavage’s highly realistic rendering of the figure, capturing “an accomplished, almost academic realism” and “sacrificing much of her [previous] work's psychological and formal bluntness,” as Roberta Smith observed.ⁱⁱⁱ

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\"\" — Edward Hopper, *Eleven A.M*., 1926. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. Image: © DeA Picture Library / Art Resource, NY, Artwork: © 2022 Heirs of Josephine Hopper / Licensed by VAGA at Artists Rights Society (ARS), New York

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By placing her nudes in this lavishly decorated interior, the Northview series manifests Yuskavage’s deep engagement with the art historical canon. Recalling the deep inspiration the artist found in the female subjects of Peter Paul Rubens, Giovanni Bellini, and Edgar Degas, the voluptuous figure in the present work is evocative of the surreal uncanny with which John Currin—a close friend and former Yale classmate of the artist—imbues his sexualized figures.^iv Yet ultimately, the pensiveness of Yuskavage’s figure and her situation in an interior environment bears the introspective mood of Edward Hopper’s women. Here, the 19^th century aesthetic of the boudoir conjures the scenes of Édouard Vuillard, a profound influence on the artist’s practice who remains a continuous reference in her recent work. In Northview (Impressionist Jacket), the plush sofa and book-lined wall recall those seen in myriad compositions by the French artist, such as Marguerite Chapin in Her Apartment With her Dog, 1910.

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\"\" — Édouard Vuillard, *Marguerite Chapin in Her Apartment with Her Dog*, 1910. Fitzwilliam Museum, Cambridge. Image: © Fitzwilliam Museum, Cambridge / Art Resource, NY

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"Yuskavage has cultivated a terrain of rich and disturbing ambiguities, making works that can be both tender and astoundingly harsh. She has been aided in this endeavor by her devotion to a second triad, that of light, color and flesh as they can be conveyed by the plasticity of oil paint."
\n—Roberta Smith

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Yuskavage found the Northview space as “intensely feminine” as the women she depicts, which stimulated her fascination with the interaction between her nude subject and the space she inhabits.^v The paintings comprising the series solidified the artist’s unique painterly language, not just by incorporating interiors, but by further embodying “her first body of work where the environmental elements were equal to the figures.”^vi Yuskavage materializes this here by rendering flesh, color and light all in pink, a choice that further heightens the notion of femininity pervading the composition. By encouraging viewers to see “surface as skin, skin as light, color as both, and everything as paint,” she signals to the objectification of the female nude in the patriarchal art historical canon.^vii Yet the “mood of reflective domesticity” and insistent femininity that characterizes the present work—and her oeuvre hereon after—ultimately blur the lines between subverting the male gaze and illuminating the private corners of the female mind. In Roberta Smith’s view, “Yuskavage has approached [her work] from both the outside and the inside: her distortions exaggerate the way women are objectified both by society and by themselves. But her real subject is, I think, the inside, the female soul and psyche.”^viii

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\nⁱ Roberta Smith, “A Painter Who Loads the Gun and Lets the Viewer Fire It,” The New York Times, January 12, 2001, online.
\nⁱⁱ Carey Lovelace, “Lisa Yuskavage: Fleshed Out,” Art in America, July 2001, p. 82.
\nⁱⁱⁱ Roberta Smith, “A Painter Who Loads the Gun and Lets the Viewer Fire It,” The New York Times, January 12, 2001, online.
\n^iv Tamara Jenkins, “Holy Innocents,” in Deborah Aaronson, ed., Lisa Yuskavage: Small Paintings, 1993-2004, New York, 2004, pp. 14-15.
\n^v Thomas Gebremedhin, “Lisa Yuskavage’s Art Continues to Defy Characterization,” The Wall Street Journal, November 6, 2018, online.
\n^vi Lisa Yuskavage et al., “‘Studies for ‘Northview’ Series,” Lisa Yuskavage, artist website, 2018, online.
\n^vii Roberta Smith, “A Painter Who Loads the Gun and Lets the Viewer Fire It,” The New York Times, January 12, 2001, online.
\n^viii Ibid.

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Justin Caguiat

Ludovic Nkoth, Beauty, 2019. 20th Century & Contemporary Art New York, Afternoon Sale.

Ludovic Nkoth

Dominique Fung, Greenly, 2019. 20th Century & Contemporary Art New York, Afternoon Sale.

Dominique Fung

Cornelius Annor, Asempa Aba Fie (Good News in the House), 2021. 20th Century & Contemporary Art New York, Afternoon Sale.

Cornelius Annor

Anthony Cudahy, the gate, 2018. 20th Century & Contemporary Art New York, Afternoon Sale.

Anthony Cudahy

Bony Ramirez, Las Perlas Traen Lágrimas, 2020. 20th Century & Contemporary Art New York, Afternoon Sale.

Bony Ramirez

Chloe Wise, Making inoffensive magic in your house, 2018. 20th Century & Contemporary Art New York, Afternoon Sale.

Chloe Wise

Dan Levy at the 2021 Met Gala. Photo: REUTERS / Alamy Stock Photo.

The artist with the present work at his 1990 retrospective in Normal, Illinois.

David Wojnarowicz, Fuck You Faggot Fucker, 1984 (detail). 20th Century & Contemporary Art New York, Evening Sale.

David Wojnarowicz, Fuck You Faggot Fucker, 1984 (detail). 20th Century & Contemporary Art New York, Evening Sale.

Mark Rothko, Untitled, 1959. 20th Century & Contemporary Art New York, Evening Sale. \n

Yayoi Kusama, Untitled (Nets), 1959. 20th Century & Contemporary Art New York, Evening Sale.

Mark Rothko, Untitled, 1959. 20th Century & Contemporary Art New York, Evening Sale.
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5

Lisa Yuskavage

《北景（印象派外套）》

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Lisa Yuskavage