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Auction 2 July 2020 2pm EDT

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450 Park Avenue, New York (map)

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\n","auctionDetailsSmall","New York Auction 2 July 2020","extraInfo","

Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

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1 212 940 1250

\n","enableHighlightsView","enableOnlineCatalogue","endSale",true,"hideSoldLots","isChineseTranslate","isExhibition","isLiveAuction","isMixedAuction","makeLive","showAdvanceBidButton","showArtCollector","showBuyButton","showCatalogueDownloadLink","showInquireButton","showPrintCatalogueSection","showRegistrationLink","showSaleOffers","showSoldPrice","lots",[223,224,225,226,227,228,229,230,231,232,233,234,235,236,237,238,239,240,241,242,243,244,245,246,247,248,249,250,251,252,253,254,255,256,257,258,259,260,261,262,263,264,265,266,267,268,269,270,271,272,273,274,275,276,277,278,279,280,281,282,283,284,285,286,287,288,289,290,291,292,293,294,295,296,297,298,299,300,301,302,303,304,305,306,307,308,309,310,311,312,313,314,315,316,317,318,319,320,321,322,323,324,325,326,327,328,329,330,331,332],"articles",[167,168,169,170],"departments",[160],"auctionCurrency",{"_157":72,"_158":159},"totalLotCount",110,"auctionMobilityAuctionRowId","1-2UKT9F","auctionUrl","https://www.phillips.com/auction/NY010520","currencyCode","currencySign","$",{"_161":162,"_163":164,"_165":166},"departmentId",1,"departmentName","Contemporary","departmentDisplayName","Modern & Contemporary Art",{"_171":214,"_173":166,"_174":215,"_16":216,"_177":217,"_179":218,"_181":182,"_183":184,"_185":219,"_187":184,"_189":220,"_191":221,"_193":222},{"_171":205,"_173":166,"_174":206,"_16":207,"_177":208,"_179":209,"_181":182,"_183":184,"_185":210,"_187":162,"_189":211,"_191":212,"_193":213},{"_171":195,"_173":166,"_174":196,"_16":197,"_177":198,"_179":199,"_181":182,"_183":184,"_185":200,"_187":201,"_189":202,"_191":203,"_193":204},{"_171":172,"_173":166,"_174":175,"_16":176,"_177":178,"_179":180,"_181":182,"_183":184,"_185":186,"_187":188,"_189":190,"_191":192,"_193":194},"coverUrl","https://flockler.com/thumbs/sites/889/springford-625cd2e0-f2b6-4792-9b25-f6e67e57e62e_s600x0.jpg","section","summary","In advance of our 20th Century & Contemporary Art Day Sale this July, we're revealing two exciting works to be offered in our Morning and Afternoon sessions. ","First Reveal: Vivian Springford & John Chamberlain","body","

Vivian Springford Untitled (Tanzania Series), 1972. Estimate: $60,000-80,000.
\n20th Century & Contemporary Art Day Sale, Afternoon Session.

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Exuberant and brimming with radiant color, Vivian Springford's Untitled (Tanzania Series), 1972, and John Chamberlain's Pure Drop, 1983, are two major highlights of Phillips' upcoming 20^th Century & Contemporary Art Day Sale. Executed a little more than a decade apart, each work gives insight into how these two very different artists pushed their respective practices to new heights in their late careers.

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Both Chamberlain and Springford were active in the New York art world of the 1950s, initially developing their practice in relation to – and in challenge of – the prevailing aesthetic of Abstract Expressionism in the fields of sculpture and painting, respectively. Yet while Chamberlain was widely celebrated early on, Springford's achievements are only receiving their long overdue recognition in recent years.

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Despite an almost 30-year hiatus from the art world, Vivian Springford developed a unique and timeless language of abstraction that’s garnering fresh attention from audiences today. Untitled (Tanzania Series), 1972, is an exquisite example of Springford’s characteristic compositions that beautifully meld Eastern and Western motifs. Her oeuvre effortlessly integrates the influence of Abstract Expressionist and Color Field painting with harmonious principles from the ancient Chinese philosophies of Taoism and Confucianism.

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I want to find my own small plot or pattern of energy that will express the inner me in terms of rhythmic movement and color. The expansive center of the universe, of the stars, and of nature is my constant challenge in abstract terms.
\nVivian Springford
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Untitled (Tanzania Series)’s bold concentric pooling of pigment is wholly representative of Springford’s signature “one-shot” paintings, which are created in a single attempt without edits or alteration. By the 1970’s Springford had developed her distinctive technique for staining her raw canvases with thin washes of pinks, blues and greens, in a method that almost mimics the application of watercolor. The present work’s brilliant hues and organic pattern work in tandem with the delicacy and thoughtfulness of Asian artistry to form an awe-inspiring burst of passion.

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John Chamberlain Pure Drop, 1983. Estimate: $600,000-800,000.
\n20th Century & Contemporary Art Day Sale, Morning Session.

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With its striving verticality, forceful dynamism, and vibrantly dappled matrices of color, Pure Drop, 1983, is emblematic of John Chamberlain’s celebrated late work. A quintessential example of the artist's Giraffe series, circa 1982-1983, of which other examples reside in the The Menil Collection, Houston, this monumental work perfectly encapsulates how Chamberlain, having revolutionized the field of art making in the late 1950s by using wrecked automobile parts as his material, continued to develop his radical sculptural practice in the 1980s.

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Pure Drop speaks to the increasing manipulation of form and color that entered Chamberlain’s oeuvre after his move to Sarasota, Florida in 1980. Like fellow New York transplants such as Robert Rauschenberg and James Rosenquist, Chamberlain’s move to Florida and purchase of a large warehouse provided him with the freedom for more experimentation in the complexity and scale of his sculptures.

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Do you live in a world with no color? It never occurred to me that having color on sculpture was such a big number. I thought it was very obvious.
\nJohn Chamberlain
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Restricting his focus to the use of specific, larger-scale parts of the automobile, such as fenders, bumpers, and chassis, and sandblasting the painted metal to create the eponymous giraffe-like patterns exposing the striations of the underlying material, Chamberlain creates an artwork that at once pulls into itself by an intrinsic gravitational force and breaks free from its own vertiginous contortion. In contrast to the ready identification with wrecked cars in his earlier works, this work articulates Chamberlain’s shift to creating more ambiguous sculptures.

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Once part of the esteemed Doris and Charles Saatchi Collection, London, Pure Drop is alive and frozen in place, a soaring tangle of metal forms bursting out and into one another but locked in sculptural stasis in a manner that exudes an imposing sense of presence.

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Inquiries

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John McCord, Head of Day Sale, Morning Session
\njmccord@phillips.com

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Rebekah Bowling, Head of Day Sale, Afternoon Session
\nrbowling@phillips.com

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\n","publishDate","2020-05-28T18:16:18.000000Z","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/58558469/tca-first-reveal-contemporary-art-vivian-springford-john-chamberlain-new-york-auction","displayOrder",3,"auctionEditorialID",841,"editorialID",2984,"flocklerID",58558469,"https://flockler.com/thumbs/sites/889/2_001-b941cb75-5462-4d51-a346-ece7c144e2fc_s600x0.jpg","Ahead of our Evening and Day Sales, taking place on 2 July, we're unveiling two fresh-to-market works by the late Canadian artist.","First Reveal: Matthew Wong","

Matthew Wong Mood Room, 2018. Estimate: $60,000-80,000.
\n20th Century & Contemporary Art Evening Sale, New York.

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Matthew Wong’s refulgent paintings are prisms of art history. From Chinese literati painting to the expressive brushwork of Vincent van Gogh and Chaim Soutine, the Nabis and Henri Matisse’s fervor for color to the gestural approach of the Abstract Expressionists, numerous influences are palpable in his vibrant vignettes. An enigmatic, psychologically-charged depiction of a space of the artist’s imagination, Mood Room is a superb example from the brief yet profound body of work Wong executed before his untimely death last year.

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A self-taught artist, it wasn’t until 2012 that Wong first began to experiment with drawing. “At first I just bought a cheap sketch pad along with a bottle of ink,” Wong said, “and made a mess every day in my bathroom randomly pouring ink onto pages — smashing them together — hoping something interesting was going to come out of it.” The artist’s mother recalled that “he would go to libraries and study all the masters—Picasso, van Gogh, Matisse,” and participated in Facebook communities of artists who introduced him to new techniques and ideas. Among these online friends included painters Peter Shear and Brian Calvin, and prominent art dealer John Cheim even counseled Wong on which oil paint to try.

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Matthew Wong Landscape with Young Bather, 2018. Estimate: $20,000-30,000.
\n20th Century & Contemporary Art Day Sale, Afternoon Session, New York.

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Landscape with Young Bather, 2018, also epitomizes Wong’s celebrated landscape paintings informed by modernist traditions. Replete with rich color and pattern, the present work nods to the hypnotic pointillism of Georges Seurat and the moody skyscapes of Vincent van Gogh. Here, the lone, almost indiscernible figure, further enriches the meditative quality of this work on paper as he moves in tandem with the rhythmic waves of his surroundings.

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Wong began his paintings with no predetermined subject in mind, instead starting with brushstrokes and dots until an image appeared to him, usually in the form of an interior scene, as in Mood Room, or a landscape, as in Landscape with Young Bather. At this point, Wong stated, “the image will eventually paint itself.” The resulting image usually includes one or no figures, and instead inanimate objects become animate: the chair in Mood Room is depicted with as much presence as a human subject would hold. Perhaps this pictorial decision comes from his background in photography, in which Wong received his MFA before shifting to painting.

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Matthew Wong Mood Room, 2018 (detail).

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The ambiguous presence Wong’s objects carry, as well as the myriad patterns that adorn his space, also evoke the interiors of modernism. On one hand, Mood Room’s lonely interior alludes to the multitude of designs that furnish both Jonas Wood and Pierre Bonnard’s spaces. There is also a more conceptual connection to history, however; both windows in Mood Room and Matisse’s highly-decorated The Dessert: Harmony in Red, 1908, Hermitage Museum, St. Petersburg, appear simultaneously as frames for paintings. The windows both look out onto brilliant outdoor scenes composed of flat areas of color and dots, evoking both actual trees and pointillist paintings—thus hinting at a “picture within a picture.” In this sense, Wong has placed past and present in dialogue in Mood Room, reimagining the modernist approach for the contemporary era.

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\n","2020-06-19T14:23:54.000000Z","https://www.phillips.com/article/59559550/matthew-wong-contemporary-art-first-reveal-new-york-auction",2,840,3033,59559550,"https://flockler.com/thumbs/sites/889/018-9-vl-and-rb-e2b8b14c-241f-4e27-ada5-baa7ab3a4cb3_s600x0.jpg","The restaurateur and author of the new Phaidon book \"Cooking in Marfa\" reflects on the works that speak to her from our 20th Century & Contemporary Art Day Sales.","Virginia Lebermann on Collecting Contemporary Art","

Virginia Lebermann and Rocky Barnette of The Capri, Marfa Texas. Photograph by Douglas Friedman.

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Hotelier, philanthropist and Ballroom Marfa co-founder Virginia Lebermann harbors a longtime passion for the arts that informs her work across disciplines. Together with her partner chef Rocky Barnette, the two have made quite the mark at the intersection of design and hospitality, the pair co-wrote Cooking in Marfa as a tribute to their beloved restaurant, The Capri. For our 20th Century & Contemporary Art Day auctions, we were lucky to have the tastemaker engage with our Morning and Afternoon sessions and curate a selection of her favorite works.

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The Capri, Marfa, Texas. Photograph by Douglas Friedman.

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1.

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James Turrell Hologram (IV 01), 2002. Estimate: $30,000-50,000.

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I learned to look at the sky in a different, more specific way from James’ work. It affects the way I see the world in West Texas.
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2.

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Joan Mitchell Untitled, 1975. Estimate: $80,000-120,000.

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This is just a beautiful painting.
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3.

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John Chamberlain Pure Drop, 1983. Estimate: $600,000-800,000.

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Chamberlain always draws my mind back to Marfa and his incredible installation there. There is a femininity in this piece that I don’t normally associate with his work. I find that exciting and curious.
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4.

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André Breton Four Works: (i-iv) Untitled, 1947-1959. Estimate: $15,000-20,000.

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I was deeply affected by Breton’s writing as a young student. Breton was moved by his time in Mexico where he traveled in 1938 for a conference on Surrealism. Breton, “I don’t know why I came here, Mexico is the most Surrealist country in the world.” Additionally, in 1945 & 1946 he traveled to Haiti where Haitian Vou Dou culture influenced his work. I’m obsessed with the effects of travel on the creative process.
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5.

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Loló Soldevilla Sin Título, 1956. Estimate: $30,000-40,000.

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Born in Havana, a politcal activist and professor of fine art, Soldevilla’s entire body of work is magnificent. It is a well-known fact that the Fontanals-Cisneros Collection is soulful and wise.
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6.

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Ana Mendieta El laberinto de la vida (The Labyrinth of Life) from the series Labyrinth of Venus, 1982. Estimate: $50,000-70,000.

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The ethereal femininity of the spiral throughout art history always fascinates me.
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7.

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Kehinde Wiley Check II, 2006. Estimate: $25,000-35,000.

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He is an incredible artist. This painting is so fresh and energized.
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8.

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Tomás Sánchez Meditador, 1995. Estimate: $250,000-350,000.

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This is stunning vision of what I wish the world felt like.
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Enjoy a 20% discount on Cooking in Marfa by using code PHILLIPS20 at checkout. Offer expires July 30, at midnight Eastern Time.

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\n","2020-06-26T17:11:27.000000Z","https://www.phillips.com/article/59817379/virginia-lebermann-contemporary-art-marfa-texas-auction",869,3049,59817379,"https://flockler.com/thumbs/sites/889/arruda-762ba027-c8c3-42c1-b520-74af4abf7682_s600x0.jpg","We're rounding up some relative newcomers to the auction world who are poised to make a splash in this season's 20th Century & Contemporary Art auctions. ","Today's Emerging Talent: 10 Artists to Watch","

Lucas Arruda Untitled, 2014. Estimate: $80,000-120,000.
\n20th Century & Contemporary Art Evening Sale, New York.

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Amoako Boafo

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Amoako Boafo Joy in Purple, 2019. Estimate: $50,000-70,000.

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Executed in luscious blues, browns, and violets, Joy in Purple exemplifies the investigation of black representation and identity explored in Amoako Boafo’s Black Diaspora series. Usually painting friends or people in his community, this series is according to the artist, “first a celebration of blackness and second a form of documentation.” Coalescing his Ghanaian heritage with European art history, Boafo thrusts members of the African Diaspora into traditional modes of Western portraiture through a visual lexicon that is his alone. Boafo uses brushes to render the monochromatic backgrounds and his figure’s clothing, but he paints the subjects themselves directly with his fingers. “I am trying to find ways to celebrate individuality, which is reflective in my technique,” he says. “When I paint with my fingers, I have less control, which I believe is beneficial.”

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Amoako Boafo After the nail color, 2018. Estimate: $50,000-70,000.

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Boafo’s After the nail color, 2018, is another stunning example of the artist’s distinctive style of portraiture. Boafo describes his oeuvre as being dedicated to the celebration and documentation of the black experience; a topic which the artist feels has otherwise been brashly misrepresented throughout art history. Despite being only 36 years old, preeminent institutions—such as the Solomon R. Guggenheim Museum, New York, and the Albertina Museum, Vienna—have rapidly begun acquiring his work. His paintings are rare-to-market, and Phillips achieved the world record for the artist this past February in London.

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Lucas Arruda

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Bridging abstraction and figuration, the landscapes and seascapes of Lucas Arruda’s paintings recall the Romantic sublime, as epitomized by 19th-century landscapes, through a contemporary lens. In Untitled, Arruda presents us with what appears to be a blue sea cloaked by a stormy grey foreboding sky. Intended to more closely represent the landscape of the artist’s imagination than real environments, Untitled and Arruda’s other meditations comprise the Deserto-Modelo series that the artist has been working on for the last decade. This long-term investigation of painting’s nature is on one hand influenced by the writings of Brazilian poet João Cabral de Melo Neto and Dino Buzzati’s 1940 book O Deserto dos Tártaros, but Arruda was also inspired by a wide range of artists such as Alfredo Volpi and Agnes Martin. Evocative of so many pictures—an ocean by J. M. W. Turner; a misty beach scene by Armando Reverón; James Abbott McNeill Whistler’s Nocturne: Blue and Silver – Chelsea, 1871 at Tate, London— Untitled encourages the viewer to examine nature through the astute and diverse eyes of the artists we so admire.

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Lucas Arruda Untitled from the series Deserto-Modelo, 2012. Estimate: $60,000-80,000.

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Despite being only 37 years old, Arruda has already received widespread institution and critical recognition for his exquisite land- and seascapes. His first large-scale institutional solo show, Deserto-Modelo, was at the Fridericianum in Kassel, Germany last year, and works by the artist are already in the permanent collections of J. Paul Getty Museum, Los Angeles; Fondation Beyeler, Basel; the Rubell Family Collection, Miami; and the Pinacoteca do Estado de São Paulo in Brazil. Well-known in his native country of Brazil, Arruda has catapulted to international acclaim after shows at David Zwirner in London in 2017 and New York in 2019. With his paintings rare to market, this is only the fifth Deserto-Modelo at auction. Phillips achieved the world record for the artist this past February in London.

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Otis Kwame Kye Quaicoe

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Otis Kwame Kye Quaicoe Shade of Black, 2018. Estimate: $20,000-30,000.

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Evoking the postmodern, realist portraiture of Barkley Hendricks and Kerry James Marshall, Otis Kwame Kye Quaicoe’s luminous, bold paintings of black men and women exude a sense of pride and aristocratic dignity. Born in Accra, Ghana, but now living and working in Portland, Oregon, he usually depicts his friends (from real life or those he met online) or people he encounters on the street in classically derived poses. Shade of Black is a work from Quaicoe’s series of cowboys, and likely portrays model David Theodore, who wore a similar ensemble for a 2019 photoshoot. As all of the artist’s figures, the present subject is depicted with conspicuously vibrant sartorial choices, donning a bright purple jacket atop a tangerine turtleneck, outfitted with a straw yellow cowboy hat. The lush treatment of these garments harmonizes with Quaicoe’s rendering of black skin—replete with golden, coral, and burgundy tonalities. Quaicoe’s paintings are influenced by hand-painted Ghanaian film posters from the 1980s and 1990s, which is clear in the compositions of the canvases, usually featuring a single figure against a monochrome impasto-rich expanse. Quaicoe’s work is incredibly rare-to-market, and Shade of Black represents the artist’s debut at auction.

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Christina Quarles

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Christina Quarles Placed, 2017. Estimate: $70,000-100,000.

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A superb example from an artist rare to auction, Placed exemplifies Christina Quarles’ fresh painterly approach to universal themes of identity and sexuality, which has earned her a reputation as one of the most innovative voices of her generation. In her launch to widespread acclaim over the last three years, the painter has enjoyed international museum attention, and her unique vision will be celebrated in a major solo exhibition at the Museum of Contemporary Art Chicago next year. This global recognition—virtually unprecedented for an artist only 35 years old—has translated into her status as one of the most sought-after painters among her contemporaries. Only three paintings by Quarles have ever been offered at auction, with Phillips having achieved the artist’s current record price in 2019.

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Robert Nava

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Robert Nava The Tunnel, 2019. Estimate: $40,000-60,000.

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Evoking ancient hieroglyphics, Robert Nava’s mythical monsters teeter between commemorative gravitas and childlike levity. Intrigued by the mystery inherent to viewing ancient images, such as those in cave painting, when viewed within a contemporary context, the artist envisions enigmatic creatures with untold stories. Nava’s approach was informed by myriad influences spanning art history, from the Old Masters to Huma Bhabha, ancient art—primarily Egyptian, Mayan, and Sumerian—to Vincent van Gogh. Interested in the soul and immense impact of the these images, Nava also became obsessed with the “mistakes” he found in the works by this diverse selection of creators. “And even looking at a Renaissance painting, I would be looking for error, like mistakes were more alive to me. By drawing things ‘incorrectly,’ I found more things to do in that realm,” Nava explained. “So that's why I find it more interesting and why I draw and paint like this. It's been like that since probably 2007 or 2008, but now it's getting really refined, and I know what I want to do more.”

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Nava’s exhibitions at Night Gallery, V1 Gallery, and Sorry We’re Closed were sold out, and The Tunnel marks the artist’s auction debut.

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Titus Kaphar

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Titus Kaphar Untitled (red thread lady), 2013-2018. Estimate: $40,000-60,000.

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Titus Kaphar’s work questions the nature of history and its representations in the past and today. By altering the materiality of his paintings, sculptures, and installations, Kaphar subverts conventional understandings of historical representations and exposes the uncomfortable and troubling realities of the racism in America’s past. This is the artist’s first auction season since joining Gagosian’s roster of artists.

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Coalescing fact and fiction, Titus Kaphar’s much-acclaimed Vesper Project explores the precariousness of memory and social constructions of identity. After mistakenly recalling an experience with an aunt that never occurred, the artist—whose work is often informed by the perennial destructiveness—began to communicate with a character in his work, named Ben Vesper. Their five-year-long fictional exchange is documented by a series of letters, journal entries, and other ephemera regarding Vesper’s family history on the project’s website. This experiment evolved into an installation set in an actual 19th-century house, in which Untitled (red thread lady) was hung on the wall, and is Kaphar’s most exhibited—and arguably most famous—body of work.

\n\n

Jonathan Lyndon Chase

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\n\n

Jonathan Lyndon Chase Clothes Shopping, 2018. Estimate: $10,000-15,000.

\n\n

Jonathan Lyndon Chase directly addresses his personal history and manifests the complex matters of race, gender, sexuality and class across his practice. His work encourages viewers to confront their preconceptions and the ways in which subjective social constructs affect the way we live. By initiating this introspection, Chase contributes a new narrative to contemporary discourse and inspires viewers to do the same. In Clothes Shopping, Chase explores the ways by which traditional notions of masculinity can be challenged and overturned. His subjects are black queer figures that incorporate a compositional fantasy informed by his own life experiences in pornography, books, social media, and dreams. Last November, Phillips set the world auction record for Chase with the work rose petals on bed.

\n\n

Noah Davis

\n\n

\n\n

Noah Davis 100 Years of Entertainment 1-5, 2008. Estimate: $120,000-150,000.

\n\n

Painted in 2008, Noah Davis’ 100 Years of Entertainment 1-5 is a characteristic example of the artist’s lush, moody paintings of themes representative of African American life. Davis's decadent brushwork portrays the quotidian reveries of the urban dreamer; his surreal, sensitive works are marked by an unexpected optimism and their gentle immersion of the viewer into the somnambulistic world of the artist’s musings as much by their velvety surfaces. As such, the present work vividly portrays five vignettes consisting of various forms of entertainment in intense detail. Davis’ studies of various forms of enjoyment attest to the universality of our means of amusement and to the artist’s skillful rendition of his subjects. As Helen Molesworth proclaims "Oh man, Noah Davis: That work speaks for itself.” Earlier this year, Phillips set the world auction record for Davis in our March New Now sale.

\n\n

Vivian Springford

\n\n

\n\n

Vivian Springford Untitled (Tanzania Series), 1972. Estimate: $60,000-80,000.

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Untitled (Tanzania Series)’s bold concentric pooling of pigment is wholly representative of Springford’s signature “one-shot” paintings, which are created in a single attempt without edits or alteration. By the 1970’s Springford had developed her distinctive technique for staining her raw canvases with thin washes of pinks, blues and greens, in a method that almost mimics the application of watercolor. The present work’s brilliant hues and organic pattern work in tandem with the delicacy and thoughtfulness of Asian artistry to form an awe-inspiring burst of passion.

\n\n

Bold in approach and vision, but timeless in appeal, Springford’s compositions are finally receiving long-overdue popular and critical acclaim. With more international exhibitions of her work on the horizon, Springford’s place in the canon of postwar abstract painting is certainly being sealed. This is only the fifth painting by the artist to come to auction, the last three of which were all sold within the last year and a half.

\n\n

Matthew Wong

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\n\n

Matthew Wong Mood Room, 2018. Estimate: $60,000-80,000.

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\n\n

Matthew Wong Landscape with Young Bather, 2018. Estimate: $20,000-30,000.

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\r\n

\"\" — Peter Bruegel the Elder, Fight between Carnival and Lent, 1559. Erich Lessing / Art Resource, NY

\r\n

\r\n","imageUrl",1616,"

\r\n

\r\n",1561,"

$\"\"$

\r\n\r\n

Wilhelm von Kaulbach, The Battle of the Huns on the Catalaunian Plains, 1837. Staatsgalerie, Stuttgart, Photo credit bpk Bildagentur / Staatsgalerie / Art Resource, NY

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“Ultimately it’s about making a picture, which reflects my life, my unconscious or conscious desires.”
\r\n
\r\nNicole Eisenman

\r\n\r\n

\r\n

\r\n\r\n

In Hunnenschlacht, 2001, Nicole Eisenman reinterprets Wilhelm von Kaulbach’s painting of the same title from 1850 in her inimitable style. The works’ titles translate to “The Battle of the Huns”, and each painting aptly depicts the Huns’ attempt to invade the Roman Empire in 451 CE, notoriously considered as one of the world’s fiercest and most decisive military engagements to date. So merciless was this battle that legend reports the souls of dead warriors continued to fight as they rose into Heaven, as depicted in von Kaulbach’s 19^th century masterpiece. Eisenman’s reinterpretation is similarly composed of an entangled assemblage of men representing these souls as they float among the clouds, all donning identical nondescript unitards. Eisenman’s choice to render one of history’s most violent wars through her satirical visual lexicon exemplifies the artist’s commitment to highlighting the prevailing injustices of society. The intricate narratives such as the one in the present work that compose the artist’s oeuvre embrace painterly traditions from the art historical canon and draw from past events to comment on contemporary themes such as identity, gender and inequality in America.
\r\n
\r\nPortraying The Battle of the Huns through a satirical contemporary lens, Eisenman depicts the men in Hunnenschlacht with zombie-like expressions, flailing their limbs with little intention, and in turn, evoking a dystopian uniformity; the work’s caricatured aesthetic, so distictive to Eisenman’s style, further upends the credibility of the figures’ heroism. This disquieting scene likely alludes to the rejection of the stifling gender stereotypes and herd mentality that perpetuate the predilection for a homogeneous society. As Eisenman has remarked, “the power of a crowd is the offer to let individuals dissolve into it. Elias Canetti talked about the moment when the individual gets rid of his difference; that when he joins the crowd. It sounds wonderful or like a nightmare. In drawings with a lot of people, the crowd becomes a block, a world unto itself.”[i]
\r\n
\r\nReferencing other art historical masterworks, this eerie dreamscape analogizes the pioneering genre paintings of Pieter Bruegel the Elder. Just as the renowned Dutch Old Masters painter is celebrated for subverting his detailed renderings of commoners engaged in various activities with moralistic convolutions; Eisenman, likewise, challenges the injustices of society under the approachable guise of her cartoon-like imagery.
\r\n
\r\nEisenman’s rejection of established societal systems combined with her seemingly ironic embrace of art historical traditions have cleverly defied her work of definition. Her familiar mural-like scenes such as Hunnenschlacht disrupt conventional gender paradigms that inspire her viewers to question these long-standing expectations. As feminist writer Laurie Weeks proclaims, “[Eisenman] restores the ambiguity, uncertainty, and unfamiliarity to the world, and in the process she RE-ENCHANTS it!”[ii]\r\n\r\n

\r\n

[i] Laurie Weeks, quoted in, “Eat Me”, Nicole Eisenman, exh. cat., Zurich, 2011, p. 8

\r\n

\r\n\r\n

\r\n

[ii] Nicole Eisenman, quoted in, “Nicole Eisenman in Conversation with Lynne Tillman”, Nicole Eisenman, exh. cat., Zurich, 2011, p. 16

\r\n

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John Chamberlain Pure Drop, 1983. Estimate: $600,000-800,000. \n20th Century & Contemporary Art Day Sale, Morning Session.

Matthew Wong Landscape with Young Bather, 2018. Estimate: $20,000-30,000.\n20th Century & Contemporary Art Day Sale, Afternoon Session, New York.

Matthew Wong Mood Room, 2018 (detail).

The Capri, Marfa, Texas. Photograph by Douglas Friedman.

1.

James Turrell Hologram (IV 01), 2002. Estimate: $30,000-50,000.

2.

Joan Mitchell Untitled, 1975. Estimate: $80,000-120,000.

3.

John Chamberlain Pure Drop, 1983. Estimate: $600,000-800,000.

4.

André Breton Four Works: (i-iv) Untitled, 1947-1959. Estimate: $15,000-20,000.

5.

Loló Soldevilla Sin Título, 1956. Estimate: $30,000-40,000.

6.

Ana Mendieta El laberinto de la vida (The Labyrinth of Life) from the series Labyrinth of Venus, 1982. Estimate: $50,000-70,000.

7.

Kehinde Wiley Check II, 2006. Estimate: $25,000-35,000.

8.

Tomás Sánchez Meditador, 1995. Estimate: $250,000-350,000.

Enjoy a 20% discount on Cooking in Marfa by using code PHILLIPS20 at checkout. Offer expires July 30, at midnight Eastern Time.

Amoako Boafo

Amoako Boafo Joy in Purple, 2019. Estimate: $50,000-70,000.

Amoako Boafo After the nail color, 2018. Estimate: $50,000-70,000.

Lucas Arruda

Lucas Arruda Untitled from the series Deserto-Modelo, 2012. Estimate: $60,000-80,000.

Otis Kwame Kye Quaicoe

Otis Kwame Kye Quaicoe Shade of Black, 2018. Estimate: $20,000-30,000.

Christina Quarles

Christina Quarles Placed, 2017. Estimate: $70,000-100,000.

Robert Nava

Robert Nava The Tunnel, 2019. Estimate: $40,000-60,000.

Titus Kaphar

Titus Kaphar Untitled (red thread lady), 2013-2018. Estimate: $40,000-60,000.

Jonathan Lyndon Chase

Jonathan Lyndon Chase Clothes Shopping, 2018. Estimate: $10,000-15,000.

Noah Davis

Noah Davis 100 Years of Entertainment 1-5, 2008. Estimate: $120,000-150,000.

Vivian Springford

Vivian Springford Untitled (Tanzania Series), 1972. Estimate: $60,000-80,000.

Matthew Wong

Matthew Wong Mood Room, 2018. Estimate: $60,000-80,000.

Matthew Wong Landscape with Young Bather, 2018. Estimate: $20,000-30,000.

John Chamberlain Pure Drop, 1983. Estimate: $600,000-800,000.
\n20th Century & Contemporary Art Day Sale, Morning Session.

Matthew Wong Landscape with Young Bather, 2018. Estimate: $20,000-30,000.
\n20th Century & Contemporary Art Day Sale, Afternoon Session, New York.

214

Nicole Eisenman

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