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\n

\n30 Berkeley Square, London (map)
\n

Viewing 18-26 June
\nMonday-Saturday 10am-6pm
\nSunday 12pm-6pm

Registration is now open for live bidding in our digital saleroom. Bid in real-time online or on the Phillips iOS or Android app.
\n

","auctionDetailsSmall","London Auction 26 June 2018","extraInfo","Tamila Kerimova
\nSpecialist, Head of Day Sale
\n+ 44 20 7318 4065
\ntkerimova@phillips.com
","enableHighlightsView","enableOnlineCatalogue","endSale",true,"hideSoldLots","isChineseTranslate","isExhibition","isLiveAuction","isMixedAuction","makeLive","showAdvanceBidButton","showArtCollector","showBuyButton","showCatalogueDownloadLink","showInquireButton","showPrintCatalogueSection","showRegistrationLink","showSaleOffers","showSoldPrice","lots",[236,237,238,239,240,241,242,243,244,245,246,247,248,249,250,251,252,253,254,255,256,257,258,259,260,261,262,263,264,265,266,267,268,269,270,271,272,273,274,275,276,277,278,279,280,281,282,283,284,285,286,287,288,289,290,291,292,293,294,295,296,297,298,299,300,301,302,303,304,305,306,307,308,309,310,311,312,313,314,315,316,317,318,319,320,321,322,323,324,325,326,327,328,329,330,331,332,333,334,335,336,337,338,339,340,341,342,343,344,345,346,347,348,349,350,351,352,353,354,355,356,357,358,359,360,361,362,363,364,365,366,367,368,369,370,371,372,373,374,375,376,377,378,379,380,381,382,383,384,385,386,387,388,389,390,391,392,393,394,395,396,397,398,399,400,401,402,403,404,405,406,407,408,409,410,411,412,413,414,415,416,417,418,419,420,421,422,423,424,425,426,427,428,429,430,431,432,433,434,435,436,437,438,439,440,441,442,443,444],"articles",[167,168,169,170,171],"departments",[160],"auctionCurrency",{"_157":72,"_158":159},"totalLotCount",209,"auctionMobilityAuctionRowId","1-Z3VY7","auctionUrl","https://www.phillips.com/auction/UK010518","currencyCode","currencySign","£",{"_161":162,"_163":164,"_165":166},"departmentId",1,"departmentName","Contemporary","departmentDisplayName","Modern & Contemporary Art",{"_172":225,"_174":166,"_175":226,"_16":227,"_178":228,"_180":229,"_182":230,"_184":231,"_186":232,"_188":185,"_190":233,"_192":234,"_194":235},{"_172":216,"_174":166,"_175":217,"_16":218,"_178":219,"_180":220,"_182":183,"_184":185,"_186":221,"_188":162,"_190":222,"_192":223,"_194":224},{"_172":206,"_174":166,"_175":207,"_16":208,"_178":209,"_180":210,"_182":183,"_184":185,"_186":211,"_188":212,"_190":213,"_192":214,"_194":215},{"_172":196,"_174":166,"_175":197,"_16":198,"_178":199,"_180":200,"_182":183,"_184":185,"_186":201,"_188":202,"_190":203,"_192":204,"_194":205},{"_172":173,"_174":166,"_175":176,"_16":177,"_178":179,"_180":181,"_182":183,"_184":185,"_186":187,"_188":189,"_190":191,"_192":193,"_194":195},"coverUrl","https://flockler.com/thumbs/sites/889/303_001-35e2d0a2-8cd1-41cf-9b2b-f8e2f3861abf_s600x0.jpg","section","summary","Select contemporary works by Luc Tuymans, Jean Fabre and more Belgian artists will benefit art magazine 'H ART'.","Sold to Benefit 'H ART Magazine': Belgian Contemporary Art","body","

LUC TUYMANS Fireplace, 2014

\n\n

By Marc Ruyters, Editor-in-chief of H ART magazine

\n\n

Belgium is a small country with a rich history in the visual arts, with prolific artists ranging from the brothers Van Eyck to Pieter Paul Rubens, James Ensor and René Magritte to Marcel Broodthaers, Luc Tuymans and Michaël Borremans, to name but a few. The country has a thriving contemporary art scene, with many esteemed art collectors and progressive visual artists operating on an international level. This season in London, Phillips presents Belgian contemporary art to the world of international collectors and art lovers and will auction, on a non-profit basis, the following selection of works—executed solely by Belgian artists—in support of the Belgian art magazine H ART.

\n\n

H ART, a prominent publication concerned with promoting and discussing contemporary art in Belgium and the surrounding countries, has now been in existence for twelve years and strives for rejuvenation, innovation and internationalization. The key intention of the sale is to consolidate and enhance the existing iteration of H ART magazine in both print and digital form and continue the progressive dialogue between the Belgian art world and the magazine's readership. The magazine's demographic is comprised of art world professionals and art enthusiasts, maintaining a focus on European art which radiates out to the rest of the international art world.

\n\n

Using the funding of this auction, H ART endeavors to achieve this ethos. Phillips presents the following lots in support of H ART, and, in collaboration, are offering high-quality work by twelve Belgian artists whose work has been covered extensively in H ART in recent years: Luc Tuymans, Jan Fabre, Koen van den Broek, Hans Op de Beeck, Sofie Muller, Rinus Van de Velde, Anne-Mie Van Kerckhoven, Pieter Vermeersch, Dirk Braeckman, Berlinde De Bruyckere, Peter Buggenhout and Sven 't Jolle. Exhibiting a wide variety of differing styles, mediums and practices, many of the following artists have recently participated in celebrated exhibitions at prominent institutions and have received critical acclaim at some of the most widely-lauded shows at international art venues, biennials and museums.

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LUC TUYMANS Fireplace, 2014

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RINUS VAN DE VELDE Robert always resisted giving any kind of explanation, 2016

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HANS OP DE BEECK Snowscape (8), 2017

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JAN FABRE Het Denken van het Verbodene (La Pensee de l`interdit// Thinking the Forbidden), 1986

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PIETER VERMEERSCH Untitled, 2018

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BERLINDE DE BRUYCKERE Spreken, 1999

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KOEN VAN DEN BROEK Hummer, 2010

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SOFIE MULLER AL/LIV/17 sculpture, 2017

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PETER BUGGENHOUT Keine Ahnung #7, 2018

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DIRK BRAECKMAN R.H.-V.B.-16, 2016

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SVEN 'T JOLLE Claire & Nette, 1999

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\n\n

ANNE-MIE VAN KERCKHOVEN Cependant, les problemes posees..., 2005

\n","publishDate","2018-06-24T16:55:40.000000Z","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/33614164/belgian-group","displayOrder",4,"auctionEditorialID",358,"editorialID",389,"flocklerID",33614164,"https://flockler.com/thumbs/sites/889/rs10114_2008_sol-lewitt_1185_001-c25ab08e-f792-44b7-b4a4-07eea3f6f689_s600x0.jpg","Take a closer look at LeWitt's history of wall drawings, recognized and commemorated by a 25-year exhibition at Massachusetts Museum of Contemporary Art.","Sol LeWitt's Monumental Wall Drawings","

Sol LeWitt Wall Drawing #1185 Scribbles: Inverted Curve (Horizontal) installed at Sol LeWitt. A Wall Drawing Retrospective at Massachusetts Museum of Contemporary Art. The comprehensive retrospective opened in 2008 and celebrates LeWitt's prolific output of Wall Drawings; the artist created over 1260 Wall Drawing works and proposals during his lifetime. The exhibition will be on view until 2033.

\n\n

\n
The ideas need not be complex. Most ideas that are successful are ludicrously simple. Successful ideas generally have the appearance of simplicity because they seem inevitable.
\n— Sol LeWitt
\n

\n\n

Wall Drawing 1185: Scribbles: Inverted curve (horizontal), October 2005 is included in MASS MoCA's on-going exhibition Sol LeWitt: A Drawing Retrospective, which opened on 16 November 2008 and will remain on view for 25 years. The 105 wall drawings included in the exhibition cover nearly an acre of space in the historic mill building that was renovated for the specific purpose of housing the exhibition. A hallmark of LeWitt's wall drawings, the title of Wall Drawing 1185: Scribbles: Inverted curve (horizontal) describes its appearance, and while the description is reductive and straightforward, the work is a stunning and powerful tour de force.

\n\n

LeWitt commenced his Wall Drawings in 1968, the year following the publication of his seminal work Paragraphs on Conceptual Art. This collection of writings explored the notion of applying media directly onto the wall, a shift from traditional techniques of drawing onto paper or applying paint to canvas. This progressive shift from paper to wall allowed the artist to fully achieve the flat and two-dimensional quality which would become exemplary of his practice.

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Wall Drawing #1185 Scribbles: Inverted Curve (Horizontal) in process of installation at the artist's 2005 MASS MoCA’s retrospective.

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In his magnum opus, LeWitt also radically questioned the idea of authorship; the artist identified the dynamics between the conception of an idea and execution, suggesting that the essential planning of an artwork should make the execution of the piece 'a perfunctory affair. The idea becomes a machine that makes the art'—as the artist said in Artforum, 1967. Working on his Wall Drawings in a variety of mediums and site-specific locations over a forty year period, LeWitt's Wall Drawings have become a pivotal cornerstone of his practice, continuing to internationally inspire with his geometric marriage of color and form.

\n\n

\n
In conceptual art, the idea or the concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art.
\n— Sol LeWitt
\n

\n\n

\n\n

In September 2007, PaceWildenstein opened Sol LeWitt: Scribble Wall Drawings in New York, unveiling eight new black and white graphite wall drawings. Opening five months after the artist's death, the exhibition marked the last show conceived by the artist and became LeWitt's tenth exhibition with the gallery.

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Installation shot from Massachusetts Museum of Contemporary Art, featuring Wall Drawing 335: On four black walls, white vertical parallel lines, and in the center of the walls, eight geometric figures (including cross, X) within which are white horizontal parallel lines. The vertical lines do not enter the figures, 1980.

\n\n

LeWitt's Wall Drawings can be found in seminal institutions such as Tate, London, Turner Contemporary, Margate, and Dia: Beacon.

\n","2018-06-15T17:14:36.000000Z","https://www.phillips.com/article/33356988/sol-lewitt-wall-drawings",3,353,383,33356988,"https://flockler.com/thumbs/sites/889/172_002-a0903437-c737-4de0-96d1-a963d8b14c3e_s600x0.jpg","We examine an iconic KAWS character, seen across museums and city bus stops, who elevates pop culture imagery to the level of high art in a fascinating reciprocal dialogue.","Within the Language of the Ad: KAWS' Bus Stop Traveler","

KAWS Running Chum - Bus Stop, 2001, exhibited in At Home I'm A Tourist, CAC Málaga. © KAWS 2018.

\n\n

The protagonist of Chum, on offer in our 20th Century & Contemporary Art Day Sale in London, is one of KAWS' most iconic characters. Based on the Michelin Man, the figure draws on one of the oldest and most recognizable trademarks from the world of advertising.

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Engaging a visual and cultural framework that speaks directly to a universal audience, "Chum incorporates a childlike humor, conveyed through the playful distortion of its human-like character and vibrant colors. Inoffensive and invented creatures like Chum allow the viewers the pleasures of fantasizing and daydreaming, and assert the liberation of the repressed child in all of us," wrote Mónica Ramírez-Montagut for KAWS, published in 2010. Imbued with the artist's signature iconography of the skull and crossed eyes—a constant in the artist's visual language—the closely cropped, stylized figure is instantly recognizable; yet the artist's characteristic style has, in itself, since become equally as prominent in its own right. In the same way that the original figures host an intrinsic cultural and visual significance, KAWS' art is now equally as prolific: "like the products in the ads he was altering, his bulbous skulls and X'd eyes became familiar to urban audiences and began to glean attention in the realm of mass culture," wrote Andrea Karnes in 'Pop in the Expanded Field' from KAWS: Where the End Starts, 2017. She quoted the artist himself as saying, "I wanted to work within the language of the ad, to form a dialogue."

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Reinterpreting iconic figures from popular culture is KAWS' internationally recognized trademark. Traversing the space between fine art and commerce, the Brooklyn-based artist appropriates familiar imagery from mass media and transforms them in his distinctively cartoonish style. Infiltrating public spaces, the artist presented other works from the rare and distinct Chum series on bus stops.

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\n
I wanted to work within the language of the ad, to form a dialogue.
\n— KAWS
\n

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Above from top: Untitled (Chum Houston Street), 2006, acrylic on paper, in situ. Untitled (Houston Street), 2000, acrylic on paper, in situ. © KAWS 2018.

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KAWS' notorious visual identity adopts the subliminal powers of advertising, assimilating its effective permeation of imagery in the public consciousness. Rooted in his earlier artistic explorations into the visual syntax of street art, inspired by the culture of downtown Manhattan and the mediation of commercialized aesthetics, Running Chum, with its monochrome graphics and boldly abstracted composition, exemplifies KAWS' iconic style. Inspired by his on-going fascination with graphic design and graffiti, and inherently informed by the works of Pop artists such as Claes Oldenburg, Tom Wesselmann and Takashi Murakami, KAWS firmly asserts his position within the trajectory of and artistic tradition of toys within the visual vocabulary of popular culture. The accessible multiplicity of KAWS' oeuvre is prevalent not only in the global contemporary art market, but also in the realm of fashion and commercial industry, and his manipulation of the current pervasiveness of consumerist imagery has established his reputation worldwide.

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Running Chum - Bus Stop exemplifies the artist's belief in the assimilation of fine art and commercialism: "For KAWS, a source found in high art does not translate as a more valuable source than one from the mass media," wrote Mónica Ramírez-Montagut.

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The artist's ground-breaking re-imagination of figures such as the Michelin Man-inspired Chum, immaculately rendered in his characteristically clean-cut, graphic use of line and glossy finish, successfully elevates the imagery of popular culture to the level of high art in the public sphere in a fascinating reciprocal dialogue.

\n","2018-06-15T15:21:10.000000Z","https://www.phillips.com/article/33351568/kaws-tk",2,352,382,33351568,"https://flockler.com/thumbs/sites/889/202_001-34890c1a-825b-4794-83e7-af34ef8d1a01_s600x0_c1830x1067_l0x376.jpg","Arnold Lehman reviews a growing number of American artists who both happen to be African American and who look deeply into their blackness or black culture to create exceptional works of art.","The Art World Reshuffled","

Detail from GARY SIMMONS Midnight Marauders, 2004

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By Arnold Lehman

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In a 2008 alphabetical and somewhat autobiographical glossary, Glenn Ligon wrote for the exhibition catalogue for 30 Americans, the letter H stands for "happens to be black." Ligon expands the interpretation in writing "I happens to be black too, though I don't know how it happened. Because I never felt I was in a position to choose my racial identity, it never occurred to me that blackness was something that could happen to you, like being mugged or winning the lottery. I thought one was just black and that was that."

\n\n

Almost two decades earlier, however, in his important 1991 series of works entitled I remember the very day that I became colored…, Ligon not only broadcast the continuing question of identity for himself but for the many brilliantly talented and perceptive African American artists to follow.
\n
\nFrom that moment forward until today, while differing paths have been taken, including in certain instances the brilliant continued development of abstraction, we are looking at an exciting and increasingly powerful signature of a growing number of American artists who both happen to be African American as well as those who look deeply into their blackness and/or black culture to create exceptional works of art. What we have witnessed in the last three decades is no less than a truly dynamic reshuffling of the American art world. And what we have more recently experienced is an even greater reassignment of the value placed upon these black artists—primarily, but not exclusively, American—by the art market.
\n
\nSpanning a period of 17 years from 1991's I remember the very day by Glenn Ligon through 2008's America the Beautiful by Mickalene Thomas, these brilliantly articulate artists—also including Kara Walker, Wangechi Mutu, Gary Simmons, Henry Taylor and Julie Mehretu—have produced these eight highly engaging works of art, each of which expresses alternative definitions to anyone's standard art glossary.

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\n
They are both post-Basquiat and post-Biggie.
\n— Thelma Golden
\n

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African American artists of the decade bracketing the new century shared a new world. "They are influenced by hip hop, alt rock, new media, suburban angst, urban blight, globalism and the Internet — the felicitous device of international communication and new optimism in the wake of the initial postmodern urge to define the avant-garde as dead. They live in a world where their particular cultural specificity is marketed to the planet and sold back to them," wrote Thelma Golden in the catalogue of her Freestyle exhibition at the Studio Museum in 2001. "As a group, they exemplify the presence of art school training in that they create work that refers to multiple histories of contemporary art and culture — both non-Western and that of the Western modernist tradition...They are both post-Basquiat and post-Biggie. They embrace the dichotomies of high and low, inside and outside, tradition and innovation with a great ease and facility. Like the generations before them, they resist narrow definition. Most importantly, their work, in all of its various forms, speaks to an individual freedom that is a result of this transitional moment in the quest to define ongoing changes in the evolution of African-American art and ultimately to ongoing redefinition of blackness in contemporary culture."
\n
\nUnderstanding the nature of the work by three of these seven artists provides both visual and intellectual access to the racial and identity issues with which six of these exceptional artists are purposefully concerned and engaged. The seventh, Julie Mehretu, has gained international recognition in gloriously articulating new abstraction into the 21st century.
\n
\nKara Walker's important early work Untitled, 1994, takes the typical 19th and early 20th-century black paper silhouette genre and enlarges and imbues it with the often degrading interaction in the antebellum South between the black slave or slaves and one or more white slaveholders. While Walker was sometimes criticized for this work, she continued with even bolder work, which critic Roberta Smith lauded in her May 2014 review of the artist's phenomenal Domino Sugar Factory Sphinx, writing, "Antic, profane and riveting, these mural-like scenes replayed history as farce and masqueraded tragedy as depraved comedy. They revealed the inevitable psychic corruption of humans owning humans, brought out the sexual component of oppression in any form."
\n
\nA decade later in 2004, in his powerful painting Midnight Marauders from his Criminal Slang exhibition of that same year, Gary Simmons symbolically examines a different but equally oppressive brutality emanating from urban gang culture and its coordinated result in incarceration and prison culture. This painting's use of the "spade" from the suits of playing cards refers directly to gang insignias and the subculture of violence and drugs that attacks and undermines the black community both internally and externally. From this and later works, Simmons has demonstrated his keen awareness and communication skills as an artist in expressing the tension within racial dynamics.
\n
\nMickalene Thomas' 2008 painting America the Beautiful makes a statement about who and what the artist portrays in her work. Is Thomas employing the often discussed "mirror" in her work and the likely images that appear or is it the artist's own demonstrated interest in photography-based Photo-Realism or, by further extension, the Pictures Generation process that has taken over? In the summer 2011 Bomb Magazine, Sean Landers interviewed Thomas about these ideas of "being seen and seeing yourself, and how that relationship is developed." Thomas responded that "We all want to be validated and recognized in some way. This also relates to the power of the gaze in my work. When I take a photograph, that gaze is forcing the viewer to see my subjects—to recognize them." "Who controls the gaze," Landers asked, "the gazer or the gazed upon?" And Thomas answered: "I believe that the sitter has the power (or more power than I have) over what's being presented…." Sean asked one final question for the interview. "Who is in that mirror?" To which, Thomas answered: "It's always me. Sometimes it's also my mother, my grandmother, or my great-grandmother. Sometimes it's a person I've never seen before...Sometimes it's the person I hope to be or someone I haven't become yet. But when I look into the mirror, I say: just be truthful, truthful, truthful."

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Featured Lots | 20th Century & Contemporary Art Day Sale | London 26 June

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GLENN LIGON The Future #1, 2004

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KARA WALKER O! The Pathos of Black Womanhood, 1994

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MICKALENE THOMAS America the Beautiful, 2008

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JULIE MEHRETU Untitled, 2005

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WANGECHI MUTU Mellow Yellow, 2004

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HENRY TAYLOR Armani, 2004

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GARY SIMMONS Midnight Marauders, 2004

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GLENN LIGON Untitled (I remember the very day), 1991

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\n","2018-06-23T16:43:30.000000Z","https://www.phillips.com/article/33587786/the-art-world-reshuffled",355,388,33587786,"https://flockler.com/thumbs/sites/889/uk010418-instal-shots-intagram-hr-60-0c76d5e0-8539-46d5-883f-1cbe50cb4e40_s600x0_c6195x3623_l0x863.jpg","Tour our June sales in London in this virtual reality walkthrough from 30 Berkeley Square. On view: Hurvin Anderson, Rudolf Stingel, KAWS, Joan Mitchell, Pat Steir, Keith Haring, Jonas Wood and more.","VR Walkthrough: 20th Century & Contemporary Art","

Explore a virtual reality walkthrough of our 20th Century & Contemporary Art Evening Sale and Day Sale previews in London.

\n\n

Travel through our galleries and browse our Evening Sale, featuring an exceptional group of masterworks by Francis Bacon, Mark Tansey, Yayoi Kusama, Joan Mitchell, Hurvin Anderson, Keith Haring, George Condo, Pat Steir and Jean-Michel Basquiat.

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From our Day Sale, view modern pieces by Jean Dubuffet, Henry Moore and Le Corbusier alongside contemporary stars KAWS, Andy Warhol, John Wesley, Barbara Krueger and more.

\n\n

20th Century & Contemporary Art Evening and Day Sales are on view at 30 Berkeley Square through 27 June in London.

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263

Oscar Murillo

Untitled (There's Nothing Left Series)

完整圖錄內容

Oscar Murillo