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拍賣 2022年5月19日東部夏令時間下午2:00
\n
\n紐約公園大道432號 NY 10022（地圖）
\n
\n預展
\n4月30日至5月19日
\n星期一至六上午10:00-下午6:00
\n星期日下午12:00-下午6:00
\n

\n","auctionDetailsSmall","紐約拍賣 2022年5月19日","extraInfo","

Patrizia Koenig
\n日間拍賣主管（下午部分）暨專家
\n+1 212 940 1279
\npkoenig@phillips.com

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George Condo, Untitled, 2007. 20th Century & Contemporary Art New York, Afternoon Sale.

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The painting longs, it tests and it plays. It’s always been a piece of music for me and [...] I feel that this piece of music needs to be played constantly, and continue to lend itself, as those pieces in those museums and galleries did for me as a teenager.
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- Josh Brolin
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Held in the collection of American actor Josh Brolin, George Condo’s Untitled is a remarkable example of the artist’s unique approach to portraiture. The work is a kaleidoscope of color and form, plunging into the grotesque and the captivating, the comedic and the tragic, highlighting Condo’s dark humor while mining the psychological depths of both mass media and art history. The artist fluently layers a multitude of mediums, working line, form and color into a multi-faceted portrait that brims with an explosive energy. The painting presents an irreverent cast of characters, exaggerated body parts, and fantastical worlds in one of our generation’s most transformative investigations into the genre of painting.

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Brolin, known for his roles in No Country for Old Men, Inherent Vice, and the Avengers series, as well as 2021's Dune, does not readily consider himself a collector. For him, art is a medium of encounter, something that combines memory with an immutable quality that sings with a unique voice to each viewer. Below, the Academy Award nominee recalls his own relationship with the art, as well as the shared experience of those who have viewed Untitled in his home, and how those encounters bring dimension to an artwork bursting with life.

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George Condo, Untitled, 2007 (detail). 20th Century & Contemporary Art New York, Afternoon Sale.

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On art's allure

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"Since traveling through Europe by train and thumb as a teenager, art has always been a great solace for me. Museums were the go-to when lonely or yearning for company; paintings and sculptures spoke as great characters, sometimes regal, sometimes chaotic, and the colors chosen had voice, had personality, and kept me attentive for hours on end."

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On collecting

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"I now accumulate paintings and sculptures. I don’t see myself as a collector. I have a relationship with each one and I never buy anything I don’t love."

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On the tenure of a work

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"As all relationships are different — some lasting, and others wanting to move on — sometimes paintings get bored with just me and whomever else in my vicinity is gawking at them, and they beg for new company. This George Condo, specifically, has ignited artists that have passed through my home into new perceptions regarding their own work; churning up how they might approach their next paintings or utilizing some electricity that was held over from the time they spent inhaling it at my home. The painting longs, it tests and it plays. It’s always been a piece of music for me and, as my life is very much a nomad’s life, I feel that this piece of music needs to be played constantly, and continue to lend itself, as those pieces in those museums and galleries did for me as a teenager."

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On finding new life

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"Whomever acquires this George Condo, I hope it speaks to you as loudly as it spoke to me. And don’t forget to take the time to watch those listening to it once in a while, which is half the fun of owning a painting like this."

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Discover More from 20th Century & Contemporary Art >

\n\n

Recommended Reading

\n\n

Two Days at the Venice Biennale 2022 >

\n\n

Mapping David Wojnarowicz >

\n","publishDate","2022-04-28T16:23:43.000000Z","authorCredit","Arian Murati","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/95529401/george-condo-josh-broslin-phillips-auction","displayOrder",3,"auctionEditorialID",1545,"editorialID",3847,"flocklerID",95529401,"https://flockler.com/thumbs/sites/889/belkis-ayon2-177d3c1f-e799-461d-b799-d42810a6d5c8_s600x0.jpg","So much to see, so little time to see it all. Luckily, we’ve put together a 48-hour guide for visitors to take in the main exhibition and still have enough room for a noteworthy collateral show.","Two Days at The Venice Biennale 2022","

Belkis Ayón, Nuestro Deber, 1993. 20th Century & Contemporary Art New York, Afternoon Sale .

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With its grand return following last year’s postponement, the 2022 Venice Biennale is shaping up to be an extraordinary lineup of the art of this extraordinary time. Those of us in the springtime showers parts of the world would gladly swap the umbrellas for a bit of Italian sunshine and unstructured linen, but with Phillips’ 20th Century & Contemporary Art Sales just around the corner, we thought it best to highlight a selection of artists exhibiting at a few truly remarkable events, and whose works also feature in our sale. Coincidence, antinomy, and the shrinking world are all motifs of the exhibition, so let us lean into them.

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Day 1: Get Surreal

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Curated by Cecilia Alemani, The Milk of Dreams will take place in the Central Pavilion (Giardini) and in the Arsenale. The exhibition takes its title from a book by Surrealist painter and writer Leonora Carrington, a work in which change, transformation, and otherworldly magic alter the lives and imaginations of its characters. A guiding principle of metamorphosis informs the three themes of the exhibition: the representation of bodies and their changes; the relationship between individuals and technology; and the connection between bodies and the Earth. This showcase offers an opportunity for visitors to engage with some of today’s most wide-ranging artistic perplexities.

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The exhibition embraces a series of meta-narratives, which, true to form, intertwine with the history of Surrealism and Carrington’s imaginative work in the context of contemporary ambiguity. These include the emerging world in the wake of the pandemic, environmental responsibility, human and non-human distinctions in technology and progress, and how signs and symbols denote meaning across a narrowing cultural landscape.

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Who to See

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Left to right: Belkis Ayón, Nuestro Deber, 1993. 20th Century & Contemporary Art New York, Afternoon Sale . Felipe Baeza, Xipe Tótec Morado, 2017. 20th Century & Contemporary Art New York, Afternoon Sale. Firelei Báez, Demetrea (from the series Geographic Delay), 2010-2011. 20th Century & Contemporary Art New York, Afternoon Sale.

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Societal impositions and mythmaking run parallel in the compositions of Belkis Ayón, Felipe Baeza, and Firelei Báez. Ayón’s iconographic work opens the exhibition at the Arsenale, while frequencies of dislocation, belonging, and the politics of place unite all three artists. A collograph edition of Nuestro Deber is among the Ayón works on show at The Milk of Dreams.

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Left to right: Jamian Juliano-Villani, Biking to the Garden of Eden, 2014. 20th Century & Contemporary Art New York, Afternoon Sale. Alice Rahon, Dans la nuit du commencement, 1944. 20th Century & Contemporary Art New York, Morning Sale. Louise Bonnet, Untitled, 2017. 20th Century & Contemporary Art New York, Afternoon Sale.

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Probing the absurdities of consumer culture, freewheeling American artist Jamian Juliano-Villani pulls no punches in her humorous, acerbic paintings. Combining enchanted imagery with hypnogogic abstraction, Alice Rahon provides historical counterpoint, along with a dreamlike haze of light and color. Rahon, like Leonora Carrington, was a French artist who lived and practiced in Mexico, where the Surrealist movement gained considerable traction after WWII. The exaggerated proportions or Louise Bonnet take on an almost waterlogged dimension, with cartoonish body parts and oversized figures drawing attention to the grotesquely comedic human body in movement, despite its cumbersome form.

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Left: Tishan Hsu, Moon Goon, 1983. 20th Century & Contemporary Art New York, Afternoon Sale. Right: Louise Nevelson, Cityscape, 1986. 20th Century & Contemporary Art New York, Morning Sale.

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The ambient hum of the machine age resonates from the work of Tishan Hsu, whose organic forms operate in the margins of an increasingly foreclosed future, a dystopian vision awash in color. Louise Nevelson’s compositions absorb the external world into a set of shadows, spaces, and interior landscapes as embodied by her monochromatic sculptures. A pioneer in installation art, Nevelson’s inclusion marks the 60th anniversary of her debut at Venice, and those with a keen eye might see her all over the city: her portrait is adorned on walls and water boats to announce her presence at this and another dedicated exhibition.

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Day 2: Collateral & Other Events

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From the general arrives the particular, and after a day of exploring the wide-ranging implications of cybernetic futures and post-human societies, a return to the here and now – although no less vexing – offers a nice distinction for these single artist exhibitions.

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Who to see

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Claire Tabouret, Les deux amazones, 2015. 20th Century & Contemporary Art New York, Afternoon Sale.

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Claire Tabouret: I am spacious, singing flesh

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Palazzo Cavanis, Dorsoduro 920
\nApril 23 – November 27, 2022
\nOrganizing Institution: FABA Fundación Almine Y Bernard Ruiz-Picasso para el Arte

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Curated by Kathryn Weir, I am spacious, singing flesh is a survey exhibition of French figurative painter Claire Tabouret, exploring the concept of transformation through inner change, collective identities, and relationships between humans, ecology, and the supernatural.

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Kehinde Wiley, Big Daddy Kane, 2005. 20th Century & Contemporary Art New York, Afternoon Sale.

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Kehinde Wiley: An Archaeology of Silence

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Fondazione Giorgio Cini, Isola di San Giorgio Maggiore
\nApril 23 – July 24, 2022
\nOrganizing Institution: Musée d'Orsay

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Kehinde Wiley: An Archaeology of Silence reckons with American brutality and the living phantoms of global colonialism around the theme of the fallen hero. Curated by Christophe Leribault, the exhibition expands Wiley’s key inspirations in the context of contemporary mediums of violence, whether through police killings of Black and Brown people across the world, state control over bodily autonomy, international conflict, or the media with which these struggles become flattened against a backdrop of resilience and overcoming.

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Hermann Nitsch, Untitled, 2012. 20th Century & Contemporary Art New York, Morning Sale.

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Hermann Nitsch, 20th painting action

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Oficine 800, Fondamenta S. Biagio, Venice

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April 19 – July 20, 2022

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Organizing Institution: Zuecca Projects and Galerie Kandlhofer

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Hermann Nitsch, who just passed away at age 83, originally created and presented his 20th painting action at the Wiener Secession, Vienna, in 1987. This exhibition organized by Zuecca Projects and Galerie Kandlhofer is the first time it has been shown since, with a massive 16-by 65-foot work surrounded by smaller canvasses, all from Helmut Essl’s private holdings. It is the artist’s only painting action that remains in a single collection.

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Louise Nevelson,The Wedding Present, 1977-1979. 20th Century & Contemporary Art New York, Morning Sale.

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Louise Nevelson. Persistence

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\nProcuratie Vecchie, Piazza San Marco 1218/B
\nApril 23 – September 11, 2022
\nOrganizing Institution: The Louise Nevelson Foundation

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\nA landmark presentation of the artist’s work in the historic rooms of the Procuratie Vecchie in Venice’s Piazza San Marco, Louise Nevelson. Persistence, marks the 60th anniversary of Nevelson’s representation of the United States in the American Pavilion at the Biennale Arte in 1962. Featuring over 60 works created between the 1950s and the 1980s, the exhibition is curated by Julia Bryan-Wilson, professor of modern and contemporary art at the University of California, Berkeley, and will display Nevelson’s iconic, large-scale black sculptures in painted wood, as well as her painted white sculpture, including the multi-part columnar installation Dawn’s Presence — Three (1975), as well as works in gold, such as The Golden Pearl (1962). The exhibition highlights the relationship between Nevelson’s work as a sculptor and her lifelong practice of creating wall-based assemblage and collage.

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Stanley Whitney, Untitled (#4), 2006. 20th Century & Contemporary Art New York, Afternoon Sale.

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Stanley Whitney: The Italian Paintings

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\nPalazzo Tiepolo Passi, San Polo 2774
\nApril 23 – 27 November, 2022
\nOrganizing Institution: Buffalo AKG Art Museum

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For the first time, Stanley Whitney’s works return to their cultural birthplace. Stanley Whitney: The Italian Paintings spans the artist’s works across large and small-scale paintings and works on paper created at a pivotal time in Whitney’s practice as he worked in Italy during the early 1990s. Taking a deeper look at how important Italian art factored into the artist’s oeuvre, the exhibition is co-curated by Cathleen Chaffee, Chief Curator, Albright-Knox Art Gallery, and Vincenzo de Bellis, Curator and Associate Director of Programs, Visual Arts, Walker Art Center, Minneapolis, Minnesota, and will be accompanied by a catalogue to be published in Summer 2022.

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Discover More from 20th Century & Contemporary Art >

\n\n

Recommended Reading

\n\n

Two Studies in Intimacy: Henry Moore & Jean Dubuffet >

\n\n

How Art Imitmates Life >

\n","2022-04-21T23:06:42.000000Z","https://www.phillips.com/article/95061353/two-days-at-the-venice-biennale-2022",2,1532,3837,95061353,"https://flockler.com/thumbs/sites/889/norman-lewis-phillips-sale-030bfdad-db75-472b-bc3c-c64cfa7b3d1b_s600x0.jpg","Five artists from Phillips' 20th Century & Contemporary Art sales whose works are enjoying a resurgent time in the spotlight. ","Artists to Rediscover","

Norman Lewis, Eye of the Storm, 1973. 20th Century & Contemporary Art New York, Morning Sale.

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Norman Lewis

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Norman Lewis’ 1973 Eye of the Storm is a marvelous example of the artist’s late Black Paintings, which are dominated by the color as a means of representing Lewis’ exploration of the formal qualities of painting. Lewis believed pursuing abstraction was the best way to assert his power as an African American artist, and that illustrating social conditions through narrative art was not an effective agent for change. It was this opinion that distinguished Lewis from both his fellow African American post-war artists, as well as his white Abstract Expressionist contemporaries. Having stood at the intersection of the Black Art and Abstract Expressionism movements, the artist is often, wrongly, not associated with the latter, despite his important contributions to abstract painting at large.

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Why Now: In recent years, Lewis’ paintings have been acquired by major institutions including the Whitney Museum of American Art, New York’s 2019 acquisition of American Totem from 1960 — the first painting by Lewis to enter the Whitney’s collection. The work is currently on view on the seventh floor of the museum alongside a major Franz Kline painting, asserting Lewis’ importance in the art historical canon. Between 2015 and 2017, other museums that have acquired works by Lewis include the Newark Museum, the Cleveland Museum of Art, and SFMOMA. Lewis is currently featured in Decades of Acquisitions: Works on Paper from the Collection (through 30 April 2022) at Bill Hodges Gallery.

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Jennifer Bartlett, In the Garden #108, 1982. 20th Century & Contemporary Art New York, Morning Sale.

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Jennifer Bartlett

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Often combining figuration with abstraction and methodically engaging with notions of scale, form, and representation, Jennifer Bartlett challenges artistic conventions through her conceptual painting practice. The artist appropriates mundane subjects – household objects, interiors, natural scenes, and everyday items – by restructuring their intrinsic value to establish an exploded view of meaning. Born out of an exceptionally rainy stay in Nice, France, In the Garden #108 exemplifies the artist’s notional approach. As John Russell writes in his introduction to the series: “That ratty little garden harbored all that is needed for art. Earth, water, and sky were there. So was the human presence, in no matter how ridiculous a form. In fact the history of the universe was there, if you knew how to read it and were not put off by the packaging."

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Why Now: In 2019, Marianne Boesky Gallery and Paula Cooper Gallery announced the joint representation of Jennifer Bartlett. Since then, there has been a renewed interest in the artist’s works, with recent solo, two-person, and group shows, including Rhapsody at the Museum of Modern Art, New York in 2019. Bartlett’s large-scale 61-part work House Piece was also recently included in the LACMA’s 2021 exhibition Coded: Art at the Dawn of the Computer Age 1960-80.

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Vivian Springford, Untitled, 1984. 20th Century & Contemporary Art New York, Morning Sale.

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Vivian Springford

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Vivian Springford worked between Abstract Expressionism and Color Field painting, establishing herself as an exemplary reference for the emergent American artistic movements of the mid-twentieth century. Her early emphasis on splatter and drip painting showed a clear affinity for the former school, with an added element of influence from Chinese calligraphy and Confucianism – Springford employed a “one-shot” technique in which a work was created in a single movement, foregoing amendments and revision. By the 1970s, Springford had developed a distinctive practice of stain painting which, while in the mode of Color Field works with its focus on swathes of color, retained much of her early technique to form an intensely comprehensive style. “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 artist said. “The expansive center of the universe, of the stars, and of nature is my constant challenge in abstract terms.”

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Why Now: After retreating from the public eye in the late 1970s following a diagnosis of macular degeneration, Springford’s abstract masterworks were largely forgotten until 1998, when Gary Snyder discovered a trove of her otherworldly abstractions. In 2003, the year of the artist’s death at age 90, Snyder mounted a memorial show for her work. Years later in 2018, Almine Rech Gallery announced their representation of the artist’s estate, coinciding with an inaugural exhibition in New York, alongside the publication of the first-ever monographic catalog of her work. Last Fall, Springford’s work was exhibited as part of Souffler de son souffle at Fondation Vincent van Gogh, Arles, France, which will close at the end of April.

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Left: Alice Rahon, Dans la nuit du commencement, 1944. 20th Century & Contemporary Art New York, Morning Sale. Right: Alice Rahon, Main Street, 1952. 20th Century & Contemporary Art New York, Morning Sale.

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Alice Rahon

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A shapeshifter in her work and practice as both a renowned artist and poet, Alice Rahon is a significant link between the ebbing Surrealist movement in France and its reinvigorated turn towards an ascendent group of artists in Mexico after the Second World War. Rahon’s style is typified by a dream-like quality; an abstraction of forms that carries a poetic sense of indistinction with themes of nature, myth, storytelling, and legendary cities. The artist experimented often with materials and techniques, incorporating sand and sgraffito to give texture to her paintings and adding elements of the natural world to her work. The resulting effect creates an almost prehistorical landscape of dreams. Upon visiting the Altamira cave paintings of Spain in 1933 Rahon remarked, “In earliest times painting was magical; it was a key to the invisible [...] the value of a work lay in its powers of conjuration, a power that talent alone could not achieve.”

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Why Now: Rahon’s work was recently included in the celebrated exhibition Surrealism Beyond Borders which closed at the Metropolitan Museum of Art, New York earlier this year. Her works are currently featured in the Surrealist-inspired exhibition The Milk of Dreams, now on view at the Venice Biennale, which rightfully positions the artist among the forgotten female masters of the form.

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Denyse Thomasos, Spin, 1997. 20th Century & Contemporary Art New York, Afternoon Sale.

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Denyse Thomasos

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Painted in 1997, Spin is among 13 works that Thomasos presented the same year in her first New York solo show, a highly acclaimed breakthrough exhibition at Lennon Weinberg Gallery. Populated by fragmented architectures, Thomasos’ gestural paintings skillfully employ an off-kilter sense of space and depth within gridded, abstract landscapes. During her lifetime, the Trinidad-born painter became known for challenging the limits of abstraction – embedding both personal and political content such as her experiences as an immigrant, her global travels and the legacies of slavery and colonization. In 2002, David Hammons notably included her in his exhibition Quiet as It’s Kept alongside Stanley Whitney and Ed Clark. For much of the 2000s, Thomasos travelled widely to Asia, Africa and Europe as part of her research-based practice. By 2009, she was full-bore back in the studio and at the height of a burgeoning career. Three years later, in 2012, Thomasos’ life was tragically and unexpectedly cut short at age 47 during a routine medical procedure.

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Why Now: Denyse Thomasos is indisputably a major standout in this year's Whitney Biennial, aptly titled Quiet as It’s Kept. She is also featured in the 2022 Toronto Biennial and the Art Gallery of Ontario’s exhibition, I Am Here: Home Movies and Everyday Masterpieces. The Art Gallery of Ontario will celebrate the artist in a major career retrospective this October.

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

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Justin Caguiat

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Auction Debut

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Doll 3 Eros marks the artist’s auction debut amid his meteoric rise on the international art scene after receiving widespread acclaim at Frieze, London in October 2021. Represented by Greene Naftali since, Caguiat will have his first solo show with the gallery this September on the heels of his major exhibition at The Warehouse, Dallas from January to April 2022. Spoken through his unique contemporary voice, Caguiat’s painterly style layers pools of color across unstretched canvas, allowing certain colors to emerge and others recede, achieving luminosity throughout the composition and recalling a handling of medium and imagery that fuses European and Japanese influences and shares an affinity with both Symbolist painters and with Peter Doig’s late work. Fusing literary references and the wells of his mind, the artist’s prowess in translating abstract entities such as memories or feelings into visual representation stems from his practice as a poet. Caguiat’s works have featured in exhibitions across the globe including in the United States, Switzerland, Italy, United Kingdom, and Canada, notably a 2021 show at Taka Ishii Gallery, Tokyo, entitled Doll.

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

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Ludovic Nkoth

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Auction Debut

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Combining the vivid colors of his native Cameroon with a layered impasto technique, Ludovic Nkoth creates a layered topography of memory, dislocation, and exchange. His figures contort with fragmented expressions through swirling brushstrokes, as if attempting to navigate a landscape that constantly shifts in spite of its subject. Mirroring Nkoth’s own diasporic background – the artist moved to the US at the age of 13 – his paintings resonate with a sense of determination to connect, to forge a shared solidarity between the personal and the displaced. The Hunter College MFA graduate has had recent solo exhibitions at François Ghebaly in Los Angeles and Luce Gallery in Turin, Italy, as well as featuring in the 2020 group show Black Voices/Black Microcosms at CFHILL Art Space in Stockholm, Sweden. Concurrent to the auction, Nkoth is exhibiting TRANSFERRED MEMORIES (Work No Dey) at MASSIMODECARLO, London.

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

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Dominique Fung

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Auction Debut

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Dominique Fung’s intricate oil paintings render many of the Orientalized objects which Western culture has shorn of context with reconditioned vigor and meaning. Known for her large canvas works, the Chinese-Canadian artist engages with the notion of the self-as-ornament, particularly through the lens of femininity as an aesthetic component of the Asian experience. Her recurring subjects – porcelainware, animal sculptures – act as both relics and contemporary shorthand for the conversational quality of the artist’s work; a veneer that masks the inherent contradictions of their beauty. Recent exhibitions include It’s Not Polite To Stare at Jeffrey Deitch, New York, and shows at Nicodim Gallery, Los Angeles, in addition to an acquisition by The Los Angeles County Museum of Art in 2022.

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

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Cornelius Annor

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Auction Debut

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Cornelius Annor is a Ghanian figurative painter whose practice focuses on everyday scenes with an archival sense of memory. Through a variety of narrative elements, Annor encloses time and space around family gatherings as a domestic vessel for childhood recollections and positive emotion in service of identity. “For me archiving as a form has the potential to open up discussion on lost and forgotten histories and its politics,” Annor notes, “and I intend to bring into presence these past histories […].” In addition to recent exhibitions throughout Africa, Annor is the focus of a 2022 solo show entitled The Memories We Share at Maruani Mercier Gallery, Knokke, Belgium, and is now represented by Venus Over Manhattan.

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

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Anthony Cudahy

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Along with artists such as Doron Langberg, Salman Toor, and Jenna Gribbon, Anthony Cudahy is part of an emerging group of queer figurative artists auditing the history of painting through contemporary subjectivity and reimagined agency. Often placing his subjects against nondescript or implacable backdrops, Cudahy draws focus to quiet, intimate moments which, combined with the depth of his narrative style, gives his work an exceptionally vibrant dimension. Cudahy incorporates saturated color and visual motifs that reference art history in a way that forms a collection of meanings for the artist, in turn revealing through symbolism and layered interpretation a unique framework of queer experience, historical recontextualization, and tender affection. An MFA graduate of Hunter College, Cudahy has held solo shows at 1969 Gallery, New York, and Hales Gallery, New York. The artist debuted at auction with Phillips in our March 2022 New Now sale.

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

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Bony Ramirez

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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 >

\n\n

Recommended Reading

\n\n

Two Days at the Venice Biennale 2022 >

\n\n

Mapping David Wojnarowicz >

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Executed in 2013, Rashid Johnson’s Beyond was created the year following the artist’s first major solo exhibition at the Museum of Contemporary Art Chicago. Johnson’s multidisciplinary practice combines elements of collective history with personal experience and has earned him the inclusion in several permanent collections, including the Whitney Museum of American Art, the Los Angeles County Museum of Art and others. The elements of childhood, memory and reckoning with the past are central to his body of work, and Beyond is a prime example of the artist’s ability to decontextualize and recontextualize familiar visual cues within a single visual narrative.

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Johnson’s choice to use three different media atop the wooden flooring, all of which are shades of black, creates a sense of harmony in the piece. Each of these media have multiple connotations, however, making room for interpretation and ambiguity. This ambiguous quality is a central tenant of post-Black art, a movement Rashid Johnson helped establish. Thelma Golden, who coined the term “post-Black art” with Glenn Ligon to describe work by artists such as Johnson, Sanford Biggers, Julie Mehretu, Mark Bradford and Laylah Ali, defined it as, “characterized by artists who were adamant about not being labeled as ‘black’ artists, though their work was steeped, in fact deeply interested in redefining complex notions of blackness,” elaborating, “to approach a conversation about ‘black art’ ultimately meant embracing and rejecting the notion of such a thing at the very same time.”ⁱ

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While outwardly abstract, Beyond negotiates with traumas of Black American history. Using a branding tool, Johnson burns his composition into assembled wood planks in the form of overlapping target symbols. Johnson has recalled being gifted a branding kit as a child, reflecting on its dual possibilities for artistry and violent documentation and identification. As a result of branding, the charred portions of wood have slightly recessed, creating textural differentiation between black materials included in the work. This dialogue is especially apparent when viewing the work from the side, as raking light reflects differently across each medium. The black soap, a healing soap that is traditionally mixed with ash, appears broadly smeared across Beyond’s surface. Contrasting with the soap’s regenerative properties, Johnson’s gestures suggest violence and abruptness.

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The soap and wax in Beyond, however, subtly suggest the shape of a palm tree, referencing the tree’s leitmotivs such as in the novel Go Tell it on the Mountain by James Baldwin. The tree, symbolizing pivotal spiritual moments for characters in the novel, stands as a moral checkpoint. “Mornings [Abraham] had mounted here and passed this tree, caught for a moment between sins committed and sins to be committed.”ⁱⁱ The tree stands at once as a symbol for the past, present and future, compelling us to envision morality.

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ⁱ Thelma Golden, Freestyle, exh. cat., Studio Museum in Harlem, New York, 2001, p. 14

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ⁱⁱ James Baldwin, Go Tell it On the Mountain, New York, 1952, p. 91

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George Condo, Untitled, 2007 (detail). 20th Century & Contemporary Art New York, Afternoon Sale.

On art's allure

On collecting

On the tenure of a work

On finding new life

Day 1: Get Surreal

Who to See

Left: Tishan Hsu, Moon Goon, 1983. 20th Century & Contemporary Art New York, Afternoon Sale. Right: Louise Nevelson, Cityscape, 1986. 20th Century & Contemporary Art New York, Morning Sale.

Day 2: Collateral & Other Events

Who to see

Claire Tabouret, Les deux amazones, 2015. 20th Century & Contemporary Art New York, Afternoon Sale​​​​​​​.

Claire Tabouret: I am spacious, singing flesh

Kehinde Wiley, Big Daddy Kane, 2005. 20th Century & Contemporary Art New York, Afternoon Sale.

Kehinde Wiley: An Archaeology of Silence

Hermann Nitsch, Untitled, 2012. 20th Century & Contemporary Art New York, Morning Sale.

Hermann Nitsch, 20th painting action

Louise Nevelson,The Wedding Present, 1977-1979. 20th Century & Contemporary Art New York, Morning Sale.

Louise Nevelson. Persistence

Stanley Whitney, Untitled (#4), 2006. 20th Century & Contemporary Art New York, Afternoon Sale.

Norman Lewis

Jennifer Bartlett

Vivian Springford, Untitled, 1984. 20th Century & Contemporary Art New York, Morning Sale.

Vivian Springford

Left: Alice Rahon, Dans la nuit du commencement, 1944. 20th Century & Contemporary Art New York, Morning Sale. Right: Alice Rahon, Main Street, 1952. 20th Century & Contemporary Art New York, Morning Sale.

Alice Rahon

Denyse Thomasos, Spin, 1997. 20th Century & Contemporary Art New York, Afternoon Sale.

Denyse Thomasos

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

Claire Tabouret, Les deux amazones, 2015. 20th Century & Contemporary Art New York, Afternoon Sale.

358

Rashid Johnson

《超越》

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Rashid Johnson