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Online Auction
\n28 June - 11 July

Public Viewing 3-11 July

\nMonday-Saturday 10am-6pm
\nClosed Wednesday 4 July and Sunday 8 July\n

450 Park Avenue, New York (map)

Back by popular demand, Artsy and Phillips present 'Summer School', the second edition of our co-curated online-only sale of affordable artworks for easy collecting. The sale includes contemporary works and editions by Katherine Bernhardt, David Hockney, Lui Shtini, Shara Hughes and many more.\n

\nBidding is now open on Artsy until 11 July at 8pm EDT.\n

","auctionDetailsSmall","Online Auction 28 June - 11 July 2018","extraInfo","Kat Lukacher
\nAssociate Specialist, Head of Online Sales
\n+1 212 940 1215
\nklukacher@phillips.com
\n
\nKip Eischen
\nSpecialist, Editions & Works on Paper
\n+1 212 940 1332
\nkeischen@phillips.com

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Nicolas Party Portrait with a Mustache, 2013

\n\n

\n
There's a big traffic jam of images in my head, they're calling out, 'Hey, look at me,' 'I'm good; what about me?'
\n— Nicolas Party
\n

\n\n

Nicolas Party's dazzling paintings and works on paper pop with vibrant coloration and simplistic, surrealist forms. A fusion of Magritte meets de Chirico, Swiss-born Nicolas Party has described his childhood as "fantastic," growing up amidst small Swiss villages and stunning panoramic mountain ranges.

\n\n

Party's inspiration does not come from the view out of his window, the bowl of fruit on his table or a real-life fleshy model; instead, the artist explained in a 2016 interview with Artspace's Loney Abrans, his "inspiration comes mainly from images of what I want to represent. For instance, my portraits are inspired by other portraits and the history of representing the face. It's the same for trees. Looking at nature is not part of my creative process—instead I'm inspired by drawings of trees, which could be illustration, art, photography…anything, actually."

\n\n

In the present lot from online sale Summer School, a portrait of sorts depicts a man with a curly cue mustache, part Salvador Dalí, part cartoon villain. The man's face is smooth and round, calling upon classical sculpture. In the same year this work was created, 2013, Party was "totally stunned" upon viewing Picasso's portrait Tête de Femme in an exhibition at the Foundation Beyeler, exclaiming, "Oh, my God! I want exactly that." Upon purchasing the postcard reproduction, he explains that that image has been "the source of all the faces I've made since"—as he was quoted in Dodie Kazanjian's "Party Time," Vogue, June 2018.

\n\n

\n\n

Pablo Picasso Tête de femme, 1921 © Fondation Beyeler, Riehen/Basel, Sammlung Beyeler

\n\n

Party, represented by gallery Xavier Hufkens in Brussels, has had an impressive past few years which include solo exhibitions like Magritte Parti at the Magritte Museum in Brussels in 2018, Nicolas Party: Speakers at Modern Art in Oxford in 2017 and Sunrise, Sunset at the Hirshhorn Museum and Sculpture Garden in Washington, D.C.

\n\n

\n","publishDate","2018-07-02T19:34:26.000000Z","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/33878677/nicolas-party-tk","displayOrder",2,"auctionEditorialID",361,"editorialID",394,"flocklerID",33878677,"https://flockler.com/thumbs/sites/889/1_001-536e93da-a2b9-4eba-a5ce-12a396a53538_s600x0.jpg","Artsy Specialist Erin Kim provides an in-depth look at the artistic progression and market trajectory of a young female painter on the rise.","Charting Shara Hughes' Market Growth","

Shara Hughes Me, My Fish and You, 2005

\n\n

Shara Hughes has had a superlative year with widely-acclaimed exhibitions and furious bidding at auction. Hughes is officially at the forefront of a shift in focus and taste, of collectors who are vying for works by young women artists, who paint what they want and do not fit in with the usual suspects that regularly come to auction every season.

\n\n

It's no question that Shara Hughes' work is decidedly contemporary and resonates with today's audiences. She draws heavily from art historical references — one will see her work brought up in the same breath as Matisse or Picasso, Claes Oldenburg or Dana Schutz. Yet the visual language is purely her own, letting an amalgam of references intuitively and subconsciously reveal themselves as she paints. She clearly knows her stuff but does not take it too seriously; she has a profound respect for her predecessors but leaves herself room to do what she wants.

\n\n

\n
Hughes exercises control over the entire composition — she knows exactly what she wants you to be looking at.
\n

\n\n

My Fish, Me and You, 2005, a highlight in the second edition of Phillips Summer School, is an interior scene, that retains the imaginative nature of her landscapes but has a more intimate and personal feel. She chose to focus on interiors early on in her career; she has the freedom to add in artistic idiosyncrasies she observed from history, being able to experiment and paint a "detailed Renaissance painting on top of a Bridget Riley-esque wallpaper," as the artist herself was quoted by Rachel Reese for Painter's Table, online. Having a wide source of visual references means Hughes exercises control over the entire composition — she knows exactly what she wants you to be looking at. The head of the swordfish is depicted off the picture plane. A self-portrait, stylized as a painting within the painting, is diminutive — yet front and center. The scene opens to another room in the rear, and yet it is blocked by the front wall. This playfulness with depth has persisted through her work, even as her preferred subject matter has gone from interiors to human figures to her current focus on landscapes. It's not always easy to decode her riotous, vibrant paintings, but it's certainly a fun time trying to interpret what it all means.

\n\n

Clearly, the market sees the appeal as well. In early 2017 and late 2016 seasons combined, a painting of an interior scene would sell for an average of about $6,400 USD. Just a couple months later in May, comparable paintings in subject matter and dimension sold at major auctions, with final sale prices achieving results up to 700%+ above the pre-sale high estimates. All of this is in no small part due to the Whitney Biennial last year, where she was given a room to exhibit her vibrant and imaginative landscapes. Though many artists' inclusion in a Whitney Biennial has often created only temporary upticks in auction value, for Hughes, the appeal has continued to hold. I can't wait to see what she has up her sleeve.

\n\n

\n\n

Shara Hughes Sailing, 2006. Sold at Phillips in November 2017 for a new artist record at auction.

\n\n

Through the course of one year, Shara Hughes has been making headlines in both the primary and secondary market. She had a hugely successful show at Rachel Uffner Gallery concurrent to the Whitney Biennial last year. She just finished a widely-acclaimed show at the San Francisco venue of Berggruen Gallery. With this exposure, there is very little supply for her work. In the salerooms, the excitement for her work is palpable, oftentimes attracting anywhere up to ten to fifteen bidders for a single work.

\n\n

For the work Sailing, 2006 in the Phillips 20th Century & Contemporary Art Day Sale from last November, the final price soared past the high estimate of $15,000, landing at $85,000, ushering forth a new world record for the artist. The future for Hughes continues to look bright.

\n","2018-06-29T18:26:41.000000Z","https://www.phillips.com/article/33789625/charting-shara-hughes-market-growth",360,391,33789625,"https://flockler.com/thumbs/sites/889/2_001-0e2c15c9-3580-4d26-ad48-77519bf54097_s600x0.jpg","The most herculean feats of David Hockney's career took place in the swimming pool. Kip Eischen, Specialist in Editions & Works on Paper, dives into the artist's survey of light and water through a 1980 print.","Going Off the Deep End: David Hockney's Paper Pools","

David Hockney Pool Made with Paper and Blue Ink for Book, from Paper Pools, 1980

\n\n

The most herculean feats of David Hockney's career took place in the swimming pool. Two early prints dating from 1964, within the artist's early period, revealed the bedrock of this splashy aesthetic.

\n\n

Somewhat sacred while still simultaneously a bit profane, private swimming pools were vessels of post-war American fantasies as well as places of freedom and performativity protected from prying eyes. In the 1964 lithograph Water Pouring into Swimming Pool, Santa Monica, an odd number of hoses poured out water with varying intensities: from bursting geyser to timid trickle, this cascading chorus exposed Hockney's deep formal investigation of water as a vehicle for exploring light, energy and dynamic movement.

\n\n

Enamored as he was with Los Angeles, Hockney never waded too far from social commentary. Also from 1964, the photographic screenprint with hand-cut stencils, Cleanliness is Next to Godliness, revealed a nude figure raising his thumb amidst the splash of a pouring shower, which added a slightly subversive wash to images of squeaky-clean, capitalist champions.

\n\n

\n
During a time when contemporary art was the subject to much consternation, Hockney's pools enticed skeptics by bubbling over with fresh energy and optimism.
\n

\n\n

\n\n

David Hockney Polaroid photographs depicting shadows in a pool from the special edition Paper Pools book, which accompanies the print

\n\n

By 1980 the renowned Yorkshireman's rosy and inquisitive notions were overflowing. Pools Made with Paper and Blue Ink for Book, from Paper Pools (Paper Pools), the lot at hand dating from 1980, was an apotheosis of 11 preceding prints created between 1978 and 1980 that alternated between combinations of blue and green color litho washes while employing various different methods aimed at describing water. Paper Pools, with its orange springboard hovering above rich cerulean waters, appeared as that group's most vibrant — and certainly its most colorful — print.

\n\n

During a time when contemporary art was the subject to much consternation, Hockney's pools enticed skeptics by bubbling over with fresh energy and optimism.

\n\n

A thirst for the freedom and liberation that accompanied the dream of a private swimming pool would soon sweep the country and Hockney's viewers were willing to take this risk of entering a wet zone, all the ready for a forthcoming splash.

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and dated \"Ruben Torres 1981\" on the reverse","dimensions","35 1/2 x 24 in. 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122

Rubén Torres Llorca

Last Supper

完整圖錄內容

Rubén Torres Llorca