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Approximately 2:30 pm start, immediately following Enea Righi Auction.

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Virtual Viewing

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7-11 April 2021

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Public Viewing

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12-15 April 2021

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Monday - Wednesday, 10am-9pm

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Thursday, 10am-6pm

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Friday, 9am-5pm

\n","auctionDetailsSmall","倫敦拍賣2021年四月十六日","extraInfo","

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Tamila Kerimova
\nSpecialist, Director, Head of Day Sale, 20th Century & Contemporary Art

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+ 44 20 7318 4065
\ntkerimova@phillips.com

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\n","enableHighlightsView","enableOnlineCatalogue","endSale",true,"hideSoldLots","isChineseTranslate","isExhibition","isLiveAuction","isMixedAuction","makeLive","showAdvanceBidButton","showArtCollector","showBuyButton","showCatalogueDownloadLink","showInquireButton","showPrintCatalogueSection","showRegistrationLink","showSaleOffers","showSoldPrice","lots",[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],"viewing",{"_48":247},"articles",[178,179,180,181,182],"departments",[171],"auctionCurrency",{"_168":72,"_169":170},{"_159":160,"_161":162,"_163":164,"_165":49,"_166":167},"totalLotCount",125,"auctionMobilityAuctionRowId","1-42EDHF","auctionUrl","https://www.phillips.com/auction/UK010221","countryName","United Kingdom","countryCode","GB","line1","30 Berkeley Square","city","postCode","W1J 6EX","currencyCode","currencySign","£",{"_172":173,"_174":175,"_176":177},"departmentId",1,"departmentName","Contemporary","departmentDisplayName","Modern & Contemporary Art",{"_183":238,"_185":177,"_186":239,"_16":240,"_189":241,"_191":242,"_195":196,"_197":198,"_199":243,"_201":198,"_203":244,"_205":245,"_207":246},{"_183":229,"_185":177,"_186":230,"_16":231,"_189":232,"_191":233,"_193":194,"_195":196,"_197":198,"_199":234,"_201":173,"_203":235,"_205":236,"_207":237},{"_183":219,"_185":177,"_186":220,"_16":221,"_189":222,"_191":223,"_193":194,"_195":196,"_197":198,"_199":224,"_201":225,"_203":226,"_205":227,"_207":228},{"_183":209,"_185":177,"_186":210,"_16":211,"_189":212,"_191":213,"_193":194,"_195":196,"_197":198,"_199":214,"_201":215,"_203":216,"_205":217,"_207":218},{"_183":184,"_185":177,"_186":187,"_16":188,"_189":190,"_191":192,"_193":194,"_195":196,"_197":198,"_199":200,"_201":202,"_203":204,"_205":206,"_207":208},"coverUrl","https://flockler.com/thumbs/sites/889/152401_uc340079-8db8610a-c59f-4696-be34-90da65e7e93a_s600x0.jpg","section","summary","Phillips is delighted to be bringing to auction works from a Prestigious European Collection. The Belgian collector, based in Los Angeles, trained his eye and honed his collecting capabilities alongside other collectors including Roger Vanthournout, the Architect Marc Corbiau and Antwerp gallerist Micheline Swajzer.\n","A Haunting Portrait by Thomas Schütte","body","

Thomas Schütte, Ohne Titel, 2001.

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Phillips is delighted to be bringing to auction works from a Prestigious European Collection. The Belgian collector, based in Los Angeles, trained his eye and honed his collecting capabilities alongside other collectors including Roger Vanthournout, the Architect Marc Corbiau and Antwerp gallerist Micheline Swajzer.

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Described by Michael Borremans as an ‘artist in living,’ the Belgian collector has transformed the modernist Richard Neutra House he recently acquired in Crestwood Hills, Los Angeles. It is in Los Angeles that the collector has found his home. Citing his love for Frank Sinatra the collector relates to the musicians lyrics from ‘In L.A is my lady’:

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The music she moves to, is music that makes me a dancer
\nI brought her my wildest of dreams, and she came up with the answer
\nI leave behind a part of myself, whenever I leave her
\nBut oh, when I'm back in her arms
\nShe smiles and then I am home again

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The house is an architectural icon, living and breathing Contemporary Art, Design, Californian lifestyle and mindfulness. The garden provides space for sculptures by artists including Richard Long, Bernd Lohaus, Franz West and Lawrence Weiner. The combination of house and garden create a perfect cocktail representing his immense connoisseurship and collecting passions.

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The Belgian collector recently acquired a Paul Rudolph Walker guesthouse at auction. This architectural sculpture will become an open platform for contemporary art and architecture, with the ability to travel around the globe to reunite creativity.

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Always approaching life with an open mind, just like a child looking at the world, the collector understands art, artists and creative people.

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Thomas Schütte’s installation Ohne Titel is comprised of a haunting portrait of a woman, which hangs poised to overlook the audience of seven jet black vessels, positioned as if turned away from her. Originally conceived as a standalone work in 1986, Frauenporträt in Grün is monumental in its depiction of the female bust, who gazes from the frame with a mournful and pensive expression. On the occasion of the artist’s self-titled solo exhibition at the Sammlung Goetz in Munich, which opened on the 19^th of March 2001, the work was installed with the addition of seven recently conceived ceramic forms to create an entirely new work. In its second manifestation Untitled the work embodies fifteen years of the artist’s practice and incorporates two of Schutte’s greatly differing artistic techniques – painting and pottery.
\n
\nSchütte studied at the Kunstakademie Düsseldorf under Daniel Buren and Benjamin Buchloh and Gerhard Richter. Under the guidance of Richter, Schütte learned to value the importance of a diversified artistic practice and since never settled on one particular style or technique. His subsequent body of work incorporates figuration in the form of sculpture, pottery, painting and drawing, architectural models and motifs, abstraction and furniture and neither emerges as more prominent than the other.

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Schütte’s continued emphasis on figuration marked somewhat of a return to the practice in contemporary art, which had been predominantly focused on abstraction and conceptualist practice since the Second World War, aside from a few key figures. The artist’s perspective on this aspect of his practice mimics his eclectic oeuvre, ‘the approach is very different, there are some beauties, some horrors.’ⁱ Frauenporträt in Grün’s appears to combine the two, her calm expression and delicately painted lips and nose are juxtaposed with the deep red rings around her eyes. Her pallid green complexion is emphasized by the jagged strokes of red which outline it, imbuing the scene with a gruesome undertone. Schütte is deliberately ambiguous in his presentation of the figure, whose head appears hover either submerged in a deep black liquid or statuesquely decapitated on a solid surface as a marble bust. The figure’s hair is hinted at through spiky strokes in the same green hues as the skin tone, again creating a dichotomy between the potential of tangled curls or a crown of thorns. Of his portraiture as a whole, the artist said ‘it doesn’t have to be precise; you don’t have to recognize the person. It’s just a reason to make lines.’ⁱⁱ

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Installed alongside Schütte’s 2001 vessels, the picture takes on a portentous role as the icon, central to a gathering of forms. The smooth black glaze of the ceramic vases, transforms into the anthropomorphic shape of downturned faces, stark in their potential rejection of the central focus. The subsequent enigmatic quality of this installation allows the viewer the freedom to revel in their own interpretation. In reference to his use of materials, Schütte has said ‘I like solid things that last one hundred or one thousand years.’^_iii The artist favours traditional tactile materials such as clay, bronze, paper, citing their lasting presence over the ‘ephemeral’ nature of digital media, video and film. Ohne Titel epitomises the artist’s unique approach through its fusing of two distant practices.

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Discover More from 20th Century & Contemporary Art Day Sale London >

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\n\n

Recommended Reading
\n
\nThe Rothko Effect: Why Does Art Move Us? >

\n\n

Who to Watch: This Season's New and Emerging Artists >

\n\n

\n","publishDate","2021-04-09T20:16:38.000000Z","authorCredit","Sarah Bochicchio","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/73292790/a-haunting-portrait-by-thomas-schutte","displayOrder",4,"auctionEditorialID",1175,"editorialID",3448,"flocklerID",73292790,"https://flockler.com/thumbs/sites/889/tondon-debf3c0f-f43c-49c7-ba17-93d7d2ea352a_s600x0.jpg","Phillips' Worldwide Deputy Chairman, Svetlana Marich, interviews Ron Arad about the artist's fabric coverings of absent artworks, which range from Lichtenstein to Michelangelo. ","Covering Michelangelo: An Interview with Ron Arad ","

Ron Arad, Tondo 2020, 2020.

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SVETLANA MARICH: I will start with a very simple question. How did you come up with the idea the art piece that you're going to show at the 20^th Century & Contemporary Art sale?

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RON ARAD: In the lockdown, I found myself working with covers of things. I mean—like the covered Morgan car that I planned to exhibit at the Royal Academy Summer Show. I did my sketch, and when the fabric arrived from Belgium, where it was made, it was much better than I deserve. It was amazing. It had beauty that I was very lucky to get, and it was huge and big. I played with it, and that led me to covering things. I was working on the show in LA called Don’t F**k with the Mouse, which is to do with Mickey Mouse’s birthday. And there I did wall covers of works of art that are not there, like the Roy Lichtenstein Mickey Mouse, the stolen Andy Warhol double Mickey, the Damien Hirst, the Oldenburg geometric Mickey.

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I did covers for them, so you don’t know if the piece is there or not under it, but I was interested in the fabric because it is, at least in my eyes, amazingly, amazingly, surprisingly beautiful and I fell in love with the process.

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Then there was the controversy over the Michelangelo Tondo at the Royal Academy, as you know, some thought it was a good idea to sell the Michelangelo to save them from making people redundant and lose their jobs. When the debate cooled down (we cannot sell the family silver, our responsibility as a museum, etc) we were left with both sides of the argument, and I established a new relationship with the Tondo.

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As I was in the process of covering things, I thought I’ll also wrap the Tondo, the beautiful piece that Michelangelo never finished, and maybe it's the first piece that he did when he moved to Florence. I had to sculpt a piece to go under the cover, to create the illusion of the volume under the fabric. I also carved the words "ABSOLUTELY NOT FOR SALE” (same as on the fabric). I thought I was working on an under cover object that no one will ever seesomething that no one will ever see, which buys you some freedom that you don't have normally.

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Don’t F**k With The Mouse exhibition Over the Influence, Los Angeles 2020. Photo credit: Flying Studio.

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SM: What is behind the idea of covering something that nobody can see?

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RA: When you walk in the streets in my neighborhood, you see lots of cars that are covered in canvases and things, very Christo-esque, you know. You always imagine what's underneath. And I had the idea to sketch what we don’t see. And that was the starting point. Later because of the pandemic and everything that happened. I couldn’t exhibit the Morgan at the RA because of floor space restrictions and I found a different parking place for it, and I found a different parking place for the Morgan, and I did another piece even bigger, but it was a wall piece, which was called "OH LORD, WON'T YOU BUY ME" You know, the Janis Joplin song, the Mercedes Benz. I put the Morgan in Saville row, and I assembled the undercover car that I told you that I thought no one is going to see, but I fell in love with it because I looked at it and wow, I couldn't know which is better what's underneath or...? So normally you do an unveiling of the sculpture. We did a veiling, not the unveiling in Saville Row. So it was uncovered for a week, and then the ceremony was completely the opposite.

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‘Oh Lord Won’t You Buy Me?’ Exhibited in the Royal Academy’s 2020 Summer Exhibition.

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While doing that, I got involved with the Michelangelo, and the only time I went to the studio was to carve and to sculpt what goes underneath. Again, I did a piece that I thought no one was going to see. And then sadly, I liked it.

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SM: And you have the message "Not for Sale" on the piece, even though at the end, your work is in our Contemporary Art sale.

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RA: It is the age old dilemma. I wish I could keep it, but I can't because that's not the way it works.

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SM: What do you think it added to the concept of the piece that is now to be sold at Phillips?

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RA: First of all, when I finished it, I also became part of the public, the audience of it. I enjoyed it in a different way. I know it better, and it has something else. You see, and you don't see it. There is a thing that you have to think about, but you don't have to come to any conclusion. At the end of the day, it doesn't exactly matter where the delight comes from, as long as it’s there.

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Ron Arad hand carves the underlying structure for the woven Tondo.

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SM: What made you to shift from architecture to contemporary art?

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RA: Do you have four hours to discuss it? When I showed talent in sketching and drawing, my mother, who was a painter, instead of saying “Ooh, he's going to be a great artist,” she said, “Ooh, he's going to be a great architect,” thinking wrongly that it's a safer profession. But when I studied architecture at the AA in the 1970s, the AA was more of an art school.

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No one was building, and conceptual architecture was very jealous of conceptual art. That is my era. In my studio you don't need a passport to go from one discipline to the other. And indeed, when I had my retrospectives at the Pompidou center, and the MoMA, I called it "no discipline" because I'm not an exclusive member of any of the disciplines.

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SM: How interesting that you speak about the fluidity of genres and disciplines. I think this is true that they're merging a lot today and it could be very hard. It's getting harder and harder to distinguish

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RA: I took part in a conference about breaking the boundaries between disciplines, and I said, I think the more we discuss breaking the boundaries, the stronger you make the boundaries. So I think we should stop this discussion. And then the audience cheered, and the conference ended before it began.

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Discover More from 20th Century & Contemporary Art Day Sale >

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Recommended Reading

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Banksy, Duchamp, Warhol, and the Readymade >

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In Conversation with Collector Enea Righi >

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\n","2021-04-01T14:17:41.000000Z","https://www.phillips.com/article/72796533/michelangelo-ron-arad-twentieth-century-contemporary-art-auction-london",3,1173,3429,72796533,"https://flockler.com/thumbs/sites/889/151168_uc338508-d51f8601-6717-4d20-941b-ff3805ae756c_s600x0.jpg","Explore the relationships between modern and contemporary masters ahead of our 20th Century & Contemporary Day Sale.","Redefining Modern Sculpture","

Aristide Maillol, Relief, La Victoire, 1921/1972. Estimate £10,000 - 15,000. 20th Century & Contemporary Art London Day Sale.

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Phillips is delighted to offer Property from a Private Japanese Collection, comprising eight figurative bronze sculptures by the French artists Antoine Bourdelle, Aristide Maillol, Auguste Rodin, and Italian artists Venanzo Crocetti, Emilio Greco, and Giacomo Manzù. Acquired from the Contemporary Sculpture Center, Japan the present works have resided in the same private collection for over forty years.

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Antoine Bourdelle, Héraklès archer, buste, 1909/1970. Estimate £30,000 - 40,000. 20th Century & Contemporary Art London Day Sale.

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Rodin redefined monumental sculpture towards the end of the nineteenth century, creating a new sculptural language which inspired not only his contemporaries and students but the future generation alike. The forerunner to modern sculpture, Rodin was interested in exploring and capturing individual and very human characteristics in his mythological and allegorical subject matters. The anxiety about the human state and individual experience is poignantly apparent in Rodin’s Martyre (petit modèle) and Tête de la Muse tragique. Both contorted forms accentuate movement and dynamism.

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Aristide Maillol, Relief, La Victoire, 1921/1972. Estimate £10,000 - 15,000. 20th Century & Contemporary Art London Day Sale.

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Rodin’s realism and expressivity in his subject matter were of particular importance as a key influence on Giacomo Manzù, who played an instrumental part in the development of Italian sculpture in the 1930s, as well as the rise and affirmation of the abstract group. After the war, Manzù established himself as one of the greatest Italian sculptors of religious subjects but, similarly to his contemporary Emilio Greco, the carnal world attracted him as much as the spiritual one. Venanzo Crocetti was not far behind Manzù in progressing the future of sculpture, contributing with his own specific language, rooted in a strong tension between tradition and modernity. The poetic characterisations of Crocetti lie firstly in his intuition and formal development, the anti-rhetorical re-humanisation of animals and finally his great recovery of the clay technique: a significant return to the great Etruscan sculpture, which also strongly influenced Greco.

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Auguste Rodin, Martyre (petit modèle), 1899/1970. Estimate £22,000 - 28,000. 20th Century & Contemporary Art London Day Sale.

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The works of Aristide Maillol also reflect Rodin's undeniable influence; however, he soon began to abhor the despaired subjects and twisted figures, gradually moving toward a more refined, Classical form of sculpture. Although Maillol only begun creating sculptures circa 1895, and they mostly included small clay statuettes, they quickly gained popularity among collectors, one of which was Rodin. Practicing during a time which celebrated Rodin’s realist approach, Maillol instead preferred to preserve and purify the classical sculptural traditions, rather than emphasise the emotional or psychological meaning. Nevertheless, Rodin attended Maillol’s first solo exhibition and reportedly said, ‘Maillol is the equal of the greatest sculptors. What is admirable in Maillol, what is, so to speak eternal, is the purity, the clarity, the limpidity of his workmanship and thought.'

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Auguste Rodin, Tête de la Muse tragique, 1895/1974. Estimate £7,000 - 10,000. 20th Century & Contemporary Art London Day Sale.

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At the start of his career, Antoine Bourdelle shared Rodin’s interest in infusing realism with mythical figures, while exploring individualistic expressionism. Between 1893 and 1908 he was a pupil and assistant at the studio of Rodin, who was a great admirer of Bourdelle’s innovative monumental sculpture. Héraklès archer, buste is the perfect example of the rough surfaces of Bourdelle's sculptures which were influenced by Rodin, and his use of flat, simplified forms which were drawn from archaic Greek and Roman antiquity. In 1908, Bourdelle left Rodin’s studio and began to teach. Amongst his pupils were Germaine Richier and Alberto Giacometti, whom he taught until his death in 1929.

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Emilio Greco, Figura Seduta No. 3, 1978. Estimate £6,000 - 8,000. 20th Century & Contemporary Art London Day Sale.

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Offered alongside Alberto Giacometti’s Nu debout II, in our Evening Sale, the collection allows for an interesting art historical analysis of the relationship between master and student within the French group- Rodin taught Bourdelle who in turn taught Giacometti. Years after Rodin’s death, and after leaving Bourdelle’s studio, in the late 1940s and early 1950s, Giacometti’s interest in Rodin rekindled. Homme qui marche, 1960 is Giacometti’s homage to Rodin’s Walking Man, 1907 and a dynamic metaphor for his artistic aspirations.

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Giacomo Manzù, Amanti, 1976. Estimate £6,000 - 8,000. 20th Century & Contemporary Art London Day Sale.

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Following the post-war period, inspired by Giacometti, artists like Henry Moore and Per Kirkeby continued to embrace the art form, creating sculptures full of rhythm and a profound understanding of the human state; characteristics that are so focal to Rodin’s oeuvre. These artists in turn influenced the new generation of sculptors like Tony Cragg. His work Loop is a perfect example of how the artist implements Rodin’s emotional and psychological artistic vocabulary into his own work.

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Venanzo Crocetti, Ragazza che legge, 1971. Estimate £1,500 - 2,000. 20th Century & Contemporary Art London Day Sale.

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Similarly to the aforementioned group, Cragg explores the relationship between tradition and modernity, experimenting with materials and the realisation of dramatic, original forms. Whether they were reinforcing his influence or responding against it, in their own way, each of these artists continued the legacy of Rodin in redefining the modern language for sculpture.

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Conceived and executed between 1895 and 1979, the group celebrates the technique and merit of bronze lost wax casting, successfully re-examining the importance of posthumous casting and the preservation of artists’ legacy.

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A hundred years ago art was based on copying the figure, until artists realised it’s much more interesting to understand why we look like that. Rodin realised the shape of the figure and the face is not just reliant on the bones and the tissue underneath the skin; it’s also psychological. –Tony Cragg
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Tony Cragg, Loop, 2014. Estimate £60,000 - 80,000. 20th Century & Contemporary Art London Day Sale.

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Venanzo Crocetti, Two works: (i) Giovane con cane; (ii) Study for Giovane con cane, 1967/1976. Estimate £1,000 - 1,500. 20th Century & Contemporary Art London Day Sale.

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The view some may associate with posthumous casts is conditioned by a specific historical ideology that dates to the nineteenth and twentieth century that prioritised ‘originality’ and ‘authenticity’. This is based on a misunderstanding of the process of creating a bronze sculpture, which entails the creation of a model that needs to be copied and cast, a process which the artist did not always oversee as closely as many imagine. Rodin was one of the first who took a forward-thinking approach to the ‘original’ and the value of multiples that would go on to inform many outstanding artists of the 20th century. These later casts should be viewed together with sculpture that was being made during the second half of the twentieth century to illustrate the enduring influence and relevance of Rodin’s approach not only to the human form but to the way we perceive art today. As attitudes change, some artists, such as Giacometti, have recently seen an increase in prices for posthumous works, because as these artists remind us, what really counts is the mind, not the hand.

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Discover More from 20th Century & Contemporary Art Day Sale London >

\n\n

\n\n

Recommended Reading
\n
\nThe Rothko Effect: Why Does Art Move Us? >

\n\n

Who to Watch: This Season's New and Emerging Artists >

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\n","2021-04-09T15:17:48.000000Z","https://www.phillips.com/article/73276303/property-from-an-important-japanese-private-collection-modern-art-auction-london",2,1172,3447,73276303,"https://flockler.com/thumbs/sites/889/stella-207d0d67-c1cb-450c-9b74-4aafda227d54_s600x0.jpg","A round-up from our upcoming 20th Century & Contemporary Art Evening and Day Sales. ","Highlight Reel: Favorites From London","

Frank Stella, Scramble: Ascending Spectrum / Ascending Green Values, 1977. Estimate £2,000,000 - 3,000,000. 20th Century & Contemporary Art Evening Sale London.

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中文閱讀

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1. Frank Stella

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Frank Stella, Scramble: Ascending Spectrum / Ascending Green Values, 1977. Estimate £2,000,000 - 3,000,000. 20th Century & Contemporary Art Evening Sale London.

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Scramble: Ascending Spectrum / Ascending Green Values is energetic, rigorous, and, of course, colorful. This large-scale work is magnetic, drawing the viewer in via its repetitive, schematic rainbow gradation. Scramble: Ascending Spectrum / Ascending Green Values is a luminous example of Stella’s exploration of the square, a shape that the artist praised for its unpretentiousness and power. Of his Concentric Squares, the artist has said “Their simple, rather humbling effect—almost a numbing power—became a sort of ‘control’ against which my increasing tendency in the seventies to be extravagant could be measured.”

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2. John Chamberlain

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John Chamberlain, Gris Gris Gumbo Ya Ya, 1990. Estimate £400,000 - 600,000. 20th Century & Contemporary Art Evening Sale London.

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“In finding your place in sculpture, you need to find the material that offers you just the right resistance,” advised Chamberlain. “As it turns out, car metal offers me the correct resistance so that I can make a form—not overform it or underform it.” An example of the artists’ crumpled metallic sculptures, Gris Gris Gumbo Ya Ya was born from tossed-away car part and transformed by Chamberlain’s elaborate regenerative and destructive process. The works represents a kind of new life, simultaneously vibrant and tinged with a deleterious edge.

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3. Mark Tansey

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Mark Tansey, Study for Nocturne, 1998. Estimate £600,000 - 800,000. 20th Century & Contemporary Art Evening Sale London.

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Partly inspired by the work of René Magritte, Study for Nocturne dreamily and brilliantly challenges time and space. Endlessly enamoured with the power of words and images, Tansey frequently intertwines the two, in the present painting poring over the possibilities enabled by the word "Nocturne," both a sign of the time of day, and a musical quip echoing the composition’s oceanic harmony. Study for Nocturne’s reads like a sheet of music, with the hovering beam of light, nestled at the top, slowly trickling down and making sense of the composition. “Pictures should be able to function across the fullest range of content,” he said, “The conceptual should be able to mingle with the formal and subject matter should enjoy intimate relations with both.”

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4. El Anatsui

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El Anatsui, Plot a Plan IV, 2007. Estimate £650,000 - 850,000. 20th Century & Contemporary Art Evening Sale London.

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Recently the subject the Metropolitan Museum of Art’s first-ever virtual exhibition, El Anatsui has represented Ghana at the Venice Biennale and been the subject of several important exhibitions. With its copious metaphorical associations, Plot a Plan IV is a symbolic treasure imparted with spectacular physicality, telling the story of contemporary consumers and the tale of a people simultaneously.

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5. George Condo

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George Condo, Operatic Abstraction, 2017. Estimate £80,000 - 120,000. 20th Century & Contemporary Art Day Sale London.

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“Picasso painted a violin from four different perspectives at one moment. I do the same with psychological states. Four of them can occur simultaneously… hysteria, joy, sadness, and desperation,” explained George Condo. Operatic Abstraction explores this multiverse, in which recognizable elements collide and captivate. True to life, if not visual realism, Operatic Abstraction conveys multifaceted, often-changing, constantly adapting and reinventing human personalities.

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Discover More from 20th Century & Contemporary Art London >

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Recommended Reading

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The Rothko Effect: Why Does Art Move Us? >

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Who to Watch: This Season's New and Emerging Artists >

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\n","2021-04-09T22:54:11.000000Z","https://www.phillips.com/article/73298545/highlight-reel-favorites-from-london",1178,3449,73298545,"https://flockler.com/thumbs/sites/889/210406-phillips-46_mgl2742-51d18a7a-a233-46e6-89e0-25420f0d512c_s600x0.jpg","Join us for a virtual walkthrough of our 20th Century & Contemporary Art Sales from 30 Berkeley Square. On view: Mark Rothko, Jean Dubuffet, Frank Stella, Paula Rego, Mickalene Thomas, and more.","VR Walkthrough | 20th Century & Contemporary Art","

Travel through our galleries at 30 Berkeley Square in London and browse our 20th Century & Contemporary Art Evening and Day Sales.

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Featuring leading works from the most sought-after artists of the 20th and 21st centuries, our Evening Sale is comprised of an exceptional group of works from Mark Rothko, Jean Dubuffet, Andy Warhol, Jordan Casteel, El Anatsui, Marcel Duchamp, and more.

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Our Day Sale features masterworks from Claire Tabouret, Pablo Picasso, Stanley Whitney, George Condo, Alexander Calder, and more, alongside Out of the Blue: The Enea Righi Collection.

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Visit our 30 Berkeley Square galleries 12-15 April to preview our London 20th Century & Contemporary Art Evening and Day Sales ahead of the 15-16 April auctions.

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'I had done a painting called 'Dancing to Whitney' about two years ago. I was imagining that the characters in the painting were dancing to this song, 'How Will I Know?' When we decided to do this show, we took this title because, not only was it a song that I really like dancing to, but it also had a deeper resonance, thinking about the future.' —Salman ToorDancing to Whitney is part of the body of work recently celebrated at Salman Toor’s first solo show at The Whitney Museum of American Art, Salman Toor: How Will I Know. Inspired by the present example, the curators from the Whitney chose the lyrics from a Whitney Houston song as the exhibition’s title. This institutional recognition is a testimony to the importance of Toor’s oeuvre on the international scene and as an ambassador for the artistic community in Pakistan.

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Dancing to Whitney exemplifies Toor’s perfected painterly fluidity and layering technique, depicting multiple unfolding narratives within a single space. “I need every part of the surface to be interesting to me and so I have to reinvent everything so that it becomes interesting, there is a lot of rubbing away and reworking on top…the material is so alive on the surface and I want it to be animated, maximum animation.”ⁱ This approach harks back to the artist’s studying of the Old Masters in both technique and subject matter: “I have trained myself in academic painting, when I graduated Pratt in 2009 I still wanted to be like Rubens and Van Dyck and I wanted to have 17^th Century costumes and candlelight around me and have that faux gravitas.”ⁱⁱ

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In Dancing to Whitney the three characters to the forefront, eyes closed, are engrossed in complete bliss, dancing in their alcohol fuelled haze. In the background, Toor includes a contrasting scene in a muted tonal palette of seated figures talking in quiet union, reminiscent of Gaugin’s Tahitian paintings. Through the juxtaposition of these scenes Toor shares with the viewer a glimpse into his own parallel worlds. Born and raised in Lahore, Pakistan and now living in New York, Toor depicts a narrative which could be considered autobiographical, portraying the lives of young, queer brown men living in New York whilst echoing the artist’s conservative Pakistani roots.

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Beautifully illustrated in these opposing scenes is Toor’s interest in painting 'little domestic spaces'. Talking about the works of Old Masters that he so admires, Toor noted 'there is a feeling safety and domesticity in the paintings, that I like to work with, I also think of the paintings they have so many little domestic spaces in them like the ones that I have and my friends have in east village, they are safe spaces… I grew up in a culture that was relatively conservative, so I am still attached to the safe spaces… spaces in which expression is completely safe to express everything. I like the combination of flouncy, frilly, feminine domesticity coupled with hairy brown bodies and an idea of the glamour of effeminate men. Together, happy in groups, circles of friendships… that is one of the things that really drives me, as well as the idea of ecstasy in the paintings is the idea of queer friendships and communities of support that are really valuable because growing up my friendships were the most valuable thing to me…'.ⁱⁱⁱ In Dancing to Whitney, the safety of these little domestic spaces is poignantly echoed in the intimate scale of the work.

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A pure, joyful celebration of friendship, Dancing to Whitney illustrates the unselfconscious freedom to both let loose and quietly gather in Toor’s imaginary intimate safe space. Like in all Toor’s best works, there is an edge. The protagonist is squarely in a world that is not always welcoming, his pose, clothing and stance seem to distressingly echo Goya’s martyr in The Third of May 1808. Even in this moment of captured happiness there is an emotional charged undercurrent of the struggles of being a brown gay man, and how, in the confines of this small private room that there is the safety and confidence to be free.

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\"Francisco — Francisco Goya, *The Third of May 1808*, c. 1810-1814, oil on canvas, Prado, Madrid. Image: Bridgeman Images.

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Salman Toor in conversation:

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Discussing Dancing to Whitney at The Whitney Museum of American Art

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Salman Toor: My name is Salman Toor and I'm from Pakistan. I am a figurative painter. I had done a painting called Dancing to Whitney about two years ago. I was imagining that the characters in the painting were dancing to this song, "How Will I Know?" When we decided to do this show, we took this title because, not only was it a song that I really like dancing to, but it also had a deeper resonance, thinking about the future.

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Narrator: Toor lives and works in New York City, but many of his paintings depict in-between settings.

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Salman Toor: There's a lot of dancing in a lot of my paintings. I moved from a conservative place into this ultra-free, urban culture here. So the paintings also move between being fantasies of free space and more constricted, inner spaces that people inhabit when maybe they're crossing national borders and they’re forced to reckon with a reduction of what their identity might mean to a gatekeeper who might have to decide whether these individuals should be allowed to cross or not. And I think they're also ultimately linked to my idea of myself.

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Listen in:
\nSalman Toor in interview with Nidhi Gupta from GQ India.

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Actor Russell Tovey and gallerist Robert Diament meet Salman Toor at his studio in Brooklyn, New York as he puts the finishing touches to his paintings for his first institutional solo show at The Whitney Museum of American Art: TALKART

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Salman Toor discussing his practice in interview with the curator of ‘RELATIONS: Diaspora and Painting’ at Fondation PHI pour l’art contemporain, November 2020.

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\nⁱ Salman Toor in interview with Brian Alfred in Sound and Vision podcast
\nⁱⁱ Salman Toor in interview with Brian Alfred in Sound and Vision podcast
\nⁱⁱⁱ Salman Toor in interview with Brian Alfred in Sound and Vision podcast

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201

Salman Toor

Dancing to Whitney

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Salman Toor