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Auction 15 May 2pm EDT

\n\n

450 Park Avenue, New York (map)

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Viewing 3-14 May

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Monday-Saturday 10am-6pm
\nSunday 12pm-6pm

\n\n

432 and 450 Park Avenue, New York

\n\n

\n","auctionDetailsSmall","New York Auction 15 May | On View at 450 Park Avenue","extraInfo","Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York
\n+ 1 212 940 1250
\nrbowling@phillips.com
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Christina Quarles Moon (Lez Go Out N' Feel Tha Nite), 2017

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In Moon (Lez Go Out N' Feel Tha Nite), 2017, Christina Quarles creates a hybrid universe where meanings are in flux and identities remain fluid. Informed by the artist’s self-identification as “a queer, cisgender woman who is black but is often mistaken as white”, Quarles’ figures are decidedly ambiguous, their polymorphous bodies caught between shifting perspectives and planes. Suspended in a state of painterly metamorphosis, these figures reflect the artist’s own subjective experience of displacement in relation to personal topics like race, gender and human relationships.

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Christina Quarles Pull on Thru Tha Nite, 2017; Sold for $225,000 against a $30,000 low estimate at Phillips New York's November 2018 Evening Sale

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Charged with expressive brushwork and a phantasmagoric array of colors, Quarles’ unique style and approach to painting have recently garnered significant critical and institutional attention. Since 2017, her works have been included in major group exhibitions at the New Museum, New York, the Studio Museum in Harlem, and the 2018 biennial Made in L.A. at the Hammer Museum, Los Angeles, where art critic Christopher Knight championed her “as perhaps the biennial’s most exciting discovery” (Christopher Knight, “Made in L.A. 2018”, Los Angeles Times, June 5, 2018, online).

\n\n

In Moon (Lez Go Out N' Feel Tha Nite), a couple embraces, their androgynous bodies morphed into one. Set against a mysterious backdrop of shifting forms and floating planes of color, Quarles’ figures are suspended in an unidentifiable landscape, stretching, bending and compressing into the rectilinear frame of the composition. A moonlit panorama hovers to their left, the stark outline at odds with the sinuous contours of the intertwined couple. Perhaps a window to an outside world or a two-dimensional picture hanging on the wall, the planar form creates a spatial divide against which the bodies resist, abut and flow through. Shifting between interior and exterior space, Quarles’ seductive vignettes probe margins and destabilize fixed notions of identity, eluding viewers’ attempts to fix them in a specific time and place.

\n\n

\n
I’m interested in depicting an experience of living in a body rather than looking at a body. I’m interested in finding different ways to explore my experience of certain identity positions that I’m familiar with. – Christina Quarles
\n

\n\n

Recalling the gestural brushstrokes of Abstract Expressionism and embodying the seductive aura of Surrealism, Moon (Lez Go Out N' Feel Tha Nite) oscillates between figuration and abstraction with sophisticated ease. The figure’s blonde, cascading hair is rendered with a precise tactility, mimicking the striated texture of actual hair. Carefully articulated fingers and toes extend in all directions, as the artist considers hands to be the most fully realized extension of ourselves. At the center of the composition, Quarles paints a vivid bouquet of flowers with heavy impasto, signifying femininity and the domestic sphere. In an alternate dimension, a full moon – a symbol of spiritualism and sexuality – floats in a smooth, dark sky over a mountain range. Ripe with metaphor and pulsing with painterly finesse, Moon (Lez Go Out N' Feel Tha Nite) offers a unique window into Quarles’ intimate world, where race, gender and identity are as fluid as the bodies that inhabit it.

\n\n

\n","publishDate","2019-05-06T16:24:22.000000Z","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/42865703/christina-quarles-hybrid-universe","displayOrder","auctionEditorialID",563,"editorialID",627,"flocklerID",42865703,"https://flockler.com/thumbs/sites/889/301_002-7b554083-fc51-4342-860f-58ca91d56d87_s600x0.jpg","This spring in New York, Phillips has partnered with Artadia—a non-profit organization dedicated to identifying and supporting innovative visual artists—in celebration of their 20th anniversary. Our inaugural capsule auction features 14 unique works donated by some of the most celebrated contemporary artists working today, with proceeds going to support and expand Artadia's vital mission.","Artadia 20th Anniversary: Capsule Sale at Phillips","

Sarah Crowner Untitled, 2018. This work is the first lot in our Artadia 20th Anniversary Capsule Sale, which leads our 20th Century & Contemporary Art Day Sale Afternoon Session on 15 May 2019.

\n\n

\n
The success that I am experiencing today has everything to do with Artadia's willingness to believe in my practice, take risks on artists of note and promise and really cast the widest net possible for talent throughout this country. — Theaster Gates, 2008 Chicago Artadia Awardee
\n

\n\n

Founded in 1999 in San Francisco by Christopher E. Vroom and a group of passionate art collectors and philanthropists, Artadia created a crucial national network of support for artists while fostering a deeper understanding of the immense contributions artists make to our society. Recognizing a need for increased financial and professional support in this realm, over the past twenty years, Artadia has awarded over $5 million in unrestricted, merit-based grants to 332 artists across America.

\n\n

After relocating to New York in 2002, Artadia has expanded the geographical scope of its mission, extending its grant-making program to artists living and working in seven unique urban communities: Atlanta, Boston, Chicago, Houston, Los Angeles, New York and San Francisco. Today, in its six active Award cities, Artadia annually awards grants directly to artists through a curator-driven process.

\n\n

\n\n

Summer Wheat (NADA New York 2016); Carolyn Ramo, Artadia Executive Director; Nick Cave (Chicago 2006), Artadia Board Member; Marilyn Minter, Artadia Board Member; Courtesy Ben Rosser/BFA.com

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Artadia works to connect emerging talent with a network of opportunities, continually propelling their careers to new heights. A number of Award artists have been the subject of solo shows at renowned institutions such as The Museum of Modern Art, New York, the Los Angeles County Museum of Art and the Museum of Contemporary Art, Chicago, among others. This year, six recipients will be featured in the 2019 Whitney Biennial in New York, a true testament to the enduring impact and influence of the Artadia Award.

\n\n

Understanding the immeasurable impact of their mission, our expertise and commitment to the defining aesthetic movements of the last century makes Phillips the perfect venue for Artadia's 20th Anniversary capsule sale. Through our collaboration, we are privileged to contribute to Artadia's essential work, ensuring that this important organization can continue to make a difference in the lives of artists for the next twenty years and beyond. Browse all 14 unique works below.

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SARAH CROWNER Untitled, 2018

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SHARA HUGHES Cliffhanger, 2018

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JONAS WOOD Mini Four Majors, 2018

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SHIO KUSAKA (square 36), 2018

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\n\n

WALTER PRICE Clown Shoes, 2017

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CAITLIN KEOGH Lines in a Nymph's Body, 2019

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\n\n

JOE BRADLEY Untitled, 2016

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\n
Artadia has awarded over $5 million in unrestricted funds to 332 artists in 7 cities.
\n

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ROE ETHRIDGE Scissors at Andy's Studio, 2014

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DIANA AL-HADID Untitled, 2018

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CECILY BROWN Sleeping Through the Tempest, 2016

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KATHERINE BERNHARDT Untitled, 2018

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TALA MADANI Popular Toys, 2013

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ANGEL OTERO Sand of Silence, 2015

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\n\n

LARRY BELL CS 9.22.15, 2015

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and dated \"Sue Williams 2006\" on the reverse","dimensions","72 x 84 in. (182.9 x 213.4 cm.)","medium","oil on canvas","sigEdtMan","Painted in 2006.","provenance","David Zwirner, New York\r\nPrivate Collection (acquired from the above in 2006)\r\nSotheby's, New York, November 14, 2013, lot 523\r\nMaruani Mercier Gallery, Brussels\r\nAcquired from the above by the present owner","mainImagePath","https://dist.phillips.com/auction-assets/NY010519/366_001.jpg","conditionReport","This work is in very good condition overall. There is evidence of minor handling marks to the turnover edges, not visible from the front. There are scattered inconsistencies to the varnished surface, likely consistent with the artist's working method. There is minor wear to the corners and extreme edges of the canvas, visible upon close inspection. There is a horizontal hairline abrasion to the extreme right edge in the pink painted area, visible upon close inspection. There are 2 pinpoint accretions to the lower left corner, visible only upon close inspection. 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366

Sue Williams

Selected Tufts

完整圖錄內容

Sue Williams