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拍賣 2024年5月15日
\n東部夏令時間下午2:00
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美國紐約公園大道432號10022（地圖）
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預展 5月4至14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5:00
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參閱富藝斯業務規定 >
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瀏覽及下載網上圖錄 >
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\n","auctionDetailsSmall","紐約拍賣 2024年5月15日","extraInfo","

Patrizia Koenig
\n日間拍賣（下午部分）拍賣主管暨專家
\n+1 212 940 1279
\npkoenig@phillips.com
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Alyssa Kapito at Phillips New York.

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At PIED-À-TERRE, discover a selection of works from Phillips’ Modern & Contemporary Art Day Sale in dialogue with pieces from the upcoming Design auction in June. Works by Richard Serra, Diego & Alberto Giacometti, Josef Albers, René Magritte, Gio Ponti, and more are styled together at by interior designer Alyssa Kapito at 432 Park Avenue.

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Alyssa Kapito: Living with Art and Design

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\nAlyssa Kapito has been widely recognized for her work in the design field and is a five-time recipient of the prestigious “Elle Decor A-List” of the top interior designers in the world. She has also been featured and profiled in Architectural Digest, Elle Decor, House Beautiful, Traditional Home, Vogue, The New York Times, and The Wall Street Journal. Alyssa’s first monograph book with the publisher Rizzoli debuted in April 2024.

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PIED-À-TERRE at Phillips, curated by Alyssa Kapito, featuring Richard Serra, Untitled, 1987. Modern & Contemporary Art Day Sale, Morning Session.

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PIED-À-TERRE at Phillips, curated by Alyssa Kapito, featuring Josef Albers, Study for Homage to the Square: Oracle, 1961. Modern & Contemporary Art Day Sale, Morning Session.

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Alyssa Kapito with Shara Hughes, Magic Hour, 2016. Modern & Contemporary Art Day Sale, Afternoon Session.

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Alyssa Kapito with Helen Frankenthaler, Spirits of Wine, 1972. Modern & Contemporary Art Day Sale, Morning Session.

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Playlist: PIED-À-TERRE

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The soundtrack to an art and design forward lifestyle, curated by Alyssa Kapito.

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Discover More from Modern & Contemporary Art >

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Recommended Reading

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BASQUIAT: The Icons of an Icon >

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Artists to (Re)discover >

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When the Old Is New Again >

\n","publishDate","2024-05-09T19:09:33.000000Z","authorCredit","Jesse Limbacher","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/144419254/perspectives-alyssa-kapito-modern-contemporary-art-auction-new-york","displayOrder",2,"auctionEditorialID",2149,"editorialID",4550,"flocklerID",144419254,"https://flockler.com/thumbs/sites/889/arthistorylead-581bf810-96a2-487a-976d-62a3027ac8fd_s600x0.jpg","How contemporary artists use art history to rewrite its course.","When the Old Is New Again","

Kehinde Wiley, After Memling’s Portrait of Jacob Obrecht, 2013. Modern & Contemporary Art Day Sale, Afternoon Session.

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One of the best ways for a student artist to learn is by copying the great works of their forbears. This of course applies to the young artists seen in museums with sketchbooks, but it is just as common for budding musicians to study how to harmonize melodies in the style of J. S. Bach, or for developing writers to learn to frame their ideas within the structure of Shakespeare’s tragedies. But when great contemporary artists engage with the masterworks of the past, their works goes beyond rote copying and instead can simultaneously pay homage to this lineage while calling attention to historic injustices. In a sense, their works can “repaint” art history and make a new case for representation, equity, and more.

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Furthermore, when the historical works artists engage with are so pervasive as to have entered the vernacular of visual culture, the resonance of these new images can ring even louder. Here, we look to works by artists who seize the past in this way, each on offer in our upcoming Day Sale of Modern & Contemporary Art in New York on 15 May.

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Kehinde Wiley

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Kehinde Wiley, After Memling’s Portrait of Jacob Obrecht, 2013. Closed (left) and opened (right). Modern & Contemporary Art Day Sale, Afternoon Session.

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Kehinde Wiley’s After Memling’s Portrait of Jacob Obrecht revisits a crucial moment in art history when artists began to produce portraits of the rising merchant class, which we can consider as the equivalent of today’s upper middle class. Before this time, portraiture was primarily reserved for nobility and clergy. In this work, Wiley replaces Memling’s original sitter — Jacob Obrecht, a prominent musician of the day — with the portrait of a contemporary young Black man. Unlike in Memling’s portrait, Wiley’s named sitter — Paul Bueford — meets us eye-to-eye, powerfully returning our gaze and seeming to demand we acknowledge his presence.

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In this context, what we’re left to grapple with both looks to the past and to our present day. By correcting the absence of Black representation in this moment of art history, Wiley skillfully elevates contemporary Black figures to the level of significance that is culturally associated with Old Master portraiture. But also, by cleverly looking back to the moment in history that the upper middle class was rising, Wiley engages with issues that ring true between social classes today.

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Hans Memling, Portrait of Jacob Obrecht, 1496. Kimbell Art Museum, Fort Worth, Texas.

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Though it wrestles with charged historical and contemporary issues, After Memling’s Portrait of Jacob Obrecht is inviting and stunningly beautiful, constructed with an artist-crafted wooden frame that opens to reveal both the portrait and 22K gold leaf gilding. Executed at a rare and intimate scale for Wiley, it is one of only eight works from his Memling series and the first to appear at auction. Its presence in a Modern & Contemporary Art Sale at Phillips is also exciting, as Phillips set the world auction record for the artist just this past March in London.

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Julie Curtiss

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Julie Curtiss, D’après l’Origine du monde, 2016. Modern & Contemporary Art Day Sale, Afternoon Session.

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In D’après l’Origine du monde, Julie Curtiss — a French artist raised in Paris — untangles the presence of the male gaze in Gustave Courbet’s iconic 1866 painting L’Origine du monde. Part of a body of work by Curtiss that confronts famed 19th century French paintings by artists including Georges Seurat and Édouard Manet, this work’s uncanny imagery invites viewers to unpack the conception of femininity across a wide timeline. This engagement with the past is surreal, incorporating the artist’s signature braided hair motif in a psychological confrontation with artists of a male-centric cultural lineage who can be considered as Curtiss’ forefathers.

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Gustave Courbet, L’Origine du monde, 1866, Musée d'Orsay, Paris, France. Image: Photo Josse/Scala, Florence.

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By covering the entire body of the nude figure in hair, Curtiss invites viewers to consider the locations of a woman’s body where hair is viewed as beautiful and ladylike within the context of the 19th century male gaze. But she also strips that gaze of its cultural power. If female body hair is considered a rejection of traditional gender norms, Curtiss’ figure discards these norms with fantastical fervor. Staying true to the composition of Courbet’s painting, Curtiss evokes the contours of the original image in viewers minds, but cleverly challenges our memory of the work, demanding we grapple with complex issues while simultaneously deriding an oppressive visual lineage.

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Titus Kaphar

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Titus Kaphar, Pushing Back the Light, 2012. Modern & Contemporary Art Day Sale, Afternoon Session.

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For Titus Kaphar, a reverence for Impressionist painting goes hand-in-hand with his understanding of what these works ignore — the prevailing racial violence and injustice occurring when these works were created. In his poignantly titled work, Pushing Back the Light, he revisits Claude Monet’s 1875 painting Woman with a Parasol – Madame Monet and Her Son, literally pushing back the physical canvas to reveal black tar. This act draws attention to the artist’s physical labor and weaves a complex web of metaphors — Kaphar directly shows us the unseen darkness that lurks in the background of Impressionist works.

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Claude Monet, Woman with a Parasol – Madame Monet and Her Son, 1875, National Gallery of Art, Washington, D.C. Image: © National Gallery of Art, Washington, D.C., Collection of Mr. and Mrs. Paul Mellon, 1983.1.29.

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Pushing Back the Light was exhibited in the Phillips Collection’s 2020 exhibition Riffs and Relations, which highlighted Modern and Contemporary Black American artists who have engaged with, redefined, and interrogated European Modernism. “We look at these Impressionist paintings as beautiful pictures of the world, and to a degree they are,” the artist explains, going on to echo the terrors of segregation and European Colonialism in Africa that prevailed when Monet’s work was created: “While we are talking and thinking about color in this different kind of way, there are people on the other side of the world who are suffering because of their color.”

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Ernie Barnes

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Ernie Barnes, Human Celebration, circa 1960s. Modern & Contemporary Art Day Sale, Morning Session.

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In Human Celebration, circa 1960, Ernie Barnes presents a joyous dance scene, emblematic of the artist’s unique ability to conjure the rich emotional tapestry and intricate movement of the setting. One of Barnes’ most characteristic subjects, his depictions of dance halls were inspired by childhood memories of sneaking into a local Black dance club in the segregated North Carolina where he grew up. Whereas the above works directly reference iconic imagery from art history, Human Celebration sees the artist paint a scene directly tied to his personal history in a manner reminiscent of El Greco’s elongated and twisted human forms. Here, Barnes employs painterly skill that is on par with El Greco in an image that also suggests a parity of importance between 1960s American Black culture and historic European depictions of biblical scenes.

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El Greco, Christ Cleaning the Temple, before 1570, National Gallery of Art, Washington, D.C. Image: National Gallery of Art, Washington, D.C., Samuel H. Kress Collection, 1957.14.4.

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Much of Barnes’ personal story is intricately tied to American culture: he played five seasons in the American Football League before concentrating on painting from the mid 1960s and his 1976 painting of a dance hall scene, The Sugar Shack, was selected as the cover art for Marvin Gaye’s album I Want You and used in the end credits of the sitcom Good Times. His athletic background informed his practice in the intricate ways in which bodies mingle and intertwine in his dance hall scenes, and his personal experience of American settings from the football field to the pool hall lend a timeless cultural relevance to his imagery. His personal history meets his carefully studied approach to painting in works that sing with an individual voice that is enduring and recognizable.

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Manolo Valdés

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Manolo Valdés, Reina Mariana, 2016. Modern & Contemporary Art Day Sale, Morning Session.

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Spanish artist Manolo Valdes employs references to historic works in a practice that engages humor, social and political commentary, and irony. A crucial figure in the development of the Spanish Pop Art movement, his works tend to focus on the collective identity of Spanish culture through its history. 2016’s Reina Mariana is directly referential to Velázquez’s portraits of Mariana of Austria, who was Queen of Spain from 1649–1655 through a tumultuous cultural and economic period known as the Spanish Decadence. By referencing this time, Valdes perhaps offers a reminder that this period in Spain was rich with art and culture, standing in contrast to the declining Spanish Monarchy.

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The wood surface of the sculpture is painted with black epoxy, lending an industrial tangibility to the mythic figure of Spanish culture, and opposing the decadent ornamentation of Velazquez’s portraits of her. In this life-sized work, the Queen’s likeness appears almost embalmed, frozen in time, and becomes an irreverent icon that calls to mind the complexities of Spanish history. This form has been revisited by the artist for public projects throughout global cities, including in New York, Munich, Biarritz, Madrid, and concurrently, in St. Mark’s Square in Venice.

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Diego Rodríguez de Silva y Velázquez, Queen Mariana of Austria, 1952–1653. Image: © Museo Nacional del Prado © Photo MNP / Scala, Florence.

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Discover More

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Julien Nguyen, Point Break, 2016. (Left). Dominic Chambers, After Albers (LA Sunset), 2020. (Right). Modern & Contemporary Art Day Sale, Afternoon Session.

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There are further works across our Day Sales that explore references to historic images as well, but often for different reasons. The imagery of Julien Nguyen’s allegorical paintings reference art history, science fiction, and contemporary life in works that are lucid yet complex. Dominic Chamber’s After Albers (LA Sunset) juxtaposes the recognizable geometric forms of Josef Albers with a focus on concerns around identity and leisure.

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Lois Dodd, Wild Geraniums, 1974. Modern & Contemporary Art Day Sale, Morning Session.

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Lois Dodd’s 1974 painting Wild Geraniums obliquely references a tradition began by Henri Matisse, showcasing the psychological ambiguity of windows and their ability to either let things in our shut them out. With artists routinely incorporating ideas absorbed from the study of historical works, the full selection on offer presents hidden surprises to the informed eye. What other references can you find?

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Modern & Contemporary Art Day Sale, Morning Session >

\n\n

Modern & Contemporary Art Day Sale, Afternoon Session >

\n\n

Discover More from Modern & Contemporary Art >

\n\n

Recommended Reading

\n\n

Artists to (Re)discover >

\n\n

When Seeing Is Transcendent >

\n\n

The Icons of an Icon >

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The Phillips Guide to New York Art Week >

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\n","2024-05-01T16:02:19.000000Z","https://www.phillips.com/article/144053756/when-the-old-is-new-again-contemporary-art-auction-new-york",2121,4544,144053756,"https://flockler.com/thumbs/sites/889/rawles-mca-b00b1f66-487d-4004-8dbd-2fc6b9d98db5_s600x0.jpg","From auction debuts to rediscoveries, these are the artists to know ahead of our May Modern & Contemporary Art sales. ","Artists to (Re)discover","

Calida Rawles, Pillar, 2018. Modern & Contemporary Art New York Day Sale, Afternoon Session.

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Calida Rawles

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Auction Debut

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For Calida Rawles, water is a world-building element that encompasses both the physical and spiritual forces in her practice. “What I love about water,” Rawles notes, “is what it does to the body, of abstracting the form.” The visual and symbolic fluidity allows the artist to center her subjects in a vast and liberating domain. Rawles draws upon water’s association with salvation and purity to create works that symbolize healing and rebirth, addressing past and present traumas faced by Black Americans, and particularly Black women. Pillar, from Rawles’ iconic Water Dancer series, features a female figure wading into the water while balancing a jug on her head and holding a concentrated gaze. The enigmatic subject loosely references the figure Lilith, the folkloric first wife of Adam who refused to submit to him, whom Rawles identifies as a champion for gender equality.

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Rawles is currently the focus of a solo show at The Delaware Contemporary through August, as well as a major solo exhibition at the Perez Art Museum, Miami, launching in June of this year.

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Tammy Nguyen

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Tammy Nguyen, Northeast Storm and the Young King, 2022. Modern & Contemporary Art New York Day Sale, Afternoon Session.

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To view Tammy Nguyen’s Northeast Storm and the Young King is to experience, in the artist’s own words, “a world of Catholicism cannibalized by the tropics.” Nguyen combines visual elements from religious illuminated manuscripts, such as the central haloed figure, with themes relating to Vietnam’s geopolitical history, environmentalism and colonial legacies. Among the north-easterly facing jungle of birds and fauna, tiny, mosquito-like helicopters fly west against storm warnings. All the while, the young king remains composed amidst the maelstrom, reaching out to an unknown hand in reference to stories of the gospel and histories of the Vietnam War.

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Northeast Storm and the Young King was the highlight work of Nguyen’s exhibition The Gale at nichido contemporary art in Tokyo in 2022. Additionally, Nguyen’s work has featured in MoMA PS1’s Greater New York quinquennial in 2021 and the Venice Biennale in 2022. She was the subject of an acclaimed solo show at the ICA, Boston, in 2023. Phillips set the current auction record for the artist in 2023 with Dust Season, 2020.

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Françoise Gilot

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Françoise Gilot, Flora, 1992. Modern & Contemporary Art New York Day Sale, Morning Session.

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Few artists span the history, culture, and movements of the 20th century like Françoise Gilot, whose eight-decade practice intersected with some of the biggest names in postwar art, while she still maintained a distinct, unique style. Known for much of her life as the ten-year muse, collaborator, and wife of Pablo Picasso, Gilot was a trained painter who, from the age of five, knew she wanted to be an artist. Her self-assurance would come to be a hallmark of the artist, whose training in philosophy, literature, and mythology deeply influenced her work, which often incorporated narrative elements and organic forms. In a telling anecdote, Gilot recalled that while her mother – a painter in her own right – was teaching her art, she never showed her how to draw; instead, the young Gilot would have to turn mistakes into intentional elements of her work. Flora, painted in 1992, showcases the artist’s later style with signature bursts of color and use of framing. Indeed much of her post-1986 work regains this pictorial quality as a means to see off the century. As Gilot notes, her "desire for serenity in the contemplation of the tangible world was most probably a very utopic way to convey a sentiment of peace at the end of a millennium where trouble, confusion and conflicts were dominant.”

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Since her first show in Paris in 1943 and until her passing in 2023 at 101, Gilot exhibited widely, with major honors, solo exhibitions, retrospectives, and permanent collection inclusions at museums such as the Metropolitan Museum of Art, New York, the Museum of Modern Art, New York, and the Centre Pompidou, Paris. Auction results for Gilot's work have skyrocketed recently, with a current record achieved earlier this year for Concert on the Green (Le Concert Champêtre).

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Charles Alston

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Charles Alston, Black and White #7, 1961. Modern & Contemporary Art New York Day Sale, Morning Session.

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One of a series of eight paintings created between 1959 and 1961, Black and White #7 demonstrates Charles Alston’s signature mode of gestural abstraction during a period in which the artist’s deep connections to the Civil Rights Movement laid the foundation for a new direction in abstract art. Using a muted palette with limited tones of blacks, whites and grays, the present work provides a poignant look into the tumultuous era. Hinting at the tension of 1960s America, the black and white tones struggle around one another, clash at points, and dissipate throughout the piece as the dominant hue closes in on the center. As relevant now as ever, the work’s core commentary has not lost any sharpness, and indeed evolves to encompass our contemporary landscape, just as our viewing augments over time to imbue the work with new context and meaning – an accomplishment in abstraction, and a reminder of its capacity to bear witness to social justice.

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Black and White #7 has been exhibited in numerous major exhibitions, the first of which was the historic, first, and only documented show put on by the Spiral group in May 1964. One of the first Black artists to have work exhibited in The Museum of Modern Art, New York, today Alston has works in the permanent collections of the National Portrait Gallery, Washington, D.C., the Detroit Institute of Art, and the Metropolitan Museum of Art, New York, where he is currently featured as part of the Harlem Renaissance and Transatlantic Modernism exhibition through July.

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Basil Kincaid

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Basil Kincaid, Formulation of Words, Bodies and Selves, 2020-2022. Modern & Contemporary Art New York Day Sale, Afternoon Session.

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Auction Debut

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Based in both St. Louis and Ghana, Basil Kincaid is at the forefront of contemporary artists working with textiles in remarkably innovative ways. A seventh-generation quilter and post-disciplinary artist, Kincaid expands the visual language of textiles by reworking found materials and fabrics local to Ghana. Kincaid embraces quilting’s tradition of thrift by upcycling fabrics, which are then transformed into a spectacular composition in Formulation of Words, Bodies and Selves. “This family tradition, among others, has provided a compass towards self-reclamation in the face of contemporary expectations,” the artist says. “It’s a way to honor my predecessors while addressing the questions and concerns of where I am – we are – today.” Through the medium of the quilt, Kincaid also brings into focus healing and restful associations.

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In 2021 Kincaid was a United States Artist Fellow and their work was acquired by the Smithsonian American Art Museum in Washington, D.C. Their work was notably included in Hauser & Wirth’s 2022 New York exhibition The New Bend, curated by Legacy Russell, and they were selected as the 2023 artist-in-residence at the Rubell Museum, Miami.

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Emmi Whitehorse

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Emmi Whitehorse, Canyon Lake I, 2001. Modern & Contemporary Art New York Day Sale, Morning Session.

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Emmi Whitehorse is a Diné artist whose artistic practice blends storytelling traditions with images from the natural world. Also fusing abstract influences like Joan Miró and indigenous iconography, Whitehorse’s visual lexicon is intrinsically tied to the land she so masterfully renders. “My work is about, and has always been about, land – about being aware of our surroundings and appreciating the beauty of nature,” Whitehorse notes, saying that “[t]he act of making art must stay true to a harmonious balance of beauty, nature, humanity, and the whole universe. This is in accordance with Navajo philosophy.”

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Canyon Lake I is a brilliant example of the artist’s practice in color and light, overlapping the harsh palate of the desert with the nuances that life must take to survive in its conditions. Foregrounded by deep, rusty shades, Whitehorse draws our attention to an emanating light in the distance, as if to signal a way out of the haze, all the while dotting the work with etchings which take the form of dried pockets where water may have flowed, cairns indicating human passage, or whisps of badland foliage trapped in the canyon. Within the asperity, Whitehorse offers affirmation that there are forces beyond the visible, and that we are constantly interacting with them. As she notes: “I hope that the calm and beauty in my work serves as a reminder of what is underfoot, of the exchange we make with nature.”

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Her work has been exhibited widely since 1979, recently participating in major exhibitions at the Whitney Museum of American Art, New York, from 2019 to 2022, and the National Gallery of Art, Washington, D.C., this year. Whitehorse is one of 333 artists whose work is featured in the main exhibition of the 60th Venice Biennale.

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Kent Monkman

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Kent Monkman, The Storm, 2020. Modern & Contemporary Art New York Evening Sale.

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Fisher River Cree Nation artist Kent Monkman is best known for his explorations of contemporary Indigenous experience through a subversive practice which spans multiple disciplines and styles. Often at the center of his interventions is Monkman’s gender-fluid Miss Chief Eagle Testickle, an alter-ego-meets-visual-siren who transcends time and definition to turn the colonial gaze on its head and challenge art historical depictions of Indigenous peoples. In The Storm, Monkman engages in a two-fronted confrontation; first with the Academic Classicist painter Pierre-Auguste Cot, whose 1880 work of the same name serves as the classical foundation for its romantic myth, and the Royal Canadian Mounted Police, a symbol of the country’s internalized values as projected by its European-settler narrative. “To the Indigenous people of Canada,” Monkman writes, the Mountie is the enforcer of the brutal colonial project that dispossessed Indigenous peoples of their lands and cultures.” The seductive Miss Chief counters the nubile eroticism of Cot’s work with absurd heroism. Monkman continues: “She knows what the Royal Canadian Mounted Police are capable of when it comes to enforcing Western settlement and forced Indigenous assimilation. Miss Chief will go all the way to stop the impending storm of colonization.”.

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Monkman’s painting and installation works have been exhibited at institutions such as The Metropolitan Museum of Art, New York, Musée des Beaux-Arts de Montréal, Canada, Musée d’art contemporain de Montréal, Canada, and the Royal Ontario Museum, Canada. In 2023, he was appointed an Officer of the Order of Canada – Canada’s highest civilian honor. Monkman’s monumental painting, Death of Adonis, 2009, now in the collection of the Art Bridges Foundation, was one of two works by the artist to feature in Phillips’ landmark 2024 exhibition New Terrains. In April 2024, the artist again partnered with Phillips, releasing six new original paintings and a limited-edition hand-painted print series through Dropshop.

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Raven Halfmoon

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Raven Halfmoon, OKLA HOMMA OHOYO, 2020. Modern & Contemporary Art New York Day Sale, Afternoon Session.

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Auction Debut

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Raven Halfmoon is a multidisciplinary artist known for her large-scale clay sculptures. A citizen of the Caddo Nation and also Choctaw, Delaware, and Otoe Missouria, Halfmoon began her ceramic practice while still a teenager in Norman, Oklahoma. Inspired by traditional craft, the artist looks to Caddo pottery as an experience in historical dialogue: “My tribe has been making pottery for thousands of years,” she says. “It’s such an ancient material, and I think of how my family before me did this. We have all touched clay, and that inherently transported to my hands.” OKLA HOMMA OHOYO exemplifies Halfmoon’s contemporary practice that also maintains ties to tradition. The sculpture unapologetically embodies its space, and with its steely, composite face, speaks to the story of an entire people rather than a single individual.

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Halfmoon’s sculptures are in the permanent collections of the Crystal Bridges Museum of American Art, the Detroit Institute of Arts and the Institute of Contemporary Art, Miami. In 2023, she was selected as an Eiteljorg Contemporary Art Fellow and was also a 2024 finalist for the international Loewe Craft Prize. Her upcoming show Flags of Our Mothers opens at The Bemis Center for Contemporary Art, Omaha, in May 2024, along with a solo exhibition, Neesh & Soku (Moon & Sun), in September 2024 at Salon 94, New York.

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Discover More from Modern & Contemporary Art >

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Recommended Reading

\n\n

When the Old Is New Again >

\n\n

The Phillips Guide to New York Art Week >

\n\n

When Seeing Is Transcendent >

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Cecily Brown first made a name for herself in the New York scene with her 1997 solo show, Spectacle, at Jeffrey Deitch Projects. That same year, her edgy, vivid paintings were also included in important early group exhibitions at P.S.1. Contemporary Art Center and Janice Guy Gallery. Brown’s commitment to furthering contemporary painting led her to move from London, which was then transfixed by the YBAs, to New York City in 1994. Here, she began working on her first major body of work: a series of boisterous, copulating bunnies that includes the present example. An auspicious debut, early bunny paintings were acquired by significant collectors including the likes of Agnes Gund. Untitled, 1995, is amongst these important works that set the foundation for Brown’s celebrated, nearly three decades long practice.

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Brown’s bunny works depict the animals engaging in rapacious sexual acts rendered in a candy-colored palate incongruous with their Bacchanalian ritual. The bunnies stand in for human actors in an astute commentary on sexuality, violence and the human condition. Identifying this series as a critical juncture within her oeuvre, Brown has reflected: “I don’t think the subject has changed much since the very beginning; there are just different ways of getting at it. I sometimes wonder, looking back on the paintings with a lot of sexual content, whether I was setting things up so that later I could be less explicit and the paintings would still be imbued with the idea of this content.”ⁱ

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“I always feel… this collaboration with the artists that I’ve looked at; they come out at different times.”
\n—Cecily Brown

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A brilliant early example, Untitled is imbued with themes that have come to define the artist’s practice: vanitas, eroticism and sexuality, and a macabre sensibility. Brown masterfully draws from a wide variety of art historical references ranging from Willem de Kooning, Arshile Gorky and Francis Bacon to Hieronymus Bosch, Nicolas Poussin, Peter Paul Rubens and William Hogarth, revitalizing classical ideas with her characteristic loose, muscular brushwork, vibrant palette and expressionistic scenes.

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\"\" — William Hogarth, *A Rake’s Progress, 3: The Tavern Scene,* 1735, Sir John Soane's Museum, London. Image: © Sir John Soane's Museum / Bridgeman Images

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“When Brown verges on pornography, especially in her earlier work, her accent is on the libidinous, and it certainly is meant to shock,” critic Dore Ashton writes.ⁱⁱ While Untitled has an edginess that is distinctly contemporary, Brown draws upon historical examples from artists who confronted societal taboos, such as Hogarth’s A Rake’s Progress, 3: The Tavern Scene, 1735. The work, also known as The Orgy, is a merry company painting set within a brothel that has been often cited by Brown. This work exemplifies Hogarth’s unflinching look at reality, a quality shared with Brown as well as artists like Bacon and Chaïm Soutine who are also important influences. Imbued with carnal tension, these scenes similarly shock in a way that reveals the artistic power of depicting complexities of the human condition.

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While bunnies are sometimes associated with endearing, childlike qualities of innocence and naïveté, Brown uses the motif to subversively enact scenes of hedonism. The bunny series plays on the polyvalent charge of these animals from across the European artistic tradition. In classical antiquity, rabbits symbolized fertility and sexual desire. In Christian art, rabbits possess twinned connotations: emblems of Christological rebirth and symbols of sinful lust. In the Dutch Golden Age, hunting still lifes often featured rabbits—the supreme prey animal—whose corpses reinforced the vanitas tradition’s endeavors to reveal the fleeting and ephemeral nature of life and pleasure. Untitled draws upon these layered references while also offering a provocatory scene wherein the ostensibly virtuous animals participate in a sinister act.

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ⁱCecily Brown in Cecily Brown, New York, 2008, p. 26

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ⁱⁱDore Ashton in ibid., p. 14

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