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

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

Annie Dolan
\n日間拍賣主管（上午部分）暨專家
\n+1 212 940 1288
\nadolan@phillips.com

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

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

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Day 1: Get Surreal

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

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

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Who to See

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

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

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

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

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

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

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Day 2: Collateral & Other Events

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

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Who to see

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

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Claire Tabouret: I am spacious, singing flesh

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

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

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

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Kehinde Wiley: An Archaeology of Silence

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

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

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

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Hermann Nitsch, 20th painting action

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Oficine 800, Fondamenta S. Biagio, Venice

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April 19 – July 20, 2022

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Organizing Institution: Zuecca Projects and Galerie Kandlhofer

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

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

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Louise Nevelson. Persistence

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

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

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

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Stanley Whitney: The Italian Paintings

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

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

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Discover More from 20th Century & Contemporary Art >

\n\n

Recommended Reading

\n\n

Two Studies in Intimacy: Henry Moore & Jean Dubuffet >

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How Art Imitmates Life >

\n","publishDate","2022-04-21T23:06:42.000000Z","authorCredit","Arian Murati","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/95061353/two-days-at-the-venice-biennale-2022","displayOrder","auctionEditorialID",1533,"editorialID",3837,"flocklerID",95061353,"https://flockler.com/thumbs/sites/889/norman-lewis-phillips-sale-030bfdad-db75-472b-bc3c-c64cfa7b3d1b_s600x0.jpg","Five artists from Phillips' 20th Century & Contemporary Art sales whose works are enjoying a resurgent time in the spotlight. ","Artists to Rediscover","

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

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Norman Lewis

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

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

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

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Jennifer Bartlett

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

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

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

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Vivian Springford

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

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

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

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Alice Rahon

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

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

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

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Denyse Thomasos

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

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

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Discover More from 20th Century & Contemporary Art >

\n\n

Recommended Reading

\n\n

Two Days at the Venice Biennale 2022 >

\n\n

Mapping David Wojnarowicz >

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\n\n

"Realist painting has to do with leaving out a lot of detail. I think my painting can be a little shocking in all that it leaves out. But what happens is that the mind fills in what’s missing…Painting is a way of making you see what I saw."
\n—Alex Katz
\nPainted in the late 1950s, Untitled is a wonderful example of Alex Katz’s early paintings, specifically the artist’s development of his signature, simplified style through color blocking. During this time when Abstract Expressionism dominated the New York art scene, Katz introduced a refreshing approach to painting landscapes, portraits and still lifes. He found a unique way of depicting recognizable scenes, using only the most fundamental elements in his compositions. With his bold use of colors and subjects taken from his own life, his works prefigured the development of the Pop Art movement, which would soon take the art world by storm.ⁱ

\n\n

Color Blocking

\n\n

\nUntitled embodies Katz’s ability to create a chorus of figurative and abstract forms. During the early 1950s, he was interested in studying amateur black-and-white photographs, specifically their visual compositions. These first inspired the artist to focus on the pictorial flatness and stillness of his original source images. He would select, edit, and crop a scene, like a filmmaker – omitting details, blocking out forms, and emphasizing these by adding color.ⁱⁱ Katz’s first exploration of this technique was through the collages he created between 1954 and 1960, of which the present work is reminiscent. To create these collages, the artist cut out elements from his own drawings and hand-colored paper, and then glued them over sheets of vibrantly colored stocks. Working on these collages undoubtedly contributed to his later and most celebrated paintings, distinguished by their reduction of forms, and their rhythm of color and lines.ⁱⁱⁱ In Untitled, Katz depicts himself, his wife Ada, and his son Vincent in a reductive manner only through their outlines, juxtaposing them against a large blue passage that merges sea and sky. There is an abrupt transition of color which exemplifies the color blocking technique used in this work. The yellow of Vincent’s hair and Katz's hat, and the stripes in the artist’s clothing, further define the figures from the flatness of the background, resulting in a collage-like effect.

\n\n

\"\" — Alex Katz, *Greenwood Lake, New Jersey*, cut-and-pasted painted and colored paper on paper, 1960. Museum of Modern Art, New York, Image: © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY, Artwork: © 2022 Alex Katz / Licensed by VAGA at Artists Rights Society (ARS), New York

\n\n

Maine Scenes

\n\n

Untitled portrays a frequent subject in Katz’s most celebrated works, a scene most likely located at Katz’s summer house in Maine. Katz went to Maine for the first time when he attended the Skowhegan School of Painting and Sculpture in the summers of 1949 and 1950 after graduating from Cooper Union in New York City. The teaching at Skowhegan was more traditional than in Cooper Union. Each morning, a bus would take the students to paint the Maine landscape from life. This was the first time Katz had done direct painting, looking at something and painting it on the spot without doing any preliminary sketches. As he has written of this key moment in his career, Katz "tried plein-air painting, and found my subject matter and a reason to devote my life to painting.”^iv Since then, the artist has spent every summer at his house in Maine. Here, we are likely viewing a scene in the coastal village of Lincolnville, Maine. Through its depiction of an ultramarine sea beneath a light blue sky, the painting embodies a tranquil and quiet atmosphere, very typical of Katz’s landscape paintings. The color, light, and composition of this work provide a window into the early development of the Katzian style, and how the artist redefined traditional realist and figurative painting.

\n\n

"The paintings look easy, the way Fred Astaire made dancing look easy and Cole Porter made words and music sound easy, but don’t let [us] be fooled."
\n— John Russell wrote on Alex Katz in the Times.^_v

\n\n

\nⁱ Simon Schama and Dave Hickey, Alex Katz Under the Stars: American Landscapes 1951–1995, exh. cat., The Institute for Contemporary Art / P.S.1 Museum, New York, 1996, pp. 9–13.
\nⁱⁱ Tom McGlynn, “Brand–New & Terrific: Alex Katz in the 1950s,” The Brooklyn Rail, September 2018, online
\nⁱⁱⁱ Grace Glueck, “Clever Collages and Quite Maine Scenes: Two Sides of Alex Katz,” The New York Times, September 9, 2005, online

\n\n

^iv Ibid.
\n^v Calvin Tomkins, “Alex Katz’s Life in Art,” The New Yorker, August 20, 2018, online

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Day 1: Get Surreal

Who to See

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

Day 2: Collateral & Other Events

Who to see

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

Claire Tabouret: I am spacious, singing flesh

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

Kehinde Wiley: An Archaeology of Silence

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

Hermann Nitsch, 20th painting action

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

Louise Nevelson. Persistence

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

Norman Lewis

Jennifer Bartlett

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

Vivian Springford

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

Alice Rahon

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

Denyse Thomasos

Color Blocking

Maine Scenes

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

130

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