NOW: Art of the 21st Century by Phillips de Pury & Co.

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lot 35. simon norfolk (detail)

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lot 133. josephine meckseper (detail)

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lot 17. david drebin (detail)

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lot 56. elena colombo (detail)

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lot 89. christopher wool (detail)

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contentS

Simon de pury

What matters NOW. A letter from the Chairman ...page 12

amy phelan

At home with an uninhibited art-lover ...page 14

multipleS choice Affordable and entertaining art ...page 20

louiSe bourgeoiS

Hard at work and more influential than ever at 98 years of age ...page 24

tavareS Strachan

Hans Ulrich Obrist introduces this artist-inventor and cosmonaut ...page 32

anne paSternak

The president of Creative Time goes global ...page 36

out of the darkroom

Vince Aletti selects six exciting emerging photographers ...page 44

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Contents

objeCt lesson Casting an eye over Lot 128 ...page 48

news

What’s happening in the international art world ...page 50

12pm: now photographs Lots 1 – 40 ...page 52

design

Lots 41 – 61 ...page 72

editions

Lots 62 – 114 ...page 86

Contemporary art Lots 115 – 287 ...page 102

buyers guide

How to buy and whom to contact at Phillips de Pury ...page 204

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now

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NOW is a series of bi-annual sales that Phillips de Pury & Company initiated in London last October. With the first NOW sale in New York we gave our specialists the same brief as in London, i.e. to include only works done between 2001 and 2010. Few artists are more contemporary, more NOW, than the great Louise Bourgeois. Her current work is stronger than anything she has done in her long career. It is vibrant, youthful, relevant, NOW but ultimately timeless. We therefore thought that this theme sale catalog was a highly appropriate place to include a kind of editorial homage. In Aspen in order to conduct a charity sale to benefit the Aspen Museum of Art on December 28, I took advantage of spending a few days with my young and fabulous new wife in that extraordinary place. For a European used to skiing in Alpine resorts, it was a true revelation to ski for the first time in America in dream conditions. On December 31, we were invited by John and Amy Phelan for an impromptu Silvester party. There could not have been a better way to end the old year and to start the new one than in the absolutely amazing house they have there, surrounded by their extraordinary collection that is fun, sexy, irreverent, lively and totally great â&#x20AC;&#x201C; exactly like their owners. Am therefore particularly happy that we could include a story on Amy â&#x20AC;&#x201C; her attitude is truly inspiring and, together with John, they represent one of the reasons why being active in the art world never ceases to be the ultimate privilege. So much for NOW!

SIMON de PURY ChaIRMaN, PhIllIPS de PURY & COMPaNY

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chasing amy

Amy Phelan photographed at home in New York, January 20, 2010

interview karen wright | photographs poppy de villeneuve

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Opposite: Amy Phelan with Marilyn Minter’s photograph Left: Lina Bertucci, Sara, 22, Graphic Designer, 2007; right: Jean Dubuffet, La Danseuse Mongole,1954

assortment of candies – tangy apple sour sweets, green liquorices, m&ms and margarita chips. their arrangement in black bowls of various heights and their lurid green color catches my eye. I ask Amy what their first major purchase was. ‘It was eight years ago,’ she says, pointing to a spectacular Dubuffet across the living room. ‘We started by collecting modern – the Dubuffet and a Picasso pencil drawing in the hallway’ she says. ‘the de Kooning came shortly after.’ she likes the Dubuffet ‘for its sweet spirit, it is as if there is a man behind the mask’, and the de Kooning seated woman for the fact that ‘although it is a little more abstract, she is clearly a woman. she is still soft and beautiful, and the fact that it is painted on newspaper gives it a cutting edge.’ It was the de Kooning, she admits, that ‘gave them the confidence to move from modern into the contemporary’. the first contemporary works they bought, reflect the personalities of these two collectors. thomas ruff photographs, with their golden coloration and blurry focus, look at first glance a bit old-fashioned and tie them into the spirit of modernist work. It is the subject matter of these works from ruff's pornography series that ties them firmly into the contemporary. I ask about the marilyn minter photographs and she tells me that she first came across her work in Aspen, Colorado, where she and her husband have recently renovated a house for themselves and makenzie moon, their 14-yearold daughter. their Aspen home also houses the majority of their collection of contemporary art. they were in the Baldwin Gallery, the gallery of the late harley Baldwin, and he suggested that John commission a work of Amy by marilyn, an idea at which she was initially embarrassed. she accepted the challenge and when she and John arrived at marilyn’s downtown studio not knowing what to expect. the initial sitting took some four hours and was made more fun by copious amounts of wine being drunk by both her and John and the artist. I ask if minter made her up and she says, ‘no. I was already wearing make up but she puts Vaseline on your face and then sprays you with water from a plant mister so the water beads up.’ the images from the sitting were so successful that marilyn has used them as the basis for a whole series of paintings, she says adding that, ‘the main one is in their house in Aspen’. ‘marilyn was my first artist friend’, she says, ‘I get on really well with her.’ Amy acknowledges that ‘success has come late to [minter] and that she had a hard row to hoe – her mother was a drug addict. she was always on the outside of the art world, painting her pornographic works’. she says

I fIrst meet Amy PhelAn on facebook after she accepted my friend request. ed Baynard, an artist friend, had suggested I befriend her as he liked what she was posting on her facebook page and the artists, collectors and curators listed among her friends. As one who has little interest in the website, I agreed rather begrudgingly. her postings began to appear regularly in my news feed and, unlike many of my other invitations to this opening or that event, her postings, and in particular the photographs of her everyday life and travels, displayed an endearing warmth and humor. It was in this spirit that I placed the request to interview her through facebook, the result of which led me to her spectacular living room on new york's Upper east side. We settle comfortably on squishy sofas and start to chat, first about her childhood in Dallas, texas, with her ‘hard-working middle-class parents and a beloved brother.’ the family is interested in sports, ‘it was a texan sports family,’ and it seemed a natural progression for her to become a cheerleader with the Dallas Cowboys, which she was between 1991 and 1994. she recalls how competitive it was to become ‘one of the girls – who all came from dancing backgrounds and the rule was that you had to work or be in full-time education. It was both intimidating and exciting to be a part of the team and it gave me the confidence to be out there.’ the cheerleading squad was not paid, however, and eventually her parents decided she needed a job so she moved into the business world as the Director of marketing in a medical manufacturing company ‘they sold medical mattresses’, she recalls, laughing. I ask her if she liked the job. she responds emphatically. ‘yes, I did! I sold those mattresses really well!they did so well that the company eventually went public.’ Amy moved to new york in 2000, marrying hedge fund manager John Phelan shortly afterwards. they have recently celebrated their seventh wedding anniversary. the couple started to collect art, opting not to hire any consultants or curators, preferring to carry out their own research. she admits ‘you can’t see everything’ but says they prefer a personal input. It is clear from looking around me, as I sit in their home, that this is a highly personal selection of a bold and educated eye. Amy is seated in front of a large abstraction by Willem de Kooning of swooping reds and blues hung over the sofa, each of its carefully judged marks adding something suggestive, erotic even in such a setting as this, to the canvas. But my attention today is focused instead on a less familiar sight, a black lacquer tray in front of me where there is an

« it was both exciting and intimidating to be a dallas cowboys cheerleader, and it gave me the confidence to be out there »

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Left: George Stoll's Untitled (Halloween Riddler costume), 2000; right: Amy Phelan with Thomas Ruff’s Nudes Lu 10 (1999)

board members as well as being ‘a steward of the organization'. she says, 'I take my responsibility as a trustee very seriously, I leave the personal at the door.’ As for the Guggenheim’s position in the new york City art hierarchy she says ‘it is the only international museum in the world’. John, her husband, is a trustee at the Aspen Art museum, and she is on both the national council of the museum and is the director of the gala committee, having run their successful summer benefit Art Crush for the past five years. Amy has also become a trustee for Creative time. she also tells me that she is a long-standing member of the new york Junior league, which encourages women to volunteer to support disadvantaged women. she is about to receive an award for service from the Junior league, and when I tease her gently, asking her where she will hang it, her response is a robustly humorous one: ‘I am printing it on tee shirts!’ talking about the Junior league leads us to a discussion of woman’s power. so much of the work in the collection deals with pornography, confronting the paradox of how these images can be both beautiful and sexy, and at the same time an embodiment of a potentially destructive life. she talks about the fred Burton image in the den nearby. ‘It is about an ambiguous image, you don’t know really what it is and it is both strange and beautiful’. I ask if the large triangular butterfly work by Damien hirst in the dining room is her only hirst, and she says ‘yes, here in new york, but now we have plenty in Aspen – a pharmaceutical vitrine, a spot painting, a spin painting, one of the 700,000 of them, but I love them – but I think the new paintings may be priced too high.’ I ask what she thinks about hirst's forthcoming show The End of an Era at the Gagosian Gallery in new york, and she smiles and shrugs. ‘I think his work is too expensive for many people’. she collects Chuck Close's works and has been to his studio on many occasions. ‘We adore and love his work and his prices are so much lower, and his production is so much slower.’ the photographer Poppy de Villeneuve, who has come to photograph Amy, has arrived during our talk and asks her about the predominant color green present not only in the sweets in the living room but in the wallpaper and furnishings of the large dining room nearby and the den next to us. Amy says green is a special color to her, ‘carrying with it, not only connotations of prosperity and money but also eroticism and sexuality’. We are winding down our conversation and Poppy is anxious to start work. I ask Amy for a final word on collecting. her response turns into something akin to a mission statement: ‘It’s a life style but also life changing’. n

that minter said recently that it was the works about her mother which attracted attention and finally gained her respect in the art world. I ask about other artists whose studios she has visited and she names a few – Chuck Close, raqib shaw and marc Quinn in london, Israeli artist nir haad, ron mueck and Jim hodges. ‘Jim, like marilyn, has also become a friend.’ she recalls meeting him at an opening and immediately felt a spiritual connection with him. she has several works by hodges – a cut-paper piece here in new york as well as cobweb hangings and more cut-paper works in Aspen. she says, ‘this is what makes collecting the work of living artists so special. luckily, I have always found in the past that there is always a parallel relationship between the artist and the work and that if I like the work I usually like the artist,’ she says looking around for some wood to knock on. she has also met some artists through facebook. Initially she says, like so many others, she had become a member because her daughter wanted to join. she allowed it only if she could be her facebook friend and monitor her wall. she admits that she is more interested now than her daughter, going on first thing in the morning with her coffee and winding down with it late at night. she says that facebook is a form of ‘controlled voyeurism,’ she loves to look at other people’s photographs, so she puts many of her own photographs up as well. It is like looking through binoculars into people’s lives but you can step away as well.

«the matthew barney seemed to work with what i perceive as the core of our collection, beauty and destruction»

By noW the ChAmPAGne, pink of course, has been broken open and served in beautiful antique glasses, and the gloves are off. I ask about the central image above the fireplace, in which five topless woman stand in a row. ‘It is from matthew Barney's Cremaster Cycle’, she says, and points to a detail, ‘I love the fact that the foaming soap bubbles behind the girls are in the Guggenheim fountain’. she continues, ‘matthew Barney appealed to us as it seemed to work with what I perceive as the core of our collection, beauty and destruction’. I point to a small work on a table next to me in which two naked girls stand together. ‘It is by lisa yuskavage’ she says ‘it is an ambiguous image – it could be two sisters, or friends … I like the tenderness of the image.’ the Barney image is particularly apposite as it is the Guggenheim that invited Amy to be a trustee in 2007 and also to co-chair the international gala for 2008, 2009 and again this year. she admits that this museum has special challenges. ‘It is a hard installation, and everything is on a tilt even if you don’t realize it.’ But she states emphatically that it is a pleasure to be involved in it. she sees her job as supporting the curators and fellow

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Damien Hirst, Superstition, set of plates

multiples choice Multiples are no longer considered kitsch junk in the museum store. In the past five years, artists have embraced its democratic spirit to produce work that is tongue-in-cheek, innovative and affordable to a larger audience.

Franz West, Uncle chair

Cattelan, Subotnick, Gioni, The Wrong Gallery, minature

Marcel Dzama, Melting Snowmen canisters

Chris Caccamise, Action Paint Can (After R. Gober)

Hirst: ÂŠ Damien Hirst, courtesy Gagosian Gallery, New York, photo Robert McKeever; West: ÂŠ Franz West, courtesy Gagosian Gallery, New York, photo Robert McKeever; Dzama: courtesy Cerealart; Cattelan: courtesy Cerealart; Caccamise: courtesy Cerealart

text iggy cortez

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Perry: courtesy Tate Shop; Kapoor: courtesy Louisa Guinness Gallery; Mir: photo Medioimages, Photodisc Getty Images, courtesy La Biennale di Venezia; Gallacio: © Anya Gallaccio, courtesy the Thomas Dane Gallery; Götz: courtesy Elvis & Kresse, Arts Launch Collection;

Kenny Scharf, Painted Objects

Anish Kapoor, Water cufflinks

Grayson Perry, scarf

Aleksandra Mir, VENEZIA (all places contain all others), free postcards

Anya Gallacio, While Reaching for Alma Alta, porcelain apples

Lothar Götz, Ludwig bowling bag

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Jeff Koons, Puppy vase

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Keith Haring, Pop Shop recreation at Tate Modern

Gagosian Gallery Store

Shinique Smith, Little Nugget sculpture

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Noble & Webster: courtesy Louisa Guinness Gallery; Millagou: courtesy Elvis & Kresse Arts Launch Collection; Koons: ÂŠ Jeff Koons: courtesy Gagosian Gallery, New York, photo Robert McKeever; Haring: Keith Haring Foundation, New York, photo:Tate Photography; Gagosian Store: courtesy Gagosian Gallery, New York, photo Robert McKeever; Smith: courtesy Cerealart

Tim Noble and Sue Webster, silver with ruby cufflinks Olivier Millagou, Nancy wallet

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Elmgreen & Dragset: courtesy Cerealart; Rehberger: © Marzia Fiore, courtesy Cohn&Wolfe; Ruscha: courtesy Louisa Guinness Gallery

Elmgreen and Dragset, Forgotten Baby

Tobias Rehberger, Illy Espresso Cup

Ed Ruscha, Here bookmark

ALTHouGH THE ARTIST’S multiple has long been considered secondary to the unique art object, recent museum shows and gallery initiatives have renewed interest in limited editions. The multiple has emerged as a timely opportunity to circulate art to a broader audience and expand its scope from the more usual contemplative exhibition space to unexpected interventions into everyday life. The opening of the Gagosian Shop on Madison Avenue in September 2009 is a high-profile part of this new focus on the multiple’s status in contemporary art production. Featuring Jeff Koons’s puppy-shaped flower vases and Damien Hirst’s Superstition plates, among others, the new venture proposes the multiple as an artform that merits a specific context for its presentation and distribution. The limited edition is no longer a collateral practice, but a legitimate method of artistic expression with its own logic and possibilities. Pop Life, Tate Modern’s recent group show on the exchange between art and commerce, investigated the multiple’s conceptual and ideological origins in Warholian Pop art philosophy and the New York art scene of the 1980s. Keith Haring’s Pop Shop, a New York store that closed in 2005 after 20 years of business, was faithfully reconstructed at the center of the exhibition space, inviting visitors to buy the artist’s signature trinkets. Eerily identical to the original, the reinstallation was more mournful and reflective than celebratory, despite the installation’s endless cycle of upbeat pop tunes. The idealism behind Haring’s merchandise has all but vanished through its ubiquity, but through the Pop Shop’s fleeting reappearance each keychain and t-shirt reacquired its sense of creative, democratic purpose. Redirecting us to the present day, one Star Press’s recent show Twinkle Twinkle Little Star in Paris presented a constellation of artists that reconsidered the editioned book as more than a mere supplement to artistic practice but as a think tank in which to question and explore concepts that are then translated into material forms. Photographers are also producing series specifically designed for limited editioned books, as Vince Aletti discusses in his article for this issue. Despite the serious, analytical bent of these recent exhibits, the multiple is still fundamentally associated with bravado and cheekiness. Aligning themselves with the caustic yet elegant wit of a Duchampian ready-made, some of the most interesting contemporary multiples puncture the aura of seriousness conventionally associated with traditional ‘original’ art. Cerealart, a Philadelphia-based company that works with artists to design whimsical and affordable artist editions, captures an irreverent spirit in their perpetually expanding inventory. Marcel Dzama’s melting snowmen, porcelain figures that distill the artist’s trademark love of dark fairytales, function doubly as art and canisters. More diabolically, Elmgreen and Dragset’s Forgotten Baby is a prop for a perverse practical joke, allowing you to leave a lifelike wax baby in the backseat of your car seat or on your neighbor’s doorstep. Cerealart’s most famous piece is probably the miniature replica of the infamous Wrong Gallery, the minute exhibition space in New York spearheaded by Maurizio Cattelan, Massimiliano Gioni and Ali Subotnick, that comes with tiny art objects for anyone to curate their own portable show. At the opposite end of the spectrum, several artists have deployed the multiple to integrate their practice into the everyday, rendering their interventions almost imperceptible. Tobias Rehberger’s redesign for the cafeteria at the 53rd Venice Biennale last year won him the Golden Lion for Best Artist for insinuating art into the practice of everyday life, as many visitors, including myself, did not immediately realize the exuberantly designed café was also an installation. The café’s espresso cups, designed by Rehberger for Illy, were also available at the Biennale’s store, part of a long tradition of Illy commissioning artists to design espresso sets, allowing visitors to take part of the prize-winning installation home with them. In the realm of art meeting fashion, Louisa Guinness has revived the tradition of artists designing jewelry by collaborating with artists like Ed Ruscha, Anish Kapoor, and Tim Noble and Sue Webster to produce earrings, bookmarks and cufflinks, which are on display at Ben Brown Fine Arts. Similarly, the environmentally conscious fashion accessories company Elvis & Cress has partnered with the Arts Co to commission Lothar Götz, Paul Morrison and olivier Millagou to repurpose waste into fashionable handbags, aligning themselves with art’s recent imperative to take over social space and alter our everyday habits. n 23

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Louise bourgeois a Law unto herseLf text sarah kent

'A woman has no place as an artist until she proves over and over that she won’t be eliminated.'

Louise Bourgeois in 2007

A wonderful photogrAph of louise Bourgeois taken by dimitris Yeros in 2007 shows her, head resting on hand, gazing into the middle distance. Shot from below to enhance her stature and authority, the portrait presents her as a wise woman, a seer. her lined face reveals her advanced age, but it’s her eyes that grab your attention; their intelligence and vitality indicate that, at the age of 98, she is still very much a force to be reckoned with. look more closely and you notice her teeshirt; written in capitals across the front is her name followed by those of artists Jenny holzer, Cindy Sherman and Bruce weber, her juniors by about 50 years. with no gaps between the words, the letters form a solid block of interrelationships – the warp and weft, as it were, of contemporary American art. And presiding over this cultural continuum, louise Bourgeois assumes the role of fountainhead. It may seem perverse, in an issue on art now, to feature an artist approaching her centenary, but there are compelling reasons for doing so. Bourgeois no longer leaves her new York brownstone, but she still works obsessively every day and, unlike artists who have one big idea which they explore for the rest of their lives with increasing predictability, she continues to surprise. not only does her work get better and better, it remains amazingly fresh. take for example a recent series of bronze sculptures, the Echos, cast from jumpers, jackets and sweat shirts. draped over poles to keep them upright during the casting process, the garments appear to stand unsupported, miraculously defying gravity. A jumper balances on one arm with the poise of a ballet dancer while holding the other arm aloft as though in celebration. Bourgeois is clearly interested in imperfection

rather than ideal form, yet Brancusi’s Bird in Space (1923) comes to mind; because of the associations triggered by clothing, though, one tends to see the sculptures as figures, which makes one think of giacometti’s spindly pedestrians, such as Walking Man (1960). while acknowledging the past, Bourgeois’ sculptures are a new departure, though. the bronze is hidden beneath a coat of white paint whose pallor produces a ghostly uniformity reminiscent of a shroud. But thoughts of death are banished by the amazing variety and expressiveness of the figures; these are not lifeless bodies, but individuals animated by the will to survive. Some are scrawny, others bloated; some droop like withered fruits, others are inflated by sickness, lust or greed; some figures cocoon themselves against the cold while others seem naked, exposing distended guts within swollen bellies. It is tempting to see them as self-portraits – observations about the aging body, but also as declarations of the fact that, in defiance of time, Bourgeois is very much alive, as an artist and a woman. her work has always been an oblique commentary on her state of mind. In this respect, the recent bronzes are reminiscent of the Personages she began in 1941, when she had lived in newYork for just three years and was dreadfully homesick for her native france. working on the roof of her apartment building on east 18th Street, she made spindly wooden figures, inspired by the surrounding skyscrapers, that stand alone or are clustered in family groups, surrogates for the people she had left behind – ‘creating a past that I could not do without’, was how she put it. whereas the bronze figures sag, droop and furl, these early totems are as stiff as poles. It’s ‘the stiffness of someone who’s afraid’, Bourgeois

All images of artwork are © louise Bourgeois, courtesy Cheim & read and hauser & wirth. the artist in 2007: portrait by dimitris Yeros; Echo: photo Mike Bruce; personage at peridot gallery: photo: Aaron Siskind

Louise Bourgeois

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Below: installation view of Bourgeois’ personage sculptures at the Peridot Gallery in New York, 1950

Above: installation view of Louise Bourgeois’ new Echo sculptures at Hauser & Wirth Colnaghi in London, 2007 Right: Louise Bourgeois, The Birth, 2008

has explained. ‘the way one can say, “he’s scared stiff”. Immobilized with fear. Stuck.’ Bracketing her career as neatly as bookends, the two series reflect with remarkable fidelity her position in the new York art world – then a hesitant newcomer, now an established grande dame. while the wooden figures stand to attention as though dutifully awaiting their turn, the bronzes demonstrate how, with a seemingly effortless flourish, a simple idea can been turned into a complex statement about humanity – once you have the skill and experience. And she continues to explore new themes. Les Fleurs is a recent suite of gouaches of flowers. Blotches of crimson paint evoke petals, buds and stems with extreme subtlety; but they also resemble pools of blood and remind one that, since biblical times, menstruation has often been referred to euphemistically as a woman’s ‘flowers’ and that blossoms contain the sexual organs of plants. the underlying theme of this exquisite series, then, seems to be fertility. the relationship in people’s minds between fertility and creativity is a long established one; it is commonplace, for instance, to talk of giving birth to an image or an idea and, since Bourgeois’ flowers resemble bodily emanations, it is not too fanciful to see them as emblems of this emotive link – while also enjoying them as flowers pulsing with vigorous life. louISe BourgeoIS wAS born in paris on Christmas day, 1911. her father, louis, was disappointed not to have a boy; but she was named after him and, as his spitting image, became his favorite, despite the arrival of a son thirteen months later. louise was to lose her position to an intruder, though; her english governess became her father’s mistress and stayed with 25

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Below: Louise Bourgeois, Fillette, 1968

Louise Bourgeois with her brother, her father and Sadie Gordon Richmond in Nice, c. 1923

the family for ten years. Memories of the intense jealousy induced by this betrayal still provide Bourgeois with one of her most enduring themes. ‘My work is a series of exorcisms’, she has said. ‘one of my most important subjects is Sadie gordon richmond …the mistress is a threat because she is the favorite. Competition with the mother is one thing, but competition with a chosen favorite is unthinkable, intolerable.’ the family moved to Choisy-le-roi just outside paris, then to Antony where the river Bièvre flowed through their garden. her parents restored antique tapestries and the tannin in the water was essential for the dyes. In 1936 Bourgeois moved to paris to study art and soon began exhibiting. She started dealing in prints and drawings from her father’s tapestry gallery and there met art historian robert goldwater whom she married in 1938. the couple moved to the States, adopted a french child and subsequently had two of their own. despite bringing up three sons, Bourgeois continued to work and, little by little, gained visibility in the new York art world. But it was an uphill struggle and international attention came only after her husband’s death in 1973. Since the late 1970s, her reputation has grown rapidly; in 1977 she received an honorary doctorate from Yale university; in 1982 she became the first woman to have a retrospective at the Museum of Modern Art, new York, and in 1993 she represented the united States at the Venice Biennale. today she is considered one of the most important living artists and, despite her age, continues to accept major commissions. In 2000, she was the first artist to make an installation for the vast turbine hall in london’s tate Modern and, in June, her memorial to the witches burned in Vardo, norway, in the seventeenth

century will be unveiled – in the form of a flaming chair surrounded by a ring of mirrors, contained inside a glass structure designed by the architect peter Zumthor. further, two important exhibitions open this April – the nationalgalerie in Berlin will exhibit Bourgeois’ work in dialogue with that of hans Bellmer, and the fondazione Vedova in Venice will mount an in-depth installation of Bourgeois’ fabric drawings. A retroSpeCtIVe orgAnIZed by tate Modern in london in 2007, which traveled to the Centre pompidou in paris, the guggenheim in new York, the Museum of Contemporary Art in los Angeles, and the hirshhorn in washington d.C., was clearly intended as a definitive statement. focusing on key pieces that are among the most iconic and troubling works of the 20th and early 21st centuries, it set out to consolidate her reputation and confirm her place in history. It is worth looking at some of these masterpieces as a reminder of the extraordinary diversity of her work. At one time, the artist suffered from agoraphobia and was unable to leave the house; the painting series Femme Maison (Housewife, 1945–47) features a woman trapped inside a house as if imprisoned by domesticity. Fillette (Little Girl, 1968) dangles from a meat hook like a skewered trophy. Close inspection reveals a vaginal opening nestling between the spheres at the base of the latex shaft. the giant phallus turns out to be androgynous; rather than a joke about male narcissism and sexual obsession, it implies that we are all in thrall to desire. ‘the sculptures reveal a whole life based on eroticism; the sexual or the absence of sex is everything,’ says Bourgeois. ‘eroticism can be real or imagined, reciprocated or not. there is desire, the flirtation, the fear of failure, vulnerability,

All images of artwork are © louise Bourgeois, courtesy Cheim & read and hauser & wirth. Femme Maison: photo Adam rzepka; Fillette: Collection Museum of Modern Art, new York, photo © peter Moore; the artist and family in 1923: photo louise Bourgeois Archive; The Place of the Witches: photo Steven Meckler, © louise Bourgeois

Above: Louise Bourgeois, Three Femme Maison paintings, 1945–47, installed at the Centre George Pompidou in 2008.

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Louise Bourgeoisâ&#x20AC;&#x2122; design, in progress, for The Place of the Witches / The Witches of Finnmark Memorial in Vardo, Norway, made in collaboration with the architect Peter Zumthor

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Top left: Louise Bourgeois, Cell (Arch of Hysteria), 1992–93 Above: Louise Bourgeois, Arch of Hysteria, 1993

jealousy and violence. I’m interested in all the elements.’ Arch of Hysteria (1993) is a bronze cast of a slender headless male body that hangs by an umbilical thread like a gleaming human sacrifice, athletic yet vulnerable.the title refers to the work of 19th-century french neurologist, Jean-Martin Charcot, who studied the relationship between anxiety and physical tension. Bourgeois has also made a female Arch of which, she says, ‘pleasure and pain are merged in a state of happiness. her arch – the mounting of sexual tension and the release of tension – is sexual.’ But the male version seems to embody far more disturbing and conflicted emotions. It first appeared in Cell (Arch of Hysteria), one of the cell-like installations the artist began in the early 1990s. Sequestered at the heart of a bleak chamber constructed from sheet metal, the tense body lies on a bedcover embroidered ‘Je t’aime’ (I love you). presiding over the space like a weapon of torture is an ancient band saw. the prison-like surroundings and the presence of the machine suggest a state of agony rather than one of ecstasy; the victim has already lost his head and arms and the saw seems primed to dismember him further. this is not an image of sexual transport but of a body stretched on the rack of actual or anticipated torture; metaphorically speaking, this is the price exacted by love. In the mid-1990s, Bourgeois began stitching lumpen figures out of toweling, mattress ticking or pink bandage. Some are life-size, but many are like dolls whose small scale makes them seem vulnerable and their sexual antics absurd. Do Not Abandon Me is a mother and newborn infant sewn together from scraps of pink cloth, which addresses the artist’s ongoing fear of abandonment. ‘to be born is to be ejected’, she wrote. ‘to be abandoned.’ Bourgeois clearly

identifies with the infant yet, as a mother, she must surely empathize with the woman who, at this vulnerable moment, fears her lover’s rejection and anticipates her child turning its back on her. Such ambiguities transform this little sculpture into an exploration of reciprocity, of giving as a form of emotional blackmail and of the way the child inhabits the adult. the giant bronze spider, Maman (1999), is a tribute to her mother who, as an expert tapestry restorer, was adept at spinning and weaving. Bourgeois describes her as her best friend, but the sculpture suggests more ambivalent feelings; the scale of this monster would make anyone wary, especially as spiders are notorious for devouring their mates and drinking the blood of their prey. And the artist accuses her mother of complicity in spinning the web of deceit that characterized her childhood: ‘you, mother, are using me to keep track of your husband. this is child abuse.’ louISe BourgeoIS’ plACe in the art historical canon may be assured, but her formidable achievements are not the only reason for featuring her in this issue; the other is her ongoing influence on younger artists. It is hard to imagine the work eva hesse, Kiki Smith, Annette Messager, tracey emin, robert gober or Sarah lucas being possible without her example. Bourgeois’ influence has been pervasive, yet it is subtle and diffuse. her work forms a continuum in which themes such as love, jealousy, sex, gender, motherhood and the family are constantly revisited, but it takes so many different forms that it would be hard to copy stylistically. depending on the message she wants to convey, she switches from paint to wood, latex, marble, bronze, glass, fabric, embroidery, found objects

All images of artwork are © louise Bourgeois, courtesy Cheim & read and hauser & wirth. Cell (Arch of Hysteria): Collection Centro Andaluz de Arte Contemporaneo, Seville, photo peter Bellamy; Arch of Hysteria, photo Allan finkelman; Do Not Abandon Me: Collection ursula hauser, Switzerland, photo Christopher Burke

Above: Louise Bourgeois, Do Not Abandon Me, 1999

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Louise Bourgeois: upcoming exhiBitions Solo SHoWS • Louise Bourgeois: Les Fleurs Kukje gallery, Seoul, Korea, february 25 – March 31, 2010 • Bellmer/Bourgeois – Double Sexus Sammlung Scharf-gerstenberg, nationalgalerie, Berlin, germany, April 24 – August 15, 2010 • Louise Bourgeois: Fabric Drawings fondazione Vedova, Venice, Italy, Spring 2010 • Louise Bourgeois: Mother and Child gallery paule Anglim, San francisco, CA, May 2010

Above: Louise Bourgeois, Maman, 1999, installed at Tate Modern, London, in 2007

Maman: photo Marcus leith; louise Bourgeois in 1944: photo louise Bourgeois Archive

Below: Louise Bourgeois with her sculpture on the roof of her apartment building in NYC in 1944

or installations. ‘Materials are not the subject of the artist’, she says. ‘the subject of the artist is: emotions … and ideas … Both.’ In effect, she has replaced adherence to the concept of ‘truth to materials’, espoused by many artists during her lifetime, with the more flexible one of ‘truth to oneself’, and it is this approach that has proved inspirational. Bourgeois’ primary audience has always been herself. this is partly a matter of choice, partly one of necessity. She is driven by compulsion, the need to alleviate the emotional conflicts engendered by her unorthodox childhood. ‘Art is a guaranty of sanity’, she has said. ‘I organize a sculpture the way we organize a treatment for the sick. You have to have a strategy to get the wanted results … does the tension go down, is the compulsion eliminated, is the pain gone?’ She suffers from insomnia and fills the sleepless hours in an ongoing conversation with herself that takes the form of lists and jottings resembling poems, exorcisms or chants. And in countless drawings and watercolors she employs the repeating patterns of grids, circles and spirals to soothe her damaged psyche, as one might repeat a mantra or repair a tapestry with myriad stitches. louise Bourgeois is a law unto herself; disregarding fame or fashion, she places herself and her obsessions at the heart of her practice. ‘Success in art’, she has said, ‘is measured by how nearly you have arrived at what you want to say.’ And this determination to follow an agenda prompted by her own drives, ambitions and desires has empowered subsequent generations of women to ignore fashion and determine their own subject matter and approach. As a result, her influence permeates practically every aspect of the ethos in which women artists work today.

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• The Place of the Witches ⁄ The Witches of Finnmark Memorial Vardo, norway. Scheduled to open on June 23, 2010, this is dedicated to the victims of a 17th-century witch hunt, and is being done in collaboration with the architect peter Zumthor. Bourgeois’ flaming chair and ring of mirrors symbolize the death of the Vardo witches, and they will be contained by a glass cube designed by Zumthor. A second building in wood and fabric by Zumthor will celebrate the witches’ lives. • [working title:] Louise Bourgeois: Mother and Child nordic watercolor Museum, Skarhamn, Sweden, September – november 2010 • [working title:] Louise Bourgeois: Wunderkammer Kunsthalle wien, Vienna, Austria, late 2010 or early 2011 • Louise Bourgeois: Moi, Eugénie Grandet Maison de Balzac, paris, france, november 2, 2010 – february 7, 2011 • Louise Bourgeois: The Return of the Repressed fundación proa, Buenos Aires, Argentina, november 2010 – february 2011; Instituto tomie ohtake, Sao paulo, Brazil, March 2011 – May 2011; the Museu do Arte Moderno, riode Janeiro, Brazil, June 2011 – July 2011 • [working title:] Louise Bourgeois: Storytelling fondation Beyeler / Beyeler Museum Ag, riehen / Basel, Switzerland, June 2011 or fall/winter 2011–12 • [working title:] Louise Bourgeois: Cells national gallery of Canada, ottawa, Canada, fall 2012 IMPorTANT GrouP SHoWS • The Beauty of Distance: Songs of Survival in a Precarious Age 17th Biennale of Sydney, Museum of Contemporary Art, Sydney, Australia, May 5 – August 1, 2010 • Surreal House Barbican Art gallery, london, united Kingdom, June 10 – September 17, 2010

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Louise Bourgeois in 2009 Tracey Emin, Everyone I Have Ever Slept With 1963–1995, 1995

Born In 1963, tracey emin was brought up in the seaside town of Margate, Kent. She was abused from the age of eight and, after being raped at thirteen, became promiscuous. the depression that followed led to attempted suicide, but through her work, she has found ways of exorcising the pain; rage is converted into raw energy and self-pity into an unflinching appetite for self-exploration. In drawings, paintings, videos, sculptures, appliquéd blankets and neon signs, she continually revisits childhood traumas. She ruthlessly mines this resource, systematically probing the disappointment, fear and loneliness felt so keenly as a child, while also celebrating her adult sexuality and the euphoria of new love. one of the generation know asYBAs (Young British Artists), emin has often been dubbed the bad girl of British art. her most famous sculpture, Everyone I Have Ever Slept With 1963-95 was destroyed in a fire. the walls of an igloo-shaped tent were appliquéd with the names of everyone she had shared a bed with since birth, including her twin brother and the fetuses that briefly lodged in her own womb. A makeshift temple to intimacy, it was a poignant testimony to the ease with which relationships are broken. In 1999 emin was nominated for the turner prize and exhibited an unmade bed surrounded by the detritus of sex, drink and sickness; in 2007 she became a

«Louise bourgeois’ stature has changed the potentiaL for women coming after her» tracey emin

member of the royal Academy and represented Britain at the Venice Biennale, showing paintings of the female nude. I spoke to her on the phone in Australia, where she is escaping the winter cold. Could she recall her first encounter with a work by louise Bourgeois? ‘I remember seeing an exhibition of her prints, which I loved, and thinking she was my age,’ emin replies. ‘But it wasn’t until I saw her textile work that I felt any connection; it was like finding a kindred spirit. her drawings are like mental maps; they come from a similar world to mine, from another place – the mind or the memory – and we’re dealing with similar subject matter, anger and the internalization of it. ‘the impact she has had on the world has been slow in coming; she kept going until, finally, her work filtered through to everyone’s psyche and now she is one of the most seminal artists ever. She is really inspiring as an example of what a successful artist should be. Most people’s work goes downhill after they’ve peaked and become famous, but hers has gone up, not down; there’s no sense of a falling away. Its like sex; men just come once, but women keep on coming!’ what qualities does she admire in her? ‘I like the way she repeats and repeats and is not ashamed of arriving at a problem she can’t solve. Because she’s trying to work things out for her own sake, she doesn’t care if people say “we’ve seen that before”. her work is quite obsessive, but I think it’s really honest; there’s a genuineness about it.’ has she ever met Bourgeois? ‘I met her in new York about two months ago and she told me off for not coming before. She has invited me to collaborate on a series of prints of a woman in various stages of pregnancy. It’s a powerful subject for me at the moment, because I’ve just had major surgery to remove scar tissue from my ovaries and womb. I’m too old to have a child with my own eggs; but it’s all over now, anyway. I’ve just got to get well and fit; I’m lucky I’ve got my art.’ how would she describe Bourgeois’ legacy? ‘her stature has changed the potential for women coming after her. we’ve had no women who compare with, say, picasso and Matisse, but now we can cite her as an example. the art world is still extremely sexist; for women it’s still difficult. I was oblivious to it when I was younger, but now I’ve got older I see it more clearly. I was powered by my sexual drive; it was what got me out of bed in the morning. But what powers a 98-yearold? her career is a brilliant example of the fact that it doesn’t have to stop, but to come from a different place. You have to recreate, redefine and rethink. ‘when I have a creative block and feel low, I think about my visit to her house. She put these bright cerise drawings on the floor and it was magical. I thought, “She is so prolific, imaginative and inventive; if she can achieve that at her age, I can kick myself into doing some work.” I’ve definitely got a lifetime’s work in me, because it’s getting more intense, more streamlined and more itself. when I was in Venice I had a vision of myself at eighty. I thought, “I’ll be making art for another forty years like louise Bourgeois, so just get through this. there’s plenty of time”.’

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«i feeL part of her famiLy» aLice anderson

Born In englAnd in 1976 to an Algerian mother and english father, Alice Anderson was brought up in france. her parents separated when she was three and her mother took her to nice, forbidding her from mentioning england or her father again. this prompted her to fantasize about who she was and where she came. later she studied fine art at the Beaux-Arts in paris then, in defiance of her mother’s ban, came to london in 2004 to study at goldsmiths College. when I first saw her work, I was struck by uncanny resemblances between her subject matter and that of louise Bourgeois and when I spoke to her, I was amazed by the similarities in approach. ‘She is a very important artist,’ Anderson confirms. ‘Along with people like eva hesse, and Annette Messager, whom I studied with, I feel part of her family. we have similar preoccupations and a similar approach and way of thinking. I’m totally obsessional, which is maybe what links us, as well as the way we talk about childhood. It was very strange for me to live in a country where I didn’t speak the language (I didn’t talk until I was six) with a mother who was physically so different from me. I got a real shock when I saw my father; it was like looking in a mirror. Being in england is very important to me; its like inhabiting a world I imagined as a child.’ A photograph of louise Bourgeois taken in 1946 shows her sitting at an easel in her new York apartment, her shoulders and back cloaked in a mane of hair reaching to her waist. long hair often features in her drawings and prints; sometimes it forms a protective mantle but, at others, it traps the hapless woman in a tight cocoon. Anderson inherited her red hair from her father and it makes dramatic appearances in her work. rapunzel, an installation involving three thousand metres of red hair, was recently installed in three venues – the picasso Museum, paris, the frac paca, Marseille, and the Marc Chagall national Museum, nice. this March, riflemaker gallery in london will be entwined

in a length of hair threaded down chimneys and through windows. ‘I’ve seen that photograph of louise Bourgeois’, Anderson confirms, ‘but I’ve not been aware of references to hair in her drawings. when I work I’m not conscious of other artists; otherwise I’d be thinking everything has been done already.’ despite being a mother, in her work Bourgeois frequently casts herself in the role of a child. Anderson explores the mother/daughter relationship through the use of surrogates including a life-sized waxwork and a marionette which, in a series of photographs called Master Puppet, is seen manipulating her. role reversal is also the subject of My Mother, a series of videos in which the artist plays both mother and daughter. ‘In a mother/daughter relationship you feel the tension,’ she says. ‘power makes itself felt like a character or person; that’s why I’m interested in family relationships.’

Bourgeois often works at night, when she can’t sleep. ‘has the day invaded the night or has the night invaded the day?’ she asks in a diptych that pairs image with text. ‘I work a lot at night or in the early morning,’ Anderson tells me. ‘I wake up around 4 am and the best hours are when I’m very tired and not far from sleep. Sometimes I work all night, but the rule is there’s no rule.’ ‘Am I a ghost of louise Bourgeois?,’ Anderson asks. ‘there are a lot of similarities, but the way I do things and the preoccupations are mine, even if they are the same. And I have the feeling that I have no choice; it’s what keeps me going. If I don’t work I can’t live; it’s more important than life itself.’ A london exhibition is being planned in which Anderson’s films, drawings and sculptures will be shown alongside three videos of Bourgeois at work, made by Brigitte Cornand over a period of twelve years, starting in 1994. n

Louise Bourgeois in her studio, c. 1946 Alice Anderson, rapunzel, 3000 meters of doll’s hair, 2008

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tavares strachan the final frontier

Alaskan Mountain Flow: Christopher Hoover

text hans ulrich obrist

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Left: Alaskan Mountain Flow, 2005 This page: Ice Night Bahamas, Elevator for the Reversal of Up and Down, 2007-08

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Above from left: 2. Robbie, video still, 2008; Rocket Launch, 2009; Installation View at the ICA in Philadelphia, 2009. Opposite: The Plunge, 2009

YoU coULD NoT ask for a more reliable arbiter of taste to write about an artist to represent NoW than Hans Ulrich obrist. He is an intrepid studio visitor and exhibition-goer, with his antennae permanently tuned to the zeitgeist, not to mention that he was recently named Number one in an art world Power 100. I bumped into Hans Ulrich at the New Museum in New York. He introduced me to Eungie Joo, recently appointed the curator for the Generational Triennial at the New Museum for 2012. She enquired if Hans Ulrich had heard of Tavares Strachan? His animated response led me to commission this article.

-Karen Wright

I first saw Tavares’ work in Pierogi 2000 in Brooklyn, and now he is going into outer space. I think he is very interesting. I saw his Arctic Ice Project – in which he transported an iceberg from the Arctic River to the Bahamas and then to Miami – and while he is definitely a follower of Olafur Eliasson who, in a show I co-curated in Paris in 1998 (Nuit Blanche-Scènes nordiques les années 9), put these gigantic melting ice pieces above Paris, this piece by Tavares is different to Olafur's work. With Tavares – at least with the works we have seen so far – there is the question of one thing existing simultaneously as scientific vitrine and as an ice block, producing a symbiosis of pieces. Tavares’ works are very much experiments. He is interested, in some way, in the production of reality, and not representation. He made these rockets – which are very funny – in Nassau, so somehow you could say he is on the edge of outer space. These kind of artist-inventors are in a post-Buckminster Fuller mode in that they are concerned less about producing types of objects than in finding ways to produce reality. Carsten Höller, in his perceptual explorations and investigation of place, along with Olafur, seem to be predecessors to Tavares. We see this very strongly too with Phillippe Parreno, Dominique Gonzalez-Foerster and Pierre Huyghe, who all investigate the ordinary through this idea of how to produce reality. This also continues with a younger generation of artists like Tomas Saraceno. One can clearly connect Tavares and his experiments with the work of someone likeTomas who, in the last ten years, has also worked in some interesting ways with experiments in developing parallel universes. Tomas was one of my

students when I was teaching at the IUAV in Venice and one of Daniel Birnbaum’s pupils in the Frankfurt Städelschule – and I remember when Daniel and I talked about this extraordinary young guy we had met! I still remember when Tomas had his first public appearance at the Venice Architectural Biennale. He convinced the powers-that-be to place his floating city, made with very light materials, above the railway station. It sounded like a Utopia, and while it somehow didn’t totally work, it made us all dream. Tavares makes me think of Tomas and Buckminster Fuller. I hear these rumors that he may well be the first artist to go into outer space. We need to fact check that though! He is preparing to become a cosmonaut. I think in 2006 he had already started negotiations with the Yu.A.Gagarin State Scientific Research-andTesting Cosmonaut Training Center and with the Institute of Oceanology in Russia – so he really does his training. It is quite extraordinary that Tavares may be the first, or at least one of the first, visual artists to go into outer space! There is quite a long history of space projects illustrated by the large numbers of unrealized extra-terrestrial projects that I have collected over the years, and most of them relate to science fiction. Now they relate more to halfcomplete or quasi-complete Utopias. I think this may be a result of climate change – which we need to fight with a sense of urgency – and as a parallel action there are also parallel realities that can be explored. I am currently working on a project with Olafur on an architecture project about whether we can project a city into outer space. We must not forget that the inventor-artists are only one strain of artists identifiable at the moment. Everywhere I go, there are artists making interesting drawings. The practice encompasses many positions from Richard Wright, Katerina Seda, Trisha Donnelly, Susan Hefuna to Keren Cytter. It seems almost like a resistance to the internet. Then there are also practitioners like Tino Sehgal, whose exhibition is about to open at the Guggenheim, who have a desire for non-mediated experience. Finally, there are artists like Simon Fujiwara and Christodoulos Panayiotou who embrace the world as a stage. n

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Anne Pasternak photographed on the High Line, New York, January 15, 2010 000

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anne pasternak fly me to the moon interview karen wright | portraits anna wolf

city was on the verge of bankruptcy but Contini and scott Brown felt that nevertheless people could be getting something more from art at that difficult time. They saw the potential in making use of the vast number of empty buildings, to get artists out of the studio and, in doing so, demystify their practices by getting them to meet their public. pasternak points out that it is important to put the founding days of Creative Time into context, reminding me that during the 1970s there were few galleries selling contemporary art. ‘It was a highly politically charged moment and artists themselves were talking about dispersing work from the museums,’ she says. ‘At the same time, in the spirit of collaboration, they were forming artistic co-operatives.’ Creative Time emerged from the spirit of the moment. ‘It is important to state that this was not in response to what was going on in the realms of public art – something that is still true,’ she explains, firmly. ‘public art is something else’ – a subject we return to later in our discussion. I ask about Creative Time’s formative projects and pasternak recalls an early and, in retrospect, prophetic manifestation called Art on the Beach on the site of the Battery park landfill. ‘It was a collaboration between architects, artists and performance, something which was not the norm in the 70s,’ she says. Although it is not clear how historically important these early Creative Time projects were, pasternak points out that important policy decisions were set down at this point, establishing a clear vision for the organization. ‘stated simply, it is that the artist matters in society and that social issues matter,’ she says. ‘public spaces are meant for artists. By introducing artists to public spaces, the consequences are good both for the viewer and for the artist. For the artist, it pushes their practice forward, while the viewer learns something beyond the political statement.’ The final criterion for doing projects is that artists are socially engaged – a point we return to several times.

The Cookshop, A popular restaurant in New York’s Chelsea, is buzzing. I am here to talk to Anne pasternak, the president and creative director of Creative Time. It is almost farcical how we are continually interrupted by people who know her. she assures me, with some embarrassment, that she did not plot for two of the Creative Time’s trustees, philip Aarons and Liz swig, to also be there at lunch. Aarons, Chair of the Board at artists’ books pioneers printed Matter, is dining with the artist A. A. Bronson, printed Matter’s Director, discussing the book for Invocation of the Queer Spirits – a Creative Time project. In addition to the trustee barrage, Walid Raad, an artist working with CreativeTime, walks by on 10th Avenue and comes in to give pasternak a hug. Brett Littman, the director of the Drawing Center, comes over to say hello. Not to be outdone, I hug Los Angeles painter Lari pitmann. I mention these liaisons not just for their coincidental value – the Cookshop has, after all, become Chelsea’s canteen-central – but to illustrate the palpable warmth and high regard that everyone displays to pasternak, as well as the informality of the scene. swig offers to de-lint pasternak for her photo shoot later, while I proffer an email address to Aarons for his forthcoming stay in Turin. At the same time, it is a poignant moment, with the sadness of the recent earthquake in haiti hanging over our conversation, to be discussing the balance maintained by Creative Time between art and socio-political matters. pasternak has been Director of Creative Time since 1994. previously, she had been at a small gallery where she met her husband, the artist Mike starn. she admits that she liked selling work but she enjoyed working with artists more. When the job came up at Creative Time, it seemed the perfect match for her, and she says today that she is remarkably lucky to be in an organization that parallels her vision so closely. Creative Time was founded in adverse circumstances in 1974 by two women, who at that time worked in New York City government. The 37

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«vik muniz drew a cartoon image of a cloud over manhattan on a napkin and that is how the clouds project was created»

Above: John Bennett, Gustavo Bonevardi, Julian Laverdiere, Paul Myoda, Richard Nash Gould, and Paul Marantz, Tribute in Light, 2002 Opposite: Vik Muniz, Clouds, 2001

Pasternak remembers that it was no coincidence that the project was timed for the week before the Bush/Kerry presidential election of 2004 – Holzer’s airborne phrases included ‘ABUSE OF POWER COMES AS NO SURPRISE’, among others. Pasternak wonders how different the response would have been if the planes had flown over somewhere like Nebraska rather than over art-saturated New York City. It became clear to her that there was no reason that Creative Time could not help artists respond to things that happened outside New York. After the devastating events of Hurricane Katrina, Pasternak says she was waiting for an artist to propose a project about the tragedy.That artist turned out to be Paul Chan, who suggested the work Waiting for Godot (2007), comprising four performances in New Orleans of Samuel Beckett’s play. Chan’s piece was prompted by a

visit to an eerily quiet post-Katrina New Orleans, during which he saw the plight of the people as they waited patiently for help to rebuild their city. AS WEll AS welcoming artist proposals, Pasternak has a knack for persuading reluctant artists to make public projects. Before Holzer had taken art to the skies, Brazilian artist Vik Muniz, a long-term friend of Pasternak’s had created, as she puts it, a “more lyrical project”, Clouds in 2001. ‘I had been in conversation with Vik for seven years,’ she says, ‘and he kept saying, “My work is not about public projects.”’ But Pasternak was convinced that his work chimed well with the ethos of Creative Time. ‘We were lunching,’ she laughs, ‘and he said he wanted to do something with clouds and he drew a cartoon image of a cloud over Manhattan on a napkin and that is how the project Clouds was created. Creative Time hired skywriters to paint clouds in the sky,’ a shape, she recalls, not easy to make. Muniz’s project was meant to take place over a week but it was a windy spring so, in fact, it was spread over five months. Pasternak remembers receiving numerous letters from people saying how touched they had been – children sent sketches, and she had a letter from one man who said that he had seen a heart in the sky and had proposed to his girlfriend under that cloud – and she gets quite emotional as she recalls a letter in which a woman recounted how her son, a successful restaurateur, had recently collapsed suddenly with a brain aneurism and died. On the way to the cemetery to inter her son, she had looked up into the sky as she passed the Yankee stadium and saw a catcher’s mitt and thought her son was sending her a message. Pasternak says this is the reward for these projects: ‘This simple concept could mean so many different things and touch so many people.’ Clouds will never be done again in New York, as she points out: ‘It was lucky it was pre-9/11, or it could not have happened.’ As with Muniz, she had been pestering Doug Aitken for about seven years to do a project and, similarly, he kept saying he was not a public artist, ‘when again, in a restaurant, he sketched an idea on a napkin,’ she says. The result was Sleepwalkers (2007), a series of enormous synced video projections, which showed a number of individuals (two played by actors Tilda Swinton and Donald Sutherland) moving from from their private worlds out into the metropolis. ‘He wanted Sleepwalkers to reflect humanity in a shiny impersonal skyscraper,’ Pasternak explains. She set him the task of finding a site for the projection and he told her he had came across one on 54th Street, wrapped in scaffolding. The building Aitken had chosen turned out to be the unfamiliar back view of the Museum of Modern Art. And so began a fruitful collaboration with MoMA, whose façades were the site of several of the projections. Pasternak has had many partners on projects but she claims that

Photos Charlie Samuels; both images courtesy Creative Time

It is clear that some projects are personal favorites. She talks fondly about working with Jenny Holzer on For the City in 2004, admitting that it was a project with particular challenges initially. Fund-raising was difficult – at that time, Holzer was not seen as a hot artist of the moment: ‘She was considered so 80s,’ says Pasternak, incredulously. In addition, Holzer’s ideas were typically ambitious. She had initially wanted to work with projections on blimps but it soon became clear that there were logistical problems relating to the legibility of the projected words. Worse than that, from a planning perspective, the blimps would not be available if there were large sporting events. In the end, it was decided that Holzer could do building projections but, to take the work into another dimension, Creative Time would hire planes used for trailing advertising banners and substitute Holzer’s slogans.

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Mike Nelson, A Psychic Vacuum, 2007

none were as supportive and generous than MoMA: ‘Glenn Lowry [Director of MoMA] was immediately on board and he allowed us to lead the project.’ My recollection of seeing the work, sitting on the front steps of a brownstone on a freezing evening, remains strong – it was, despite the cold, a tremendously moving experience. ‘It was as if it was our fault that the projections happened during a terrific cold snap!’ pasternak laughs again. ‘other than that, Sleepwalkers was universally well-received.’ The sleekness of Aitken’s films is in stark contrast to another project which pasternak remembers fondly. ‘Mike Nelson was another personal favorite of mine’, she says of the British artist’s Psychic Vacuum, a typically labyrinthine installation full of enigmatic spaces and repurposed objects in the old and then unused essex street Market in New York’s Lower east side. Nelson himself came and spent three weeks in the city looking for the materials for the project with typical commitment and fastidiousness. ‘It was during the building boom and it would have been impossible to have a budget to buy vintage doors, so Mike went far out of the city to find them,’ she recalls. Nelson was not well-known in New York, and pasternak was concerned that he might not get a big audience. Also, she was forced to give him a small budget, as money was hard to raise, but the bush telegraph of the art world helped to increase visitors to the project. ‘By the last weekends of the project there were up to three thousand people standing patiently in line to get into see the work,’ she says. Creative Time has worked with some of the great artists of the last three decades, but pasternak still has a list of artists who she would like to work with. she reviews this list a few times every year, often taking the artists out to lunch to discuss potential projects. I ask if there is anyone on the list who she has a particularly burning ambition to work with. she sighs deeply. ‘We still haven’t managed to hook in Francis Alÿs – he would be perfect,’ she explains. ‘It’s not just that he is doing socially relevant work – he is doing important work!’ I ask if there are projects that are firmly in the pipeline which have not been announced. ‘I am thinking about projects with sophie Calle and Laurie Anderson – but both of these artists have a slow lead time,’ she says. And any regrets? ‘I am sad never to have worked with sol LeWitt.’ NoW IN A CoNTeMpLATIVe mood, pasternak describes the project she did in response to 9/11. she recounts that she was standing outside the CreativeTime office when she saw the first plane on that terrible day. ‘No one knew anything. We still thought they were terrible accidents. The towers? one minute they were there and then there was just a puff of white smoke.’ In the aftermath, the art director of the New York Times

Magazine phoned her and asked for help, as they wanted an artist’s response to the event as a cover. While she told them she thought it would be hard to get an artist to respond to the event that quickly, she had been scheduled to talk to two young artists, Julian LaVerdiere and paul Myoda, about a work they were planning to do with light – a large biosphere that would use the south tower as a platform – which would have been one of Creative Time’s most expensive and ambitious projects to date. The project’s connection with the World Trade Center encouraged her to suggest to the Times that they should call the two artists, and LaVerdiere and Myoda’s drawing of a pillar of light graced the cover of the magazine the following week. The response was overwhelming, with many people writing in to Creative Time saying how important this image was to them, and how fitting a tribute it was. pasternak took note of the 16,000-odd letters, all of which asked if this plan could be made into a permanent work, and Tribute in Light was realized in early 2002. It was simple in concept, with two beams of light (or ‘beacons’ as the artists put it) shining up from the ground in Lower Manhattan into the night sky. Realized by a team consisting of the artists, architects John Bennett and Gustavo Bonevardi of pRoUN space studio, architect Richard Nash Gould, and lighting designer paul Marantz, Tribute in Light was a fitting testimony to the transformative quality of art and it continues to be shown on 9/11 anniversaries. ‘It's a privilege to work with projects that change lives,’ pasternak says, reflectively. This passion to effect social change runs through Creative Time’s new collaboration with Not on our Watch, a charity formed by the actors of Ocean’s Eleven who became aware of the appalling atrocities in the sudanese region of Darfur while they were filming in 2001. Not on our Watch attempts to use artists and cultural figures to draw attention to human tragedies, and thereby create an awareness on a different level to that which can be achieved by politicians and policy makers. In doing so, the organization attempts to provide humanitarian assistance and, ultimately, to stop human rights atrocities. ‘An artist can change conversations,’ pasternak says, ‘it becomes a different kind of conversation.’ The idea is that artists go into refugee camps, in this case in Thailand, and propose ideas based on their experiences. The initiative will culminate in a public project that hopes to raise public awareness of the political situation in Thailand. ‘It will be different from just a celebrity visit,’ she says. ‘It is a risky thing to be doing. It is essential that the artist’s relationship with the people inside the camp is respectful.’ While pasternak is against the traditional ideas behind public art projects, typically those that place large commemorative sculptures in public places, she admits that last year’s first edition of pLoT, a quadrennial public art event,

Nelson: photo Charlie samuels; Aitken: photo Fred Charles; Chan: main image, photo Frank Aymami, inset, photo Donn Young; all images courtesy Creative Time

«By the last weekend of mike nelson’s psychic vacuum, there were up to 3,000 people standing in line to see the work»

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Above: Doug Aitken, sleepwalkers, in New York, 2007. Below and inset: Paul Chan, Waiting for Godot in New Orleans, 2007

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«artists have to live too. i am always aware of paying the artist and trying to support their gallery»

Above: Jenny Holzer, For the City, 2005 Opposite: Anne Pasternak below Spencer Finch’s The River That Flows Both Ways. The work was commissioned by Creative Time, Friends of the High Line and the New York City Department of Parks & Recreation. It is located where the High Line meets the Chelsea Market between 15th and 16th Streets

was meant to begin early in 2010 with Creative Time’s involvement. ‘But they have already started without us; they opened in september.’ I ask how long Creative Time will be involved and she admits that it is not clear. ‘It is an ongoing project, I don’t know how long it will take,’ she says. ‘It comes out of artists’ desire to rework the traditional arts college. Look at the Black Mountain project as well as others that were more short lived. It is an artist-to-artist education. We are encouraging them to produce a textbook and maybe go on the road to educate in the schools.’ ThIs Is NoT the only project which attempts to do things differently to most the event-led project producing organizations. Recently Creative Time received funding from the Rockefeller Foundation to facilitate artists doing research on their artistic process.This is a manifestation of pasternak’s desire to work in a global fashion – as Creative Time’s artist list and their choice of destinations are truly international. There are identifiable objectives that she hopes to accomplish through this work, she says, namely ‘to get off the racetrack of the art world and to allow that artist to get out of the studio in order to pursue research for their projects.’ There are already six artists involved with the scheme including Walid Raad, emily Jacir, Maya Lin, k8 hardy, Judi Werthein and sanford Biggers. pasternak is clear that some concrete projects may emerge from this collaboration but stresses that it is more important that the research pushes the artist’s practice – if there is no tangible work when the research ends, the partnership will not have failed. other international projects in process at the moment include those by Danish-Icelandic artist Jakob Boeskov who has gone to Nigeria, home to what is now the world’s second-largest film industry (after Bollywood), which is informally labeled Nollywood. Boeskov usually works in video but will collaborate with Nigerian director Teco Benson to make a 20-minute short film that will be produced in Nollywood about a witch doctor posing as a Danish NGo worker. The producer will own the film and it will be shown in New York City when the artist returns. politically, Creative Time has been enjoying a high profile under pasternak's leadership. she admits she was excited to be contacted by the White house shortly after obama was sworn in, to attend a high-level White house briefing about arts policy. Another recent collaboration exemplifies pasternak’s desire to continually push Creative Time out of its comfort zone and enter into other worlds – quite literally. she has been talking to NAsA about doing projects in outer space and it seems as if the conversation is moving in the right direction. If anyone can push art beyond the third dimension, I feel it will be her. n Creative Time, 59 East 4th Street (6th Floor), New York, NY 10003. Tel. 212 206 6674

Wallinger: photo Michael Marcelle; holzer: photo Charlie samuels; both images courtesy Creative Time

Top: Mark Wallinger, Ferry, 2009

was Creative Time’s deepest excursion into this arena. entitled This World and Nearer Ones, the project took place on Governors Island. ‘I had always been interested in the Münster sculpture projects in Germany but knew with all the bureaucracy in NYC I could not hope to do a similar thing, but with Governors Island there was the possibility to do a Münster-like project in New York.’ she admits to being obsessed with the site for 12 years but had to wait first for the Coast Guard to leave the island. In the end there was not much time to install the works. one of the more problematic pieces in the quadrennial was Mark Wallinger’s work, Ferry, which at first seemed very straightforward. Wallinger wanted to turn the ferry boat that carries visitors to Governors Island into an artwork. his idea was in painting a ferry boat with two colors, each color labeled with the sign of a sheep or goat, a reference both to the movement of Dutch immigrants to Governors Island in the early 17th century on boats called horse, Cow, and sheep, and also to the New Testament parable of separating people into sheep and goats according to their kindness. Typically learned, thought-provoking stuff from Wallinger, in other words. But the ferry’s captain showed the idea to his wife, who recognized the biblical connotations, and was convinced that fanatics would come after the boat for taking on the Bible. During meetings, the ferry boat owner pointed out that it could be seen as if the captain was taking on the role of Jesus Christ. In addition, the red and green colors that Wallinger had chosen had maritime connotations (stop and go) and the ferry owner pointed out that this could also be a problem. ‘Creative Time has to listen to peoples’ concerns,’ insists pasternak, ‘and in the end, after a discussion with Mark, he agreed to change the colors to black and white.’ one of CreativeTime’s consistent aims is to draw attention to artists who might be acclaimed elsewhere but have a relatively low profile in the states. pasternak says that she cannot understand why Wallinger, like Mike Nelson, still has little visibility outside europe, with no New York commercial gallery. she recalls, for instance, that the artist hans haacke asked if he could meet Wallinger while he was installing, as he was a fan. she is clear that the artist’s market value benefits from being involved in Creative Time projects – and she is not ashamed of this. ‘Artists have to live too,’ she says. ‘I am always aware of paying the artists and trying to support their gallery.’ In order not to benefit herself, she does not collect. I ask about the educational strand of CreativeTime and in particular the radical project by the Bruce high Quality Foundation that they are supporting. she laughs. ‘BhQF are a group of artists who met while studying at Cooper hewitt and who were taught by hans haacke, Walid Raad and other great teachers. They have created their own university,’ she says. she points out BhQF’s eagerness to start the project – it 42

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out of the darkroom Vince Aletti is a photography curator and critic based in new York city who writes frequently for the new Yorker and a variety of magazines. last year he curated ‘Avedon Fashion 1944–2000’ at the international center of Photography. Here we invited him to choose six photographers who reflect nOW.

At Any one time, probably a good four fifths of the world’s working photographers are ‘emerging’: getting started (or restarted), getting noticed, desperately treading water. It’s not easy: only the strong (and independently wealthy) survive. But if the economy isn’t encouraging and many galleries are on their last nerves, there’s an anything-goes openness when it comes to new photography and there are plenty of us hungry for regular doses of style and substance. the six photographers gathered here have plenty of both. they’re thriving at a moment when there is no dominant strategy, no cool school, and options abound. not every photograph has to be the size of a picture window, black-and-white is not just for traditionalists, frames are dispensable, the darkroom remains a site of wild-style experimentation, and galleries are not the only outlet. A lot of the strongest work I’ve seen recently has been in books, including a number of increasingly sophisticated ones coming out of independent publishers. Joshua Deaner’s I sell fish, which I first saw as a judge on the Photography.Book.now

competition

for

self-

published photo books run by the creative publishing service Blurb, is one of 2009’s savviest, most idiosyncratic titles and it won the top prize in the competition’s fine art division. Between Mariah Robertson’s energetic abstractions and Dietmar Busse’s soulful portraits, there’s a wide-open world of possibilities. Begin your exploration here.

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I sell fish, 2009

JOsHuA DeAner, 34, born in Boston, lives in Providence, Rhode Island. the cover of Joshua’s self-published Blurb book, I sell fish, promises “various findings, images, formulas, memories, desires, poems, obsessions, + lies”. And it doesn’t disappoint. opening with Joshua’s birth certificate and including an assortment of personal documents, handwritten texts, self-portraits, and ephemera, the book also collects a lifetime of photographic projects. the result is a highly eccentric, casually ingratiating autobiography, a portrait of the artist as an (anxious, ambitious, fitfully insightful) young man. Joshua’s photographs are random and tangential in the currently popular mode; it’s hard to know what sort of impact they might have on a gallery wall. But, in this context, they resonate. In one sense, I sell fish is a mystery; although Joshua drops plenty of clues, his life unfolds not as a narrative but as a poem full of dropped lines and intriguing ellipses.

MAriAH rObertsOn, 34, grew up in Sacramento, California, and lives in Brooklyn. At a time when photographers are abandoning the marvelous vagaries of the darkroom for the programmed perfection of their digital printers, Mariah is making big, rambunctious pictures the old-fashioned way. Incorporating contact prints, conventional negatives, photograms, and splashy passages of darkroom chemistry, her images are mash-ups of representation and abstraction that veer deliriously close to chaos. Mariah admits that there’s an element of chance in the work, and her willingness to let accidents happen is exactly what we’ve been missing. Printed on sheets of paper haphazardly cut from large rolls in the dark, her prints are unique records of a series of processes that won’t be duplicated. think May Ray meets Kurt Schwitters over several rounds of absinthe. Cheers!

Untitled 18, 2009 45

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Area twelve, 2009

siMOn burcH, 45, born in Bangor, Northern Ireland, lives in Dublin. the landscape photographs that open Simon’s book, Under a Grey Sky, are brutally matter-of-fact, in the now classic new topographic style pioneered by artists such as Stephen Shore and Robert Adams. they’re pictures of flat, sooty earth that looks raw and wounded, like it was mugged and left for dead – so drained of color, they appear almost black-and-white. Scraped bare by industrial harvesters, Ireland’s depleted peat bogs are landscapes in limbo, black holes that seem to have sucked the life out of the surrounding communities. Without editorializing, Simon peppers the book with pictures of some of those towns and their citizens, creating a kind of elegiac environmental portrait solidly rooted in the peatland. Like Alec Soth, whose Sleeping by the Mississippi set the standard for this sort of book, Simon balances stylistic restraint with palpable concern, and clear-sightedness with heart.

DietMAr busse, 43, born in Stolzenau, Germany, lives in Manhattan. If Dietmar is more deserves a mention both because he’s remained largely under the radar and because his new work finds him at a moment of vivid, creative reinvention. He’s returned to portraiture, an early love, with renewed passion, a fresh eye, and great wit. Like American photographer Peter Hujar, who remains a strong influence, he works in black and white and Kenny Kenny as Greta Garbo, nyC, 2010

primarily at home, turning one room of his tiny Curry Hill apartment into an efficient working studio. His subjects have included other artists and photographers (David Armstrong, terence Koh, Alice o’Malley) but many more of them are drawn from the population of Downtown performers and personalities whose gender is in flux. Dietmar calls them “starlets” and he regards them with a tenderness and intensity that recalls Diane Arbus. He brings a similar empathy, mixed with amusement, to his portraits of dogs, who look as fabulous as the starlets through his lens.

Portrait of Dietmar Busse by Daniela Cuevas. Portrait of Stephen Irwin by Sarah Lyon

a mid-career artist than an emerging figure, he

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From left: Untitled (Finger), 2009; Untitled, 2009; Void, 2009

stePHen irWin, 50, born and lives in Louisville, Kentucky. Because Stephen uses but does not make photographs, he’s an anomaly in this company – even more so when you consider that he works not with photographs themselves but with mechanical reproductions: pages torn from vintage gay porn magazines. His work involves erasing nearly everything from those pages until only a telling gesture – a cupped hand, an open mouth, a probing tongue – remains. the results, suggestive fragments of anatomy isolated in fields of scumbled off-white, straddle drawing and photography with rude nonchalance. Irwin works with magazines printed before the switch to digital reproduction in the mid-1980s because he prefers the “naturalness” of the period’s models, but also because the ink was laid down in layers then, making it easier to rub off. their echoes of Flemish coloring may not be the first thing you notice about Irwin’s erotic images, but his erasures are as elegant as they are raunchy.

Cleo, 2009

YAMini nAYAr, 34, grew up in Detroit, lives in Brooklyn. Like a number of contemporary photographers (thomas Demand, Anne Hardy and Laurie Simmons, for instance), yamini works in imaginary spaces – places that exist only to be photographed. But the rooms she constructs on table tops in her Brooklyn studio are like interiors in dreams, strangely familiar, even inviting at first, but look around and you’ll see that nothing’s quite right. Half the floorboards are missing and so is the back wall, where an eye is peering through a chink in the void. Metallic curtains billow in a wallpapered room where a twist of oily black stuff rises like smoke. yamini’s most recent photographs abstract architecture even further, sketching in a space that’s more cerebral than physical – one idea taking shape while another dissolves. these spaces may be imaginary, but you don’t want to leave. ■ 47

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object lesson: lot 128 LuSCiouS. DeCADeNT. SeDuCTiVe. Few pieces elicit more pleasure than Marilyn Minter’s photographs. Glamorous, sexy, intoxicating and flatout cool, her work suggests a fantasy pieced from day-to-day reality. Minter’s imagery engages all the senses. in Sparks, a heavily made-up eye in extreme close-up is drenched in glitter. it screams of excess, beauty and sex. Heavily made-up, the eyelid shimmers against the bare skin occupying the rest of the frame. This very excess and messiness is central to Minter. Her 2006 billboards in Chelsea of sky-high heels are redolent of the underbelly of glamour and fashion – the perfection that is so often sought after but so difficult to obtain. Minter says, ‘The sexy underside? Well, that might be inherent in taking things apart because that is where things start to get untidy and messy. So even though the glamour we see in popular culture is so perfect and flat, when it starts to come undone perhaps it gets sexier.’ She captures the eye before the make up has been fully applied or perhaps after, as it begins to melt off. Beads of sweat drip off the faces of models holding pearls and diamonds in their mouths. Dirt smudges the polished feet adorned by expensive shoes. The complete decadence of Sparks is reminiscent of a slightly out-offocus make up ad or an image in a high-fashion magazine. it blurs the boundaries between fine art and commercial art. Minter uses fashion as inspiration and, unsurprisingly, the fashion world is inspired by Minter, often commissioning her for actual photo shoots. Minter’s work explores and comments on consumption, indulgence and glamour.The body parts in her paintings and photographs are surfaces for glitter, paint and jewels. The models in her work sweat, they have smeared makeup, they lick jewels. every Minter work seduces the viewer and transcends the heightened reality of beauty, fashion and society. Marilyn Minter’s work is fresh. Her photographs inform her painting (she often uses several different photographs for one painting) yet while her photos aren’t altered or manipulated, her paintings are the result of layer upon layer of enamel paint, often smudged and blurred with her bare fingers. Minter’s pieces observe the overabundance of our society but also its flaws – creating pieces that both critique contemporary culture and restyle it. And what could be more NoW than that? n

Man Ray’s extreme close-up in Tears recalls a still from a silent film. By placing glass beads on a mannequin’s face, the artist aestheticizes emotion through artifice.

In 2006, Minter’s hyperrealist photographs towered over Chelsea, NYC on large billboards. Blurring the line between fashion and commercial photography, these works displayed her fascination with grit coexisting with glamour.

Andy Warhol’s color blocking in his Marilyn series brought together celebrity photography and pop art. His extravagant color choices bring to mind both gaudy make-up and industrial painting

Minter’s darkly erotic works, like her film for Creative Time's installation in Times Square, use extreme close-up to focus on feet, eyes and mouths – the body-parts most associated with make-up and fetish.

Man Ray, Tears © Man Ray Trust/ADAGP, Paris and DACS, London 2010. Andy Warhol, Turquoise Marilyn © The Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York / DACS, London 2010. Marilyn Minter, Mud Bath, photography by Charlie Samuels, Courtesy of Creative Time. Marilyn Minter, Green Pink Caviar, courtesy Creative Time.

text alexandra leive

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Moscow

The Garage Center for Contemporary Culture reopens with Futurologia: Contemporary Russian Art and the Heritage of the AvantGarde and Russian Utopias (March 4 – May 25, 2010). While Futurologia reveals Malevich’s influence on contemporary artists, Russian Utopias charts the evolution of Utopia in works, such as Igor Makarevich and Elena Elagina’s tribute to Tatlin’s monument, Mushrooms of Russian Avant-Garde (2008), pictured, that form a bridge between the heroic past of Russian art and some of the nation’s boldest voices today.

Makarevich and Elagina: courtesy the Artists, © Igor Makarevich and Elena Elagina

news

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Kentridge: The Museum of Modern Art, New York © 2009 William Kentridge. Tam Tran,: courtesy The Whitney Museum © Collection of the Artist. Baker: courtesy FEINKOST, Berlin. Hamilton: courtesy the Serpentine Gallery © 2010 Richard Hamilton

news

berLiN

J. G. Ballard’s dark yet seductive world view informs Feinkost gallery’s Atrocity Exhibit (March 6 – April 25, 2010), a group show featuring the works of Annika Larsson, Arcangelo Sassolino, and Daniel Baker (whose Bouquet looking glass from 2007 is pictured above). Working in a diverse range of media from painting to automated installations, the artists navigate the thin line between eroticism and violence, responding to the Crash author’s fascination with the extremes of the human condition.

LoNDoN

Pop art pioneer Richard Hamilton’s Serpentine Gallery retrospective Modern Moral Matters (March 3 – April 25, 2010) brings us up-to-date with the development of his work. In works such as Swingeing London 67 (f), 1968–69 (above), Hamilton creates a dynamic balance between tough social themes and a poetic approach, focusing on how the mass media shapes the way we perceive and react to world events.

New york

William Kentridge: Five Themes (February 24 – May 17, 2010) at the Museum of Modern Art showcases the artist’s trademark charcoal drawings, such as Drawing for Stereoscope, Untitled, (1998–99) above, and enigmatic films. His animations are meticulously constructed by continuously reshooting charcoal drawings as they are erased and modified. Each successive frame is haunted by echoes of past drawings, creating a perfect analogue for the South African artist’s explorations of apartheid’s aftermath. The exhibit also includes Kentridge’s drafts for his new set design for Shostakovich's opera The Nose at New York's Metropolitan Opera, which is to be staged shortly after the retrospective’s opening.

New york

March promises to be an busy and exciting time in New York with the Armory, Pulse and Volta art fairs opening almost concurrently, and the Whitney Biennial (February 25 – May 30, 2010), curated by Francesco Bonami with Gary Carrion-Murayari. Although Bonami’s 2003 Venice Biennale was notoriously mammoth, his and Carrion-Murayari’s list of artists for the Whitney is notably shorter and more focused than previous editions. At 23, photographer Tam Tran, who produced Battle Cry (2008) pictured above, is the youngest artist in a selection that ranges from the established to the newly emerging.

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NOW

SATURdAy 6 mARCh 2010 NEW yORK

PHOTOGRAPHS LOTS 1 - 40

ArAki, N. 21, 22

LACHApeLLe, d. 1

Berger, W. 39 BurtyNsky, e. 40

miNter, m. 14 muNiz, V. 6, 8, 10, 11, 12

Couturier, s. 34 CreWdsoN, g. 7

NorfoLk, s. 35 oLAf, e. 18 oppeNHeim, L. 9

deLuise, r. 23, 24, 26, 27 diergArteN, g. 32 dreBiN, d. 16, 17 grANNAN, k. 25

pArkeHArrisoN, r. & s. 2, 3, 4, 5 poLidori, r. 36 prior, N. 31

HAAs, A. 13 HArris, N. 28, 29

sArfAti, L. 15 sotH, A. 33

JiN, s. 38

WeNg, f. 37 Woo, A. 30

kim, J. 19, 20

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1 dAVid LACHApeLLe b. 1964 Amanda and David, 2001. Digital color coupler print, Diasec mounted. 23 1/2 x 17 1/4 in. (59.7 x 43.8 cm). Signed in ink, printed title, date and number 6/10 on an artistâ&#x20AC;&#x2122;s label affixed to the reverse of the aluminum flush-mount. LiTERATURE Taschen, David LaChapelle, p. 136 Estimate $ 7, 0 0 0 - 9 , 0 0 0 53

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2 ROBERT AND SHANA PARKEHARRISON b. 1968, b. 1964 The Sower, 2002. Photogravure. 22 1/4 x 18 3/4 in. (56.5 x 47.6 cm). Initialed by both artists, titled, dated and numbered AP V/VII in pencil in the margin. One from an edition of 40 plus VII artistâ&#x20AC;&#x2122;s proofs. Estimate $ 1, 8 0 0 - 2 , 2 0 0

4 ROBERT AND SHANA PARKEHARRISON b. 1968, b. 1964 Tethered Sky, 2005. Photogravure. 22 3/4 x 18 3/8 in. (57.8 x 46.7 cm). Initialed by both artists, titled, dated and numbered 14/40 in pencil in the margin. Estimate $ 1, 8 0 0 - 2 , 2 0 0

3 ROBERT AND SHANA PARKEHARRISON b. 1968, b. 1964 Barn Season, 2003. Photogravure. 18 5/8 x 21 5/8 in. (47.3 x 54.9 cm). Initialed by both artists, titled, dated and numbered 34/40 in pencil in the margin. Estimate $ 1, 8 0 0 - 2 , 2 0 0

5 ROBERT AND SHANA PARKEHARRISON b. 1968, b. 1964 The Marks We Make, 2003. Photogravure. 21 3/4 x 18 7/8 in. (55.2 x 47.9 cm). Initialed by both artists, titled, dated and numbered 34/40 in pencil in the margin. Estimate $ 1, 8 0 0 - 2 , 2 0 0 54

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6 VIK MUNIZ b. 1961 Cloud from Pictures of Clouds, 2001. Gelatin silver print. 21 7/8 x 17 1/4 in. (55.6 x 43.8 cm). Signed, dated in ink, printed title, date and number on a gallery label affixed to the reverse of the frame. One from an edition of 10. Estimate $ 5 , 0 0 0 -7, 0 0 0

7 GREGORY CREWDSON b. 1962 Untitled from Beneath the Roses, 2003. Digital color coupler print. 12 x 16 in. (30.5 x 40.6 cm). Signed, dated and numbered 2/5 in ink in the margin. Estimate $ 4 , 0 0 0 - 6 , 0 0 0 55

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8 Vik muNiz b. 1961 Alexander McQueen from Pictures of Wire, 2005. Gelatin silver print. 22 x 17 5/8 in. (55.9 x 44.8 cm). Signed, dated in ink, printed title, date and number on a gallery label affixed to the reverse of the flush-mount. One from an edition of 3. Estimate $ 7, 0 0 0 - 9 , 0 0 0

9 LisA oppeNHeim b. 1975 Untitled from Panorama, New York, 2002. Gelatin silver diptych. (i) 12 3/4 x 12 7/8 in. (32.4 x 32.7 cm); (ii) 13 3/8 x 13 in. (34 x 33 cm); overall: 13 3/8 x 26 3/8 in. (34 x 67 cm). Signed, dated and numbered 1/5 in pencil on the mount. Estimate $ 2 , 5 0 0 - 3 , 5 0 0 56

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10 Vik muNiz b. 1961 Judd, Serra from Pictures of Dust, 2000. Dye destruction print, printed 2002. 36 1/4 x 33 1/8 in. (92.1 x 84.1 cm). Signed, dated â&#x20AC;&#x2DC;2002â&#x20AC;&#x2122; in ink, printed title, date and number on a gallery label affixed to the reverse of the flush-mount. One from an edition of 10. Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0 57

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11 Vik muNiz b. 1961 Sunflowers [After Van Gogh] from Pictures of Color, 2002. Dye destruction print, printed 2004. 20 1/4 x 15 1/4 in. (51.4 x 38.7 cm). Signed, dated ‘2004’ and numbered in ink on the verso. One from an edition of 40. LiTERATURE Celant, Vik

13 ALeX HAAs b. 1963 Sanctum-Document #12, 2005. Fujicolor Crystal Archive print. 40 x 54 in. (101.6 x 137.2 cm). Signed, titled, dated and numbered 5/5 on a label accompanying the work. PROvENANCE Acquired directly from the artist Estimate $ 3 , 0 0 0 - 5 , 0 0 0

Muniz/ Ernesto Neto: XLIX Biennale di Venezia, n.p.

Estimate $ 5 , 0 0 0 -7, 0 0 0 12 Vik muNiz b. 1961 Gummy Bears, 2002. Four Duraflex prints. Each: 10 x 8 in. (25.4 x 20.3 cm). One print signed, dated in ink and each with printed title, date, edition number 55/100 and sequential number 1/4-4/4 on an artist’s label affixed to the verso. Estimate $ 4 , 0 0 0 - 6 , 0 0 0 58

36672_PHI_052-071.indd 58

Cycle:

10-02-04 21:33

14 mAriLyN miNter Raspberry, 2005. Color coupler print. 26 x 40 in. (66 x 101.6 cm). Signed in ink, printed title, date and number 3/5 on a gallery label accompanying the work. Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0

15 Lise sArfAti b. 1958 Sloane #30, 2003. Color coupler print. 14 7/8 x 9 7/8 in. (37.8 x 25.1 cm). Signed, titled, dated and numbered 3/10 in ink on a label affixed to the reverse of the frame. PROvENANCE Yossi Milo Gallery, New York LiTERATURE Twin Palms Publishers, Lise Sarfati, The New Life: La Vie Nourvelle, n.p.; Aperture Magazine, Fall 2005, cover

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 59

36672_PHI_052-071.indd 59

Cycle:

10-02-04 21:33

16 dAVid dreBiN b. 1970 Hotlanta, 2005. Digital color coupler print, Diasec mounted. 40 1/4 x 30 1/8 in. (102.2 x 76.5 cm). Signed in ink, printed title and number 1/10 on a label accompanying the work. PROvENANCE Acquired directly from the artist LiTERATURE

17 dAVid dreBiN b. 1970 Beach Shower, 2005. Digital color coupler print, Diasec mounted. 30 1/4 x 40 in. (76.8 x 101.6 cm). Signed in ink, printed title and number 1/10 on a label accompanying the work. PROvENANCE Acquired directly from the artist

Daab Books, David Drebin: Love and Other Stories, n.p.

LiTERATURE Daab Books, David Drebin: Love and Other Stories, n.p.

Estimate $ 3 , 0 0 0 - 4 , 0 0 0

Estimate $ 3 , 0 0 0 - 4 , 0 0 0 60

36672_PHI_052-071.indd 60

Cycle:

10-02-04 21:33

18 erWiN oLAf b. 1959 Hope, 2005. Amsterdam: Self-published, 2006. Six Lambda prints. 8 1/2 x 12 1/4 in. (21.6 x 31.1 cm). Each signed, dated and numbered 2/15 in ink on the verso; each signed, dated and numbered 2/15 in pencil on the overmat. Contained in a decorative leatherette folio case with embossed credit, title and copyright symbol.

Using the aesthetic of fashion photography to explore the ambiguities of social interaction, Erwin Olaf’s Hope portfolio offers six tableaux that capture heightened moments of stillness and reflection. With the title as a ray of insight into the artist’s intent, these visually stunning scenarios force the viewer to question what preceded and what shall follow each scene, all whilst searching for the ‘hope’ that is lingering within each one. The photographs included in this portfolio are some of Olaf’s most celebrated works and demonstrate his continued interest in artfully articulating the “moment between action and reaction.” (Foster, Aperture, Erwin Olaf, p. 103)

LiTERATURE Aperture, Erwin Olaf, pp. 10-11, 20-21, 28-29, 30-31, 34-35 & 46-47

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0

Titles include The Kitchen, The Hallway, The Classroom, The Practice, The Lodger and The Boxing School 61

36672_PHI_052-071.indd 61

Cycle:

10-02-04 21:35

19 kim JooN b. 1966 Birdland-Aerosmith, 2008. Digital color coupler print. 47 1/8 x 47 1/8 in. (119.7 x 119.7 cm). Signed, titled and numbered 2/5 in ink on an artistâ&#x20AC;&#x2122;s label accompanying the work. Estimate $ 6 , 0 0 0 - 8 , 0 0 0 62

36672_PHI_052-071.indd 62

Cycle:

10-02-04 21:35

20 kim JooN b. 1966 Birdland-Mini Cooper, 2008. Digital color coupler print. 47 1/8 x 47 1/8 in. (119.7 x 119.7 cm). Signed, titled and numbered 2/5 in ink on an artistâ&#x20AC;&#x2122;s label accompanying the work. Estimate $ 6 , 0 0 0 - 8 , 0 0 0

22 NoBuyosHi ArAki Polaroid Diptych, n.d. Two Polaroids. Each 3 1/8 x 3 in. (7.9 x 7.6 cm); 3 1/8 x 7 1/4 in. (7.9 x 18.4 cm) overall. Each signed in ink on the verso. Estimate $ 1, 2 0 0 - 1, 8 0 0

21 NoBuyosHi ArAki b. 1940 Polaroid Diptych, n.d. Two Polaroids. Each: 3 1/8 x 3 in. (7.9 x 7.6 cm); 3 1/8 x 7 1/4 in. (7.9 x 18.4 cm) overall. Each signed in ink on the verso. Estimate $ 1, 2 0 0 -1, 8 0 0 63

36672_PHI_052-071.indd 63

Cycle:

10-02-04 21:35

23 regiNA deLuise b. 1959 Nudeâ&#x20AC;&#x201D;Leaning Forward, Cortona, 2001. Platinum print. 9 3/8 x 7 1/2 in. (23.8 x 19.1 cm). Signed and numbered 2/30 in pencil in the margin. Estimate $ 8 0 0 -1, 2 0 0

26 regiNA deLuise b. 1959 Nude in Gown, 1997. Platinum print. 9 1/2 x 7 3/8 in. (24.1 x 18.7 cm). Signed in pencil in the margin. Estimate $ 8 0 0 -1, 2 0 0

24 regiNA deLuise b. 1959 Nude on Tire Swing, c. 2002. Platinum print. 9 3/8 x 7 1/2 in. (23.8 x 19.1 cm). Signed and numbered 2/20 in pencil in the margin. Estimate $ 8 0 0 -1, 2 0 0

27 regiNA deLuise b. 1959 Male Nude, c. 1990. Platinum print. 7 1/2 x 9 3/8 in. (19.1 x 23.8 cm). Signed in pencil in the margin. Estimate $ 8 0 0 -1, 2 0 0

25 kAty grANNAN b. 1969 Van, Red Hook, NY, 2003. Gelatin silver print. 20 1/4 x 16 1/8 in. (51.4 x 41 cm). Initialed, dated and numbered 4/6 in pencil on the reverse of the mount. PROvENANCE Greenberg Van Doren Gallery, New York LiTERATURE Avgikos, Martin & Grannan, Katy Grannan: Model American, n.p. EXhiBiTEd Katy Grannan: New Works, Artemis Greenberg Van Doren Gallery, New York, 4 September - 29 October 2003

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 64

36672_PHI_052-071.indd 64

Cycle:

10-02-04 21:36

28 NAomi HArris b. 1973 Broken Leg and Barbecue, Swingstock, Duxbury, MN, July from America Swings, 2004. Dye destruction print, Diasec mounted. 53 x 40 in. (134.6 x 101.6 cm). Signed, titled, dated and numbered 1/3 in ink on the reverse of the frame. One from an edition of 3 plus 2 artist's prooofs. PROvENANCE Acquired directly from the artist

29 NAomi HArris b. 1973 Thanksgiving Dinner, Big Lake, MN, November from America Swings, 2004. Dye destruction print, Diasec mounted. 40 x 53 in. (101.6 x 134.6 cm). Signed, titled, dated and numbered 1/3 in ink on the reverse of the frame. One from an edition of 3 plus 2 artist's proofs. PROvENANCE Acquired directly from the artist

LiTERATURE Taschen, America Swings: Photographs by Naomi Harris, p. 15

LiTERATURE Taschen, America Swings: Photographs by Naomi Harris, p. 96

Estimate $ 5 , 0 0 0 -7, 0 0 0

America Swings is Naomi Harrisâ&#x20AC;&#x2122; five-year exploration into the American subculture of swinging. With her camera in tow, Harris ingratiated herself into communities throughout the country to document a lifestyle of complete sexual freedom. The resulting photographs depict her subjects in a range of activities from the everyday to the extreme and, in doing so, celebrate a group of people who live their lives outside the contemporary stereotypes of community and sexual practice.

I love the obscure and realism. I adore seeing what goes on behind closed doors and love the photographers who are able to get access to really tough situations. Naomi Harris, America Swings: Photographs by Naomi Harris, p. 14

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Cycle:

10-02-04 21:37

30 ANN Woo b. 1975 Sunset, Blue; Sunset, Purple; Sunset, Pink; Sunset, Orange; Sunset, Yellow; Sunset, Green; Sunset, Cyan from Sunsetsâ&#x20AC;&#x201D;The Spectrum, 2007. Seven color coupler prints, flush-mounted. Each: 13 3/8 x 10 3/8 in. (34 x 26.4 cm). Signed in ink, printed title, date and number 3/3 on a Certificate of Authenticity accompanying the work.

32 gĂ&#x2013;tz diergArteN b. 1972 Ravenoville LXII, 2000. Color coupler print, Diasec mounted, printed 2004. 23 5/8 x 30 7/8 in. (60 x 78.4 cm). Signed, titled, dated and numbered 1/5 in ink on the reverse of the flush-mount. Estimate $ 2 , 5 0 0 - 3 , 5 0 0

PROvENANCE Amani Olu Projects, Brooklyn

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 31 NiCHoLAs prior b. 1966 Untitled #40, 2004. Dye destruction print, flush-mounted. 27 7/8 x 33 1/8 in. (70.8 x 84.1 cm). Signed, titled, dated and numbered 2/7 in ink on the verso. Estimate $ 2 , 0 0 0 - 3 , 0 0 0 66

36672_PHI_052-071.indd 66

Cycle:

10-02-04 21:38

33 ALeC sotH b. 1969 Patrick, Palm Sunday, Baton Rouge, Louisiana, 2002. Color coupler print, printed 2006. 49 1/2 x 39 1/2 in. (125.7 x 100.3 cm). Signed, titled, dated ‘2006’ and numbered AP 1/2 in ink on a label affixed to the reverse of the aluminum flush-mount. One from an edition of 5 plus 2 artist’s proofs. PROvENANCE Weinstein Gallery,

For nearly a century, the American social landscape has been widely explored, dissected and revealed, sometimes with a loving eye, sometimes with a critical eye, but rarely with an objective eye, such as Alec Soth’s, that somehow balances both. Patrick, Palm Sunday, Baton Rouge, Louisiana is part of Soth’s five-year body of work, Sleeping by the Mississippi, in which the famed photographer formed an unassuming cross-section of the demographic diversity running along the river. Layers of strata, rocks, soil and flora are replaced by socio-cultural signifiers such as race, dress, personal space, and as we see in this image, religious practices. The resulting image is not a critique of, nor an homage to the religious ceremony. Rather, it is an understated acknowledgement of its existence—and importance, in creating a revised perception of the kaleidoscopic American panorama.

Minneapolis LiTERATURE Klochko, Picturing Eden, p. 77; Steidl, Sleeping by the Mississippi: Photographs by Alec Soth, pl. 41

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0

36672_PHI_052-071.indd 67

Cycle:

10-02-04 21:38

34 stÉpHANe Couturier b. 1957 San Diego Olympic Parkway, 2001. Color coupler print. 25 1/2 x 48 3/8 in. (64.8 x 122.9 cm). Signed, titled, dated and numbered 4/5 in ink on the reverse of the flush-mount. PROvENANCE Acquired directly from the artist LiTERATURE

35 simoN NorfoLk b. 1963 ROK Engine, 2008. Digital color coupler print, flush-mounted. 39 5/8 x 49 3/8 in. (100.6 x 125.4 cm). Signed, dated and numbered in ink on a Certificate of Authenticity accompanying the work. One from an edition of 7 plus 2 artist’s proofs.

Editions Ville Ouverte, Stéphane Couturier Photographies, p. 3; Editions Adam Biro Paris, Stéphane

PROvENANCE Bonni Benrubi Gallery, New York

Couturier Photographies, pp. 134-135

Estimate $ 7, 0 0 0 - 9 , 0 0 0

Estimate $ 5 , 0 0 0 -7, 0 0 0 For several years now, my work has been an exploration of the Sublime in the landscape; those sights whose boundless beauty is countervailed by feelings of fearlessness and powerlessness. If one spends time in the shadowy, military end of the Internet, one cannot be left with anything but conflicted feelings. The bewildering beauty of what human ingenuity can achieve when given endless resources collides with the appalling disposal of those assets on new and more brilliant ways to kill people. Simon Norfolk, “Full Spectrum Dominance: missiles, rockets, satellites in America”, October 2008 68

36672_PHI_052-071.indd 68

Cycle:

10-02-04 21:38

36 roBert poLidori b. 1951 Kuwait Exchange #1, Kuwait City, Kuwait, 2007. Fujicolor Crystal Archive print. 57 7/8 x 40 5/8 in. (147 x 103.2 cm). Signed in ink, printed title, date and number 5/10 on a gallery label affixed to the reverse of the flush-mount. PROvENANCE Edwynn Houk Gallery, New York; to the present Private Collection, New York Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 69

36672_PHI_052-071.indd 69

Cycle:

10-02-04 21:39

37 WeNg feN b. 1961 Bird’s Eye View, 2005. Color coupler print. 49 3/8 x 61 1/2 in. (125.4 x 156.2 cm). Signed, dated and numbered 4/8 in ink in the margin. Estimate $ 6 , 0 0 0 - 8 , 0 0 0

39 Wout Berger b. 1941 Ruigoord #1, 2003. Color coupler print. 21 3/8 x 27 1/4 in. (54.3 x 69.2 cm). Signed, titled, dated and numbered 5/12 in ink on labels affixed to the reverse of the flush-mount. Estimate $ 2 , 0 0 0 - 3 , 0 0 0

38 JiN sHAN b. 1977 I'm a Good Man, Don't Arrest Me from I’m 27 Years Old, 2006. Color coupler print. 19 3/4 x 27 1/2 in. (50.2 x 69.9 cm). Signed in Chinese, dated, numbered 1/6 in ink, printed title, annotation ‘In 1984, our country was waging “Severe Punishment,” across the field of the entire state’ in Chinese and English in the margin. Estimate $ 2 , 0 0 0 - 3 , 0 0 0 Like many contemporary Chinese artists whose work is imbued with the cultural history of their nation, Jin Shan’s photographs from the series I’m 27 Years Old, address the iconic events of China’s past through the veil of the artist’s personal history. Superimposing his own image in color atop anonymous black and white photographs, this one depicting the longstanding Chinese tradition of public executions, Jin attempts to open a new dialogue with the past while highlighting the implication of these collective historical events on the individual.

Working in the tradition of landscape photography, Wout Berger’s Ruigoord series depicts a plot of land near Amsterdam that was planted with seedlings to prevent erosion and thus prepare the ground for future urban development. By reducing the landscape to the immediate foreground and focusing on the tiniest weeds and flowers, Berger’s photograph speaks of the environmental impact of urban sprawl and the new role of nature, not as a rival of the city, but as a vehicle for its development. This photograph is unique in this size. The other prints from this edition measure 40 x 50 in. (101.6 x 127 cm).

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Cycle:

10-02-04 21:39

40 edWArd BurtyNsky b. 1955 Shipyard #11, Qili Port, Zhejiang Province, China, 2005. Digital color coupler print. 22 x 18 in. (55.9 x 45.7 cm). Signed in ink, printed title, date and number 5/25 on a label affixed to the reverse of the frame. Estimate $ 5 , 0 0 0 -7, 0 0 0 71

36672_PHI_052-071.indd 71

Cycle:

10-02-04 21:40

NOW

saturDaY 6 marCH 2010 NEW YOrK

DESIGN LOtS 41 - 61

noVembre, F. 59

ArAd, r. 55 Atelier VAn lieshout 46 AzAmbourg, F. 58

rosKin, A. 49 ruCKer, C. 44

bey, J. 47 brAdField, g. 61 Colombo, e. 56

sAChs, r. 53 serFAty, A. 42 smith, K. 48

grAwunder, J. 45

trAAg, P. 60

hild, e. 41 mAyor, J. 43, 57 mCCAllum, K. 50, 51 morel, P. 54 mottA, C. 52

36672_PHI_072-085.indd 72

Cycle:

10-02-05 08:01

eVA hild b. 1966 “Komplex” sculpture, 2003. Stoneware. 28 x 27 x 27 in. (71.1 x 68.6 x 68.6 cm).

LitEraturE Judith Thurman, “Reflecting on an Ideal,” Architectural Digest, October 2006, illustrated p. 260

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 73

36672_PHI_072-085.indd 73

Cycle:

10-02-05 08:01

43 42 AYALA SERFATY b. 1962 “Tamino” light sculpture, 2009. Glass rods, polymer, plastic, steel. 7 x 16 x 14 in. (17.8 x 40.6 x 35.6 cm). Literature Meira Yagid-Haimovici, ed., Ayala

43 JULIAN MAYOR b. 1976 “General Dynamic” chair, 2004. Lacquered fiberglass. 28 1/4 in. (71.8 cm) high. From the edition of 50. Literature Sophie Lovell, Limited Edition: Prototypes,

Serfaty: SOMA, exh. cat., Tel Aviv Museum of Art, 2008, pp. 51-71 for similar examples

One-Offs and Design Art Furniture, Basel, 2009, p. 186

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

Estimate $ 2 , 0 0 0 - 3 , 0 0 0

A similar example is in the permanent collection of the Museum of Arts and Design, New York. 74

36672_PHI_072-085.indd 74

Cycle:

10-02-08 21:55

44 Chris ruCKer b. 1972 “Double-chair #1,” 2010. Oriented strand board. 31 3/4 x 29 x 17 1/2 in. (80.6 x 73.7 x 44.5 cm). Produced by Chris Rucker, USA. Number two from the edition of eight plus one prototype. Underside branded with “love, ruckercorp” and impressed with “2.” Estimate $ 2 , 5 0 0 - 3 , 5 0 0 75

36672_PHI_072-085.indd 75

Cycle:

10-02-05 08:02

45 JOHANNA GRAWUNDER b. 1961 “Office Chair for the New Economy,” 2006. Vinyl, chrome-plated tubular steel, fluorescent tube. 22 x 58 1/4 x 85 in. (55.9 x 148 x 215.9 cm). Produced by Galerie Italienne, Italy. From the edition of 12. From the New Positions series. Provenance Acquired directly from the artist Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 Each example within the edition is unique due to the color combination of upholstery and lighting. 76

36672_PHI_072-085.indd 76

Cycle:

10-02-05 12:48

46 Atelier VAn lieshout “Prick Lamp (Black, Thick),” 2007. Reinforced fiberglass, foam. 55 in. (139.7 cm) high. Produced by Atelier Van Lieshout, The Netherlands. Number 17 from the edition of 20. Underside with metal label signed with “Atelier Van Lieshout 17 / 20” and impressed with “AVL001241.” LitEraturE Jennifer Allen, Aaron Betsky and Rudi

47 Jurgen bey b. 1965 Pair of “Droog” stools, 2009. Plywood, plastic laminate-covered plywood. Each: 18 1/4 x 16 3/4 x 16 3/4 in. (46.4 x 42.5 x 42.5 cm). Produced by Droog, The Netherlands. One leg of each impressed with “DROOG NY” and another leg impressed with “24 02 09” (2). Estimate $ 1, 0 0 0 -1, 5 0 0

Laermans, et al., Atelier Van Lieshout, Rotterdam, 2007, pp. 54-55, 280-281 and 290 for a similar example; Meghan Daily, “In the Studio,” Art + Auction, April 2008, p. 58 for a similar example;

Twenty examples of the present stools were produced to celebrate the opening of Droog New York, February 2009.

Sophie Lovell, Limited Edition: Prototypes, One-Offs and Design Art Furniture, Basel, 2009, p. 171

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 77

36672_PHI_072-085.indd 77

Cycle:

10-02-05 08:03

Literature Shonquis Moreno, “Jewelry in a Virtual World,” American Craft, December/

49 ALEX ROSKIN b. 1972 Pair of “Skeleton” stools, 2006. Rosewood, bronze (2). One: 16 1/4 x 28 3/4 x 28 in. (41.3 x 73 x 71.1 cm); the other: 17 1/2 x 28 x 21 1/4 in. (44.5 x 71.1 x 54 cm).

January 2009, illustrated p. 39

Provenance Wexler Gallery, Philadelphia, Pennsylvania

Estimate $ 1, 0 0 0 -1, 5 0 0

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

KIKI SMITH b. 1954 “Eye” brooch, 2003. Silver. 2 5/8 x 5/8 in. (6.7 x 1.6 cm).

36672_PHI_072-085.indd 78

Cycle:

10-02-05 13:00

50 Kelly mCCAllum b. 1979 Unique Victorian taxidermied bird sculpture, 2008. Taxidermied Victorian bird, antique clock parts, antique pocket watch, wood. 6 in. (15.2 cm) high. Underside signed in pen with “Jeune/Chardonneret.” LitEraturE Francesca

51 Kelly mCCAllum b. 1979 Unique Victorian taxidermied bird sculpture, 2008. Taxidermied Victorian bird, 18 carat gold-plated metal maggots, wood. 7 in. (17.8 cm) high. Underside of base signed with “TREE PIPIT/379/22.” LitEraturE “Kelly McCallum:

Gavin, “Fatal Attraction,” Wallpaper, April 2009, p. 82 for similar examples

Nothing Like Death to Make Me Feel Alive,” Candid, January 2009; Francesca Gavin, “Fatal

Estimate $ 2 , 5 0 0 - 3 , 5 0 0

Attraction,” Wallpaper, April 2009, p. 82 for similar examples

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 A taxidermied sculpture by Kelly McCallum appeared recently in “Telling Tales,” at the Victoria and Albert Museum, London, 14 July - 18 October, 2009. 79

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10-02-05 08:03

Photo courtesy of Fernando Laszlo

52 CARLOS MOTTA b. 1952 “Radar” chair, 2008. Peroba Rosa wood, oxidized iron. 26 in. (66 cm) high. Manufactured by Carlos Motta Atelier, Brazil. exhibited “Design Brasileiro Hoje: Fronteiras,” Museum of Modern Art of São Paulo, April 4 - June 28, 2009

53 ROLF SACHS b. 1955 “St. Moritzer Schlitten,” 2004. Ash wood, felt, leather, metal. 16 1/2 x 82 5/8 x 19 5/8 in. (41.9 x 209.9 x 49.8 cm). Produced by Graf Schlitten, Switzerland. From the edition of 25. Provenance Phillips de Pury & Company, New York exhibited

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0

“MARYAM & ROLF SACHS Wild & Real?,” Phillips de Pury & Company, New York, October 26 November 3, 2006 Literature Rolf Sachs, MARYAM & ROLF SACHS Wild & Real, exh. cat., New York, 2006, n.p.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 80

36672_PHI_072-085.indd 80

Cycle:

10-02-08 22:01

54 PhiliPPe morel b. 1973 “Best Test 1-400” or “Computational” chair, 2004. Cut and laminated elm. 35 3/8 in. (89.9 cm) high. From the edition of 25. Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0 81

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Cycle:

10-02-05 08:04

55 ron ArAd b. 1951 Pair of “Hot Ingo” earrings, 2003. Laser-sintered polyamide, platinum. Each: 4 in. (10.2 cm) drop. From the edition of 100. Each impressed with “Pt” (2).

56 elenA Colombo b. 1962 Prototype “Branch Trough” fire feature, 2009. Welded stainless steel. 6 x 31 x 9 in. (15.2 x 78.7 x 22.9 cm). Produced by Colombo Construction Corp., USA. Together with lid (not pictured) and a certificate of authenticity. Estimate $ 2 , 5 0 0 - 3 , 5 0 0

LitEraturE Karin Nelson, “On Your Wall, Around Your Neck,” The New York Times, December 14, 2008, for a similar pair of earrings.

Estimate $ 5 , 0 0 0 -7, 0 0 0 82

36672_PHI_072-085.indd 82

Cycle:

10-02-05 08:04

57 JuliAn mAyor b. 1976 “Impression” chair, 2005. Plywood, painted wood. 27 in. (68.6 cm) high. From the edition of 20. Back leg incised with “Julian Mayor.” LitEraturE The Sunday Review, The Independent on Sunday, September 21, 2003, front cover

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 83

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Cycle:

10-02-05 08:04

to top slightly

58 FrAnÇois AzAmbourg b. 1963 “Gavrotte” floor lamp, ca. 2008. Painted crumpled pewter. 71 in. (180.3 cm) high. Manufactured by Cappellini, Italy. ExHibitED Salone di

60 Peter trAAg b. 1979 “Sponge” chair, 2004. Polyurethane, Tevira upholstery. 29 in. (73.7 cm) high. Manufactured by Edra, Italy. Underside molded with “edra/SPONGE/ design: Peter Traag.” LitEraturE Tom Dixon, et al., eds., &Fork, London, 2007, p. 379 Estimate $ 3 , 0 0 0 - 5 , 0 0 0

Mobili, Milan, 2008

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 59 FAbio noVembre b. 1966 Tall “Org” table, 2006. Polypropylene rope-covered steel, glass, stainless steel. 43 1/2 in. (110.5 cm) high, 23 5/8 in. (60 cm) diameter. Manufactured by Cappellini, Italy. One leg signed in pen with “11 /10/2006.” Estimate $ 3 , 0 0 0 - 5 , 0 0 0 84

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Cycle:

10-02-05 08:05

61 geoFFrey brAdField b. 1946 “Coco” chair, ca. 2007. Acrylic, suede, nickel. 29 1/4 in. (74.3 cm) high. Manufactured by Geoffrey Bradfield LLC, USA. From the edition of 24. Estimate $ 8 , 0 0 0 -1 0 , 0 0 0 85

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Cycle:

10-02-05 08:05

now

saturDaY 6 marCH 2010 NEW YOrK

EDITIonS LoTS 62 - 114

Ballantyne, C. 78 BoChner, M. 87 Cinelli, S. 110 Clayton BrotherS 70 CloSe, C. 68 DaviS, t. 109 Doig, P. 81, 82 DuMaS, M. 66 DzaMa, M. 83, 84, 85

havekoSt, e. 112 hirSt, D. 91, 101, 103 h枚Fer, C. 111

renn贸, r. 67 ruFF, t. 114 ruSCha, e. 107 ruyter, l. 79

JohnSon, l. 108 SaSnal, W. 72 SiMMonS, l. 69 Struth, t. 113

kelly, e. 100 kiliMnik, k. 74 koonS, J. 95

tiMMe, J. 75 laFont, S. 106 variouS artiStS 74

eggerer, t. 80 eiSenMan, n. 74 eitel, t. 104, 105

MCgee, B. 86 MCginneSS, r. 94 Minter, M. 73 MurakaMi, t. 93, 96, 97, 98

Wearing, g. 71 Wiley, k. 92 Wool, C. 89, 90

nara, y. 99

yuSkavage, l. 65

Fairey, S. 76 gallagher, e. 64 greene, r. 74 greenFielD-SanDerS, i. 62

Peyton, e. 63 PierSon, J. 88 Prieto, M. 102 Puryear, M. 77

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Cycle:

10-02-05 08:31

62 iSCa greenFielD-SanDerS b. 1978 The Swimming Pool Etchings, 2006. The complete set of four aquatints in colors. All: 21 x 21 in. (53.3 x 53.3 cm) approximately. All signed, dated and annotated ‘TPH’ in pencil (the edition was 50), published by Paulson Press, Berkeley, California (with their blindstamp), all unframed. Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 Including: Blue Suit Bather; Green Suit Bather; Red Suit Diver; and Yellow Suit Diver 87

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Cycle:

10-02-05 08:32

63 ELIZABETH PEYTON b. 1965 Nick in L.A., 2002. Etching in sepia, on Somerset paper. 10 x 8 1/2 in. (25.4 x 21.6 cm). Signed and numbered ‘pp III/V’ in brown pencil (a printer’s proof, the edition was 20), published by Two Palms Press, New York, unframed. Literature Guild Hall Museum p.28 (cover illustration) Estimate $ 1, 2 0 0 -1, 8 0 0

66 MARLENE DUMAS b. 1953 United Europe, 2005. Digital pigment print in colors, on rag paper. 10 3/4 x 9 1/4 in. (27.3 x 23.5 cm). Signed, titled, dated, annotated ‘Not gonna tell you where I came from; nor where I’m going to.’ and numbered 19/75 in pencil, framed. Estimate $ 1, 2 0 0 -1, 8 0 0 67 ROSANGELA RENNó b. 1962 Red Series: Untitled, 2001. Screenprint in colors, with UV lamination. 68 x 46 3/4 in. (172.7 x 118.7 cm). Signed, dated and numbered 42/50 in pencil, unframed. Estimate $ 1, 5 0 0 - 2 , 5 0 0

64 ELLEN GALLAGHER b. 1965 Detective Training, 2004. Offset print with laser-cut holes, on Japanese paper. 5 x 4 in. (12.7 x 10.2 cm). Numbered 53/100 in blue ink on the reverse of the frame, published by Two Palms Press, New York, framed. Estimate $ 7 0 0 -1, 0 0 0

68 CHUCK CLOSE b. 1940 Untitled (In Honor of Peter Hujar), from 1989 portfolio, 2000. Digital Iris print in colors. 12 x 20 in. (30.5 x 50.8 cm). Signed, dated and numbered 1/75 in pencil (there were also 12 artist’s proofs), published by the Estate Project for Artist’s with AIDS and Alliance for the Arts, New York, unframed. Estimate $ 1, 0 0 0 -1, 5 0 0

65 LISA YUSKAVAGE b. 1963 Grace, 2001. Etching, on Chine collé to Somerset paper. 2 7/8 x 2 3/4 in. (7.3 x 7 cm). Signed, titled, dated and numbered 35/40 in pencil (there were also 15 artist’s proofs in Roman numerals), published by Marianne Boesky Gallery, New York, unframed. Estimate $ 6 0 0 - 9 0 0 88

36672_PHI_086-101.indd 88

Cycle:

10-02-05 13:45

69 laurie SiMMonS b. 1949 Untitled (In Honor of Jimmy de Sana), from 1989 portfolio, 1997/2000. Crystal archive type chromogenic print, on Fugifilm Fugicolor crystal archive paper. 10 x 6 in. (25.4 x 15.2 cm). Signed, dated, annotated and numbered 1/75 in blue ink on the reverse (there were also 12 artist’s proofs), published by the Estate Project for Artist’s with AIDS and Alliance for the Arts, New York, unframed. Estimate $ 9 0 0 -1, 2 0 0

72 WilhelM SaSnal b. 1972 Raster Posters, 2003. Seven offset lithographs (several in colors), one mounted to a blue leather covered folder (as issued). Various sizes. All loose prints signed, dated and numbered 78/100 (two on the reverse), the mounted print signed, dated and numbered 2/70 in black ink on the outside of the folder, published by Raster, Warsaw, all unframed. Estimate $ 1, 2 0 0 -1, 8 0 0

70 the Clayton BrotherS b. 1963, b. 1967 Wrong. Screenprint in colors, on Rives BFK Archival paper. 6 x 4 1/2 in. (15.2 x 11.4 cm). Signed by both artists and numbered 8/10 in pencil (there were also 4 artist’s proofs), framed. Estimate $ 4 0 0 - 6 0 0

73 Marilyn Minter b. 1948 Supreme Skate Decks, 2008. The complete set of three printed skate decks in colors. All: 31 3/8 x 8 in. (79.7 x 20.3 cm). Published by Supreme, New York, all shrink-wrapped. Estimate $ 8 0 0 -1, 2 0 0

71 gillian Wearing b. 1963 Sleeping Mask, 2004. Wax multiple painted in colors, reinforced by polymer resin (as issued). 8 1/4 x 5 1/4 in. (21 x 13.3 cm). Signed, dated and numbered ‘No. 41’ in black ink on the underside (the edition was 60 and 20 artist’s proofs in Roman numerals), published by Parkett Editions, Zurich and New York, contained in original custom plastic packaging and original Styrofoam lined cardboard box. LitEraturE Edition for Parkett 70 Estimate $ 9 0 0 -1, 2 0 0

74 variouS artiStS Times of Day Collection, 1999. The complete set of three porcelain plates printed in colors. All: 10 1/2 in. (26.7 cm) diameter. All signed, dated and variously numbered from the editions of 150 in black marker on the reverse, published by Adora Porcelain, New York. Estimate $ 9 0 0 -1, 2 0 0

•

Including: Karen Kilimnik, Dawn; Robert Greene, Day; and Nicole Eisenman, Dusk. 89

36672_PHI_086-101.indd 89

Cycle:

10-02-05 08:33

75 Jan tiMMe b. 1971 Close your Eyes, They Don’t Need to See You Die, 2004. Lamp comprising of two-way mirror, globe, light bulb and polished aluminum. 11 3/8 x 11 3/8 x 11 3/8 in. (28.9 x 28.9 x 28.9 cm). Numbered 3/5 (there was also 1 artist’s proof), published by Galerie Nagel, Cologne. ExHibitED Institute of Contemporary Art Boston, Momentum, May 26 - September 5, 2004 Estimate $ 1, 5 0 0 - 2 , 5 0 0

76 SheParD Fairey b. 1970 Progress, 2008. Screenprint in colors, on wove paper with flecked fibers. 34 1/4 x 22 3/8 in. (87 x 56.8 cm). Signed, dated and numbered 228/350 in pencil, published by Obey Giant, Los Angeles, unframed. Estimate $ 2 , 5 0 0 - 3 , 5 0 0 77 Martin Puryear b. 1941 Untitled V, 2005. Aquatint in colors. 17 3/4 x 23 3/4 in. (45.1 x 60.3 cm). Signed, dated and annotated ‘AP 12’ in pencil (an artist’s proof, the edition was 40), published by Paulson Press, Berkeley, California (with their blindstamp), unframed. Estimate $ 3 , 5 0 0 - 4 , 5 0 0 90

36672_PHI_086-101.indd 90

Cycle:

10-02-05 08:33

78 ChriS Ballantyne b. 1972 Untitled (Bridge), 2004. Two aquatints in colors, on one sheet of wove paper. 15 x 24 in. (38.1 x 61 cm). Signed, dated and numbered 6/30 in pencil, published by Paulson Press, Berkeley (with their blindstamp), framed. Estimate $ 1, 2 0 0 -1, 8 0 0

81 Peter Doig b. 1959 Untitled, 2006. Lithograph in colors, on Somerset paper. 38 x 24 in. (96.5 x 61 cm). Signed, dated and numbered 5/20 in pencil (there were also 10 artist’s proofs), published by Landfall Press, Santa Fe (with their copyright stamp on the reverse), unframed. Estimate $ 4 , 0 0 0 - 6 , 0 0 0

79 liSa ruyter b. 1968 Peckinpah, 1999. Screenprint in colors, on Moulin des Berger paper. 22 1/2 x 30 in. (57.2 x 76.2 cm). Signed, titled, dated and numbered 28/60 in pencil (there were also 10 artist’s proofs), published by Rogue Fine Art, Long Island City, New York, framed. Estimate $ 1, 0 0 0 -1, 5 0 0

82 Peter Doig b. 1959 Canoe-Island, 2000. Screenprint in colors, on Somerset paper. 28 7/8 x 39 3/8 in. (73.3 x 100 cm). Signed and numbered 157/300 in pencil on the reverse, published by Counter Editions, London, framed. Estimate $ 1, 5 0 0 - 2 , 5 0 0

80 thoMaS eggerer b. 1963 Fortress; and Heloise, 2003. Two screenprints, on smooth wove paper. Both: 44 x 18 in. (111.8 x 45.7 cm) approximately. From the editions of 25 and 5 artist’s proofs, published by Kunstverien, Munich, both unframed. Estimate $ 2 , 0 0 0 - 3 , 0 0 0 91

36672_PHI_086-101.indd 91

Cycle:

10-02-05 08:33

83 MarCel DzaMa b. 1974 Ceremonies of the Horsemen, 2006. Lithograph in colors, on Rives BFK cream paper. 19 1/2 x 19 7/8 in. (49.5 x 50.5 cm). Signed, dated and numbered 9/30 in pencil, published by Ikon, Birmingham, England, unframed. Estimate $ 8 0 0 -1, 2 0 0

85 MarCel DzaMa b. 1974 The Cabin of Count Dracula, 2005. The complete set of twenty lithographs, on Arches Cover paper, plus colored vinyl record with printed sleeve. All various sizes. All signed with initials and numbered VII/X in pencil, also signed and numbered on the colophon in pencil (each print was also published individually, the record was also published in an edition of 1000), published by Trillium Press, Brisbane, California, all contained in original custom hand-made wood log cabin box, on a bed of faux beaver fur. Estimate $ 2 , 0 0 0 - 3 , 0 0 0

84 MarCel DzaMa b. 1974 Lonesome Creatures of a Worried World, 2004. The complete set of two etchings, one a Leporello, one a bonus print, both on Canson-gravure paper. 7 1/2 x 5 3/8 in. (19.1 x 13.7 cm). Both signed, with hand-drawn character and numbered 4/25 in pencil, the bonus etching numbered 4/5 with annotation and additional small character drawing on the reverse (only 5 from the edition of 25 contain this bonus print), co-published by XnĂŠolition and Christophe Daviet-Thery, Paris, both unframed, contained in original wooden box with marquetry. Estimate $ 2 , 0 0 0 - 3 , 0 0 0 92

36672_PHI_086-101.indd 92

Cycle:

10-02-05 08:34

86 Barry MCgee b. 1966 Drypoint on Acid portfolio, 2006. The complete set of ten etchings, aquatints and screenprints in colors with collé of various collected papers. 10 x 8 x 2 in. (25.4 x 20.3 x 5.1 cm). All signed or initialed and numbered ‘A.P. 5’ in pencil on the reverse (one of 5 artist’s proofs, the edition was 20), published by Edition Jacob Samuel, Santa Monica, all unframed, contained in original screenprinted wooden box. Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 93

36672_PHI_086-101.indd 93

Cycle:

10-02-05 08:34

87 Mel BoChner b. 1940 Blah, Blah, Blah, 2009. Monoprint with engraving and embossment in colors, on handmade Twinrocker paper. 12 x 9 in. (30.5 x 22.9 cm). Signed, annotated ‘MB2470’ and dated in pencil (annotation on the reverse), unframed. Estimate $ 1, 8 0 0 - 2 , 5 0 0

89 ChriStoPher Wool b. 1955 My House I, 2000. Screenprint in colors, on matt custom art paper. 39 x 29 in. (99.1 x 73.7 cm). Signed, dated and numbered 28/100 in pencil (the series consists of three color combinations, each with an edition of 100), published by Counter Editions, London, unframed. Estimate $ 2 , 0 0 0 - 3 , 0 0 0

88 JaCk PierSon b. 1960 Untitled, 2008. Photograph in colors, on matte photo paper. 16 x 20 in. (40.6 x 50.8 cm). Signed, dated, annotated ‘IMMA Edition’ and numbered 26/50 in black ink on the reverse, published by the Irish Museum of Modern Art, Dublin, unframed. Estimate $ 6 0 0 - 9 0 0

90 ChriStoPher Wool b. 1955 Supreme Skate Decks, 2008. The complete set of three printed skate decks in colors. All: 31 3/8 x 8 in. (79.7 x 20.3 cm). Published by Supreme, New York, all shrink-wrapped. Estimate $ 6 0 0 - 8 0 0 94

36672_PHI_086-101.indd 94

Cycle:

10-02-05 08:34

91 DaMien hirSt b. 1965 Sceptic, 2006. Screenprint in colors, on Somerset Satin paper. 56 1/2 x 28 1/2 in. (143.5 x 72.4 cm). Signed and dated 31/55 in white pencil, published by Paul Stolper, London, framed. Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 95

36672_PHI_086-101.indd 95

Cycle:

10-02-05 08:35

92 kehinDe Wiley b. 1977 Passing/Posing, 2003. Pigment print in colors. 29 3/4 x 29 3/4 in. (75.6 x 75.6 cm). Signed in black ink on a label affixed to the back of the frame, numbered 12/35 (there were also 3 artist’s proofs), co-published by MS Editions and Downtown Arts Projects, New York, framed in original gold frame selected by the artist. Estimate $ 2 , 0 0 0 - 3 , 0 0 0

94 ryan MCginneSS b. 1971 FLY DVD, 2006. Acrylic stencil in colors, on corregated cardboard folder containing DVD. 11 3/4 x 8 3/4 in. (29.8 x 22.2 cm). Signed, dated and numbered ‘No. 7 of 50 paintings’ in black ink on the reverse, framed. Estimate $ 1, 2 0 0 -1, 8 0 0 95 JeFF koonS b. 1955 Supreme Skate Decks (Monkey), 2006. The complete set of three printed skate decks in colors. All: 31 3/8 x 8 in. (79.7 x 20.3 cm). Published by Supreme, New York, all shrink-wrapped. Estimate $ 1, 5 0 0 - 2 , 5 0 0

93 takaShi MurakaMi b. 1962 Monogram Multicolore—black, 2007. Editioned canvas on chassis. 15 3/4 x 15 3/4 in. (40 x 40 cm). Signed and dated on the chassis in black ink, numbered 7/100 on the accompanying certificate of authenticity, contained in original Louis Vuitton box. Estimate $ 6 , 0 0 0 - 9 , 0 0 0 96

36672_PHI_086-101.indd 96

Cycle:

10-02-05 08:35

96 takaShi MurakaMi b. 1962 Flower: The Creatures from Planet 66, 2004. Screenprint in colors. 7 1/8 x 27 1/2 in. (18.1 x 69.9 cm). Signed, dated and numbered 9/50 in pencil, published by Kaikai Kiki, Tokyo, unframed. Estimate $ 3 , 0 0 0 - 5 , 0 0 0

98 takaShi MurakaMi b. 1962 Oval (Peter Norton Christmas Project 2000), 2000. Polychromed plastic multiple containing a mini CD. 10 1/2 x 7 x 7 1/4 in. (26.7 x 17.8 x 18.4 cm). From the edition of 2,000, published by the Peter Norton Family Christmas Project. Estimate $ 1, 5 0 0 - 2 , 5 0 0

Artwork ©2004 Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved. Artwork ©2000 Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved. 97 takaShi MurakaMi b. 1962 Jellyfish Eyes, 2002. Offset lithograph in colors, on smooth wove paper. Diameter: 22 in. (55.9 cm). Signed with the artist’s swirl symbol, numbered 66/250 in black ink on a label affixed to the reverse, published by Kaikai Kiki, Tokyo, contained in artist’s original circular frame. Estimate $ 3 , 0 0 0 - 4 , 0 0 0

99 yoShitoMo nara b. 1959 Cosmic Girls, 2008. The complete set of two offset lithographs, on smooth wove paper. Both: 27 x 19 1/8 in. (68.6 x 48.6 cm). From the edition of 500, published by Baltic Centre for Contemporary Art, Gateshead, United Kingdom, both unframed. Estimate $ 8 0 0 -1, 2 0 0

36672_PHI_086-101.indd 97

Cycle:

10-02-05 08:36

100

101

103

102

100 ellSWorth kelly b. 1923 Red Yellow Blue, 2000. Lithograph in colors. 32 1/2 x 25 in. (82.6 x 63.5 cm). Signed and numbered 8/50 in pencil (there were also 8 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. LitEraturE Gemini G.E.L. 1439 Estimate $ 3 , 0 0 0 - 4 , 0 0 0

102 MoniQue Prieto b. 1962 Four Stages, 2001. The complete set of four aquatints in colors, on Chine collé to wove paper. All: 10 x 10 in. (25.4 x 25.4 cm). All signed, dated, annotated ‘A’-’D’ respectively, A, C and D numbered 7/25 and B numbered 8/25 in pencil, all framed. Estimate $ 8 0 0 -1, 0 0 0

101 DaMien hirSt b. 1965 Supreme Skate Decks (Spot), 2009. The complete set of five printed skate decks in colors. All: 31 3/8 x 8 in. (79.7 x 20.3 cm). Published by Supreme, New York, all shrink-wrapped. Estimate $ 2 , 0 0 0 - 3 , 0 0 0

103 DaMien hirSt b. 1965 Supreme Skate Decks (Spin), 2009. The complete set of three printed skate decks in colors. All: 31 3/8 x 8 in. (79.7 x 20.3 cm). Published by Supreme, New York. Estimate $ 1, 5 0 0 - 2 , 5 0 0 98

36672_PHI_086-101.indd 98

Cycle:

10-02-05 08:36

104

105

104 tiM eitel b. 1971 Mondrian, 2002. Screenprint in colors. 34 3/8 x 23 5/8 in. (87.3 x 60 cm). Signed, dated and numbered 17/25 in pencil, unframed. Estimate $ 2 , 5 0 0 - 3 , 5 0 0

105 tiM eitel b. 1971 Assistentin, from 7 X Painting Portfolio, 2003. Screenprint in colors, on Fabriano paper. 19 3/4 x 14 7/8 in. (50.2 x 37.8 cm). Signed, dated and numbered ‘XII/XV’ in pencil (an artist’s proof, the edition was 30), published by Galerie Kleindienst, Leipzig, unframed. Estimate $ 1, 5 0 0 - 2 , 5 0 0 99

36672_PHI_086-101.indd 99

Cycle:

10-02-05 08:37

106

107

108

109

110

106 Suzanne laFont b. 1949 Sac Ă main, 1994. Screenprint in colors. 12 x 18 1/8 in. (30.5 x 46 cm). Signed, titled, dated and numbered 7/50 in pencil on the reverse, framed. Estimate $ 2 0 0 - 3 0 0

109 tiM DaviS b. 1969 10 cents, Still Good, 2003. C-print, on Kodak Professional ENDURA paper. 15 1/4 x 19 1/2 in. (38.7 x 49.5 cm). Signed and numbered 30/50 in purple ink on the reverse, framed. Estimate $ 4 0 0 - 6 0 0

107 eD ruSCha b. 1937 ME and THE, 2002. Bound book with fore-edge printing and gold leaf edges, covered in blue fabric. 5 1/4 x 7 5/8 x 5 3/8 in. (13.3 x 19.4 x 13.7 cm). Signed, dated and numbered 31/230 in pencil (there were also 10 artistâ&#x20AC;&#x2122;s proofs), published by Graphicstudio, University of South Florida, Tampa. Estimate $ 2 , 0 0 0 - 3 , 0 0 0

110 StePhanie Cinelli b. 1984 You Are Important, 2003. Archival pigment print. 15 x 15 in. (38.1 x 38.1 cm). Signed in black ink on a label affixed to the reverse of the frame, numbered 5/20, published by 20 x 200, New York, framed. Estimate $ 5 0 0 -7 0 0

108 larry JohnSon b. 1959 Untitled (When is a Photograph Not a Photograph), 1995. Ektacolor photograph, on matte photo paper. 8 x 7 in. (20.3 x 17.8 cm). Signed, dated and numbered 6/10 in black ink, framed. Estimate $ 6 0 0 - 9 0 0 100

36672_PHI_086-101.indd 100

Cycle:

10-02-05 08:37

111

112

113

114

111 CanDiDa hรถFer b. 1944 Trinity College Library Dublin 1, 2004. C-print, on matte photo paper. 9 1/2 x 11 7/8 in. (24.1 x 30.2 cm). Signed in black ink on a label affixed to the reverse, numbered 25/100, published by the Irish Museum of Modern Art, Dublin, framed. Estimate $ 1, 5 0 0 - 2 , 5 0 0

113 thoMaS Struth b. 1954 Museo del Prado Rm 12, Madrid, 2005/2009. C-print, on Kodak Professional ENDURA paper. 8 1/2 x 11 in. (21.6 x 27.9 cm). Signed, titled and numbered 88/100 in pencil on the reverse, published by Schirmer/Mosel and Museo del Prado, Munich and Madrid, unframed, contained in original blue metallic covered folder with accompanying illustrated book, inside original blue metallic covered slip case. Estimate $ 1, 0 0 0 -1, 5 0 0

112 eBerharD havekoSt b. 1967 Robotron; and Kino, 2001 and 2002. Two offset lithographs in colors. Both: 14 1/8 x 8 1/2 in. (35.9 x 21.6 cm) approximately. Both signed, titled, dated and numbered 7/22 and 11/22 respectively in pencil, both framed. Estimate $ 6 0 0 - 9 0 0

114 thoMaS ruFF b. 1958 Machine 1410, 2003/2005. Lamda C-print, on matte photo paper. 15 1/4 x 21 1/4 in. (38.7 x 54 cm). Signed, dated, and numbered 56/60 in pencil on the reverse, published by Edition Schellmann, Munich and New York, unframed. Estimate $ 1, 0 0 0 -1, 5 0 0

101

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Cycle:

10-02-05 08:38

NOW

saturDaY 6 marCH 2010 NEW YOrK

cONtempOrary art LOts 115 - 287

Abetz/Drescher 240 AckermAnn, r. 127 AckermAnn, t. 260 AkAmAtsu, k. / mArmit co. 285 AlDrich, r. 192 Alÿs, F. 121 AmorAles, c. 211, 212 Appel, k. 242 ArAki, n. 216, 217 Arbito 280 Arienti, s. 179 Atherton, h. 139 Attoe, D. 245 bAckhAus, J. 227 bAxter, b. 161 blobpus 284 bonvicini, m. 144 breitz, c. 156 brown, c. 163 brown, D. 243 buJnowski, r. 146 burDin, A. 230, 231, 232, 233 bush, s. 178 byrne, G. 222 cAnADAy, s. 185 cArneGie, G. 254 collins, p. 223 conDo, G. 150 cope 2 (FernAnDo cArlo) 277 corDovA, w. 118 cotton, w. 251 crewDson, G. 219, 220 cui, x. 210 DAvis, G. 250 DAvis, J. 181 Di suvero, m. 195 DiAz De vivAr, J. 167 DibA, k. 228 DoDGe, t. 140

leo, b. 269 liDDell, s. 137 lokiec, t. 263, 264 lorenzen, J. 238 louDerbAck, r. 168 lozek, J. 164 lutz, c. 115

eDer, m. 128 eliAsson, o. 205 erlich, l. 132 estéve, l. 196, 197 FAhlstrom, b. 172 FAirey, s. 275 FlAck, J. 244 FuJitA, G. 190

mAnDers, m. 201 mccArty, k. 159, 160 mccollum, A. 200 mcGinley, r. 130 mcGinness, r. 198, 199 mclAne, k. 252 mcleAn, J. 258 mcreynolDs, F. 247 meADows, J. 237 meckseper, J. 133, 135 meese, J. 148, 149 meGerle, b. 246 merrill, s. 281 minter, m. 129 miyAke, s. 188, 189 monAhAn, m. 142 moore, A. 226 morley, i. 248 mr. 187 muller, D. 117 munteAn & rosenblum 175

Ghost 276 Gillmore, G. 256 GoFFin, D. 282 GolDin, n. 214 GrAuer, p. & Deutsch, D. 207 Grill, h. 215 Guenther, A. 154 hAberny, G. 262 hArms, b. 259 hilDebrAnDt, G. 116 hirst, D. 194 homstveDt, h. 170, 171 ikeDA, k. / GArGAmel 286 JohAnson, c. 123, 125, 272, 273, 274 Joo, m. 138 kAhrs, J. 143 kArubiAn, c. 169 kAtope 279 kennon, b. 153 kilimnik, k. 162, 166 kles, h. 241 koh, t. 152 kopp, D. 182 kowski, u. 261 kun, s. 177

os Gemeos 271 pArker, e. 126 petermAn, s. 221 pFeiFFer, p. 158 pylypchuk, J. 122 potter iii, e. 283 powhiDA, w. 257

lArsson, A. 218 lee, D. 191 leeciFer 287

robertson, m. 225 ruckhäberle, c. 173 ruFF, t. 157 ruppersberG, A. 253, 267 rusconi, p. 131 ruyter, l. 184 sAlisbury, s. 180 sAsnAl, w. 147 sAville, J. / luchForD, G. 213 schArF, k. 265, 266, 268 scheibitz, t. 249 schmiDberGer, c. 174, 176 schneiDer, G. 206 schumAnn, c. 124, 203 sell, r. 235, 236 sew hoy, A. 270 shAw, D. 239 siGurDArson, m. 193 snow, A. 155 stoner, t. 255 su, x. 234 suGimoto, h. 208 thompson, c. 119, 120 tistol, o. 183 t-kiD 278 uekAwA, A. 186 vAn Der heiDe, s. 165 von bonin, c. 204 von wulFFen, A. 141 yAnG, F. 209

QuinlAn, e. 134

wAlker, k. 136 wellinG, J. 202 wilson, l. 145 wurm, e. 224

rAtcliFF, D. 151

zhAnG, h. 229

102

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Cycle:

10-02-06 04:13

115

115 Charles lutz b. 1982 Everything You’ve Ever Wanted on a Silver Platter (Perfect Silver Liz Diptych), 2006-2007. Diptych: acrylic and silkscreen ink on canvas. 40 x 40 in. (101.6 x 101.6 cm) each; 40 x 80 in. (101.6 x 203.2 cm) overall. Signed, titled and dated “Charles Lutz Everything you’ve Ever Wanted on a Silver Platter (Perfect Silver Liz Diptych) 2006-2007” and stamped twice with the artist’s stamp on the reverse of each panel. This work is accompanied by a certificate of authenticity signed by the artist and is unique. Provenance Acquired directly from the artist Estimate $ 6 , 0 0 0 - 8 , 0 0 0 103

36672_PHI_102-141.indd 103

Cycle:

10-02-06 04:13

116

117

116 GreGor Hildebrandt b. 1974 Blaff zur gesternte Kassettenschallplatte, 2007. Cassette tape, case and label collage, masking tape, graphite and acrylic on paper. 24 x 16 5/8 in. (61 x 42.2 cm). Titled and dated “gesternte Kassettenschallplatte 2007” upper center; signed, titled and dated “Gregor Hildebrandt Blaff zur gesternte Kassettenschallplatte 2007” on the reverse. Provenance Galerie Almine Rech, Paris Estimate $ 2 , 0 0 0 - 3 , 0 0 0

117 dave Muller b. 1964 The Kitchen Star (Spring ‘05 Colors), 2005. Acrylic and watercolor on paper. 13 1/2 x 30 1/4 in. (34.3 x 76.8 cm). Signed, titled and dated “Dave Muller The Kitchen Star (Spring ‘05 Colors) 2005” on the reverse. Provenance The Kitchen, New York

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 104

36672_PHI_102-141.indd 104

Cycle:

10-02-06 04:14

118

118 William Cordova b. 1972 I’m Only Sleepin’ (or the British invasion), 2004. 18 found speakers, audio CD, CD player, found cardboard breakdown. 9 3/4 x 63 x 58 1/2 in. (24.8 x 160 x 148.6 cm). Signed, titled and dated “William Cordova I’m Only Sleepin’ (or the British invasion) 2004” on the audio CD. Provenance Caren Golden Fine Art, New York

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 105

36672_PHI_102-141.indd 105

Cycle:

10-02-06 04:15

120

119

121

119 Cheyney Thompson b. 1975 1998, 2004. Acrylic on linen. 36 x 28 in. (91.4 x 71.1 cm). Signed, titled and dated “Cheyney Thompson ‘1998’ 2004” on the overlap. Provenance Andrew Kreps Gallery, New York

121 FRAnCIs ALŸs b. 1959 Ghetto Collector, 2003. Tin, magnets, plastic string and rubber wheels. 6 1/4 x 9 1/2 x 5 3/4 in. (15.9 x 24.1 x 14.6 cm). Signed, dated “F Alÿs 03” and numbered of 99 on the interior of the front flap. This work is from an edition of 99.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

Provenance Parkett Editions, Zurich/New York

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 120 Cheyney Thompson b. 1975 1998, 2004. Acrylic on linen. 26 1/8 x 34 in. (66.5 x 86.5 cm). Signed, titled and dated “Cheyney Thompson ‘1998’ 2004” on the overlap. Provenance Andrew Kreps Gallery, New York

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 106

36672_PHI_102-141.indd 106

Cycle:

10-02-08 20:55

122

122 JON PYLYPCHUK b. 1972 I will wait for you to get up / you will wait a long time, 2006. Oil, wood, resin, varnish, sand, rocks, fabric and adhesive on panel. 78 x 78 in. (198.1 x 198.1 cm). Signed and dated “Rudy Bust [the artist’s alter ego] 2006” on the reverse. Provenance Alison Jacques Gallery, London Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 107

36672_PHI_102-141.indd 107

Cycle:

10-02-06 04:20

123

125

124

123 CHRIS JoHANSoN b. 1968 Contemporary Lifestyle Painting, 2005. Acrylic on panel. 50 3/4 x 62 1/4 in. (128.9 x 158.1 cm). Signed, titled and dated ‘CONTEMPORARY LANDSCAPE, C.Johanson, Portland, Basil, 2005’ on the reverse.

125 CHRIS JoHANSoN b. 1968 No Humans I, 2005. Acrylic on wood. 27 3/4 x 29 in. (70.5 x 73.7 cm). Signed and dated “Chris Johanson 2005” on the strainer. Provenance Galerie Baronian Francey, Brussels

Provenance The Modern Institute, Glasgow

Estimate $ 5 , 0 0 0 -7, 0 0 0

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 124 CHRISTIAN SCHUMANN b. 1970 Lemoneaters 2000, 1994-1995. Acrylic and collage on paper. 29 3/4 x 19 1/2 in. (75.6 x 49.5 cm). Signed and dated “Christian Schumann 11-94 2-95” on the reverse. Provenance Vernon Nikkel Collection, Albuquerque Estimate $ 5 , 0 0 0 -7, 0 0 0 108

36672_PHI_102-141.indd 108

Cycle:

10-02-06 04:20

126

126 Erik ParkEr b. 1968 No Use in Cryin’, 2005. Acrylic, enamel and felt-tip pen on canvas. 76 1/4 x 70 1/4 x 2 1/2 in. (193.7 x 178.4 x 6.4 cm). Signed, titled and dated “Erik Parker 2005 ‘No Use In Cryin’” on the overlap. Provenance galerie bob van orsouw, zurich Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 109

36672_PHI_102-141.indd 109

Cycle:

10-02-06 04:21

127

128

127 Rita ackeRmann b. 1968 Can’t You Play Some Better Songs?, 1995. Watercolor, graphite and pastel on paper. 18 x 23 3/4 in. (45.7 x 60.3 cm). Signed “Rita Ackermann” lower right. Provenance Andrea Rosen Gallery, New York Estimate $ 3 , 0 0 0 - 4 , 0 0 0

128 maRtin edeR b. 1968 Two works: Untitled (Woman) and Untitled (Cat), 2001; 2000. Watercolor and graphite on paper. 11 x 8 3/4 in. (27.9 x 22.2 cm) and 11 x 8 1/2 in. (27.9 x 21.6 cm). Signed and dated “Martin Eder 2001” lower left and signed and dated “M. Eder 00” lower right. Provenance Galerie Eigen + Art, Leipzig; Galerie Gebr. Lehmann, Dresden; Private Collection

Estimate $ 7, 0 0 0 - 9 , 0 0 0 110

36672_PHI_102-141.indd 110

Cycle:

10-02-06 17:18

129

129 Marilyn Minter b. 1948 Sparks, 2002. C-print. 50 x 36 in. (127 x 91.4 cm) paper size. This work is from an edition of five and is accompanied by a certificate of authenticity. Provenance Hamburg Kennedy Photographs, New York Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 111

36672_PHI_102-141.indd 111

Cycle:

10-02-06 10:42

130

131

130 ryAn mcGinley b. 1977 Laura (Thunderstorm), 2007. C-print mounted on aluminum. 16 1/2 x 25 in. (41.9 x 63.5 cm) paper size. Signed “Ryan McGinley” on a label adhered to the reverse of the backing board. This work is from an edition of three plus two artist’s proofs. PrOvENaNCE Ratio 3, San Francisco ExHibitED New York, Team Gallery, I Know

131 pAul rusconi b. 1965 Untitled (Blue Kate), 2007. Digital screen inks on Plexiglas with c-print mounted to Sintra in the artist’s wooden frame. 38 1/8 x 29 in. (96.8 x 73.7 cm). Artist’s blindstamp on metallic label adhered to the reverse. This work is unique.

Where the Summer Goes, April 3 - May 3, 2008 (another example exhibited); San Francisco, Ratio 3,

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

PrOvENaNCE Gifted by the artist to the present owner

Ryan McGinley: Spring and by Summer Fall, May 9 - June 21, 2008 LitEraturE E. Pearse, “Artist Ryan McGinley Has His Head in the Clouds,” New York Magazine, April 7, 2008 (illustrated); E. Pearse, “Ryan McGinley: I Know Where the Summer Goes,” Art Review, April 21, 2008 (illustrated); A. Birnir, “Ryan McGinley at Team,” ArtCat.com, April 23, 2008 (illustrated)

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 112

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10-02-06 03:29

132

(detail of the present lot)

132 leAnDro erlich b. 1973 Swimming Pool (model), 2001. Pump and water jets with scaled figures. 12 1/2 x 11 x 26 3/4 in. (31.8 x 27.9 x 67.9 cm). This work is from an edition of four and is accompanied by a certificate of authenticity signed by the artist. PrOvENaNCE Galerie 43, Buenos Aires Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 Photo courtesy of Guillaume Ziccarelli 113

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Cycle:

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133

134

133 Josephine meckseper b. 1964 Untitled, 1998. Glitter on canvas. 10 x 8 in. (25.4 x 20.3 cm). Initialed and dated “JM 98” on the strainer.

134 eileen QuinlAn b. 1972 Smoke & Mirrors #111, 2006. C-print. 40 x 30 in. (101.6 x 76.2 cm). Signed and dated “Eileen Quinlan 2006” on the reverse of the backing board. This work is from an edition of three. PrOvENaNCE Andrew Kreps Gallery, New York

PrOvENaNCE Acquired directly from the artist

Estimate $ 3 , 0 0 0 - 4 , 0 0 0

ExHibitED New York, Gladstone Gallery, Dereconstruction, June 30 - August 17, 2006 (another example exhibited)

Estimate $ 5 , 0 0 0 -7, 0 0 0 114

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Cycle:

10-02-06 03:29

135

135 Josephine meckseper b. 1964 Ekstase des Sozialismus, 2005. Acrylic display hand, vintage found martini glass and stem, cigarette butt, costume jewelry and metal stand. 18 1/4 x 10 x 8 1/2 in. (46.4 x 25.4 x 21.6 cm). PrOvENaNCE Elizabeth Dee Gallery, New York Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 115

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Cycle:

10-02-06 03:29

136

138

137

136 kArA wAlker b. 1969 Hide, 1997. Watercolor and ink on paper. 20 x 15 in. (50.8 x 38.1 cm). Signed, titled and dated “K Walker ‘Hide’ 1997” on the reverse.

138 michAel Joo b. 1966 Shell #1, 2008. Epoxy resin with carbon fiber, wood and latex enamel. 20 x 20 x 21 1/2 in. (50.8 x 50.8 x 54.6 cm). This work is from an edition of five plus two artist proofs. Estimate $ 7, 0 0 0 - 9 , 0 0 0

PrOvENaNCE New York Academy Graduate School of Figurative Art, Take Home a Nude Benefit Auction, 1997

Estimate $ 8 , 0 0 0 -1 0 , 0 0 0 137 siobhAn liDDell b. 1965 Mountain Series #24 (full appeared the moon and when they around the altar took their places), 2003. Watercolor on paper in Plexiglas box. 16 3/8 x 20 1/4 in. (41.6 x 51.4 cm). Signed, titled and dated “S. Liddell full appeared the moon and when they around the altar took their places ‘03” on labels adhered to the reverse. PrOvENaNCE CRG Gallery, New York

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 116

36672_PHI_102-141.indd 116

Cycle:

10-02-06 03:30

139

Hope AtHerton b. 1974 Via Dolorosa, 2007. Oil on linen. 84 x 48 1/8 in. (213.4 x 122.2 cm). Signed and dated â&#x20AC;&#x153;Hope Atherton 2007â&#x20AC;? on the reverse.

Provenance Patrick Painter, Inc., Los Angeles exhibited Los Angeles, Patrick Painter, Inc., Hope Atherton, March 3 - April 14, 2007

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 117

36672_PHI_102-141.indd 117

Cycle:

10-02-06 17:21

140

141

140 Tomory DoDge b. 1974 Bunker, 2006. Oil on canvas. 15 x 14 in. (38.1 x 35.6 cm). Signed, titled and dated “Tomory Dodge Bunker 2006” on the reverse.

141 Amelie Von Wulffen b. 1966 Untitled (Green Landscape with Hole), 2003. Acrylic, watercolor and collaged photograph on paper. 58 3/4 x 82 1/4 in. (149.2 x 208.9 cm).

Provenance Private Collection

Provenance Greene Naftali, New York exhibited University of California Berkeley Art

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0

Museum, Matrix 213: Some Forgotten Place, September 19 - December 19, 2004 Literature S. Vasilyuk, “Some Forgotten Place”, The Daily Californian, September 30, 2004

Estimate $ 7, 0 0 0 - 9 , 0 0 0 118

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Cycle:

10-02-06 17:21

142

142 Matthew Monahan b. 1972 Blind Astronomy, 1994 - 2005. Installation comprised of floral foam, beeswax, Plexiglas vitrine, silver leaf, transfer drawing, adhesive, wood, glass, metal and drywall. 76 x 42 1/2 x 13 in. (193 x 108 x 33 cm). Titled â&#x20AC;&#x153;Blind Astronomyâ&#x20AC;? on the base. This work is accompanied by a certificate of authenticity signed by the artist. Provenance Anton Kern Gallery, New York; Kenneth L. Freed Collection, Boston Estimate $ 1 8 , 0 0 0 - 2 5 , 0 0 0 119

36672_PHI_102-141.indd 119

Cycle:

10-02-08 21:01

143

143 JohAnnes kAhrs b. 1965 Study (Therapy in the Kitchen), 2006. Lithograph. 12 1/2 x 20 3/4 in. (31.8 x 52.7 cm). Signed and dated “J. Kahrs 2006” and numbered of 20 lower right. This work is from an edition of 20. PrOvENaNCE Parasol unit, London Estimate $ 1, 0 0 0 -1, 5 0 0 120

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Cycle:

10-02-06 03:30

144

144 monicA bonvicini b. 1965 Minimal Romantik, 2005. Graphite and ink on paper. 67 1/2 x 63 in. (171.5 x 160 cm). PrOvENaNCE Galleria Emi Fontana, Milan Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 This work is a project drawing for the installation â&#x20AC;&#x153;Minimal Romantikâ&#x20AC;? exhibited at the Venice Biennial in 2005. 121

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Cycle:

10-02-06 03:30

145

146

145 lerone wilson b. 1968 Hold Stedfast, 2008. Encaustic on panel. 40 1/2 x 4 x 6 in. (102.9 x 10.2 x 15.2 cm). Signed, titled and dated “LeRone Wilson Hold Stedfast 2008” on the reverse. PrOvENaNCE Acquired directly from the artist Estimate $ 5 , 0 0 0 -7, 0 0 0

146 rAFAl buJnowski b. 1974 Night Landscape, 2005. Turpentine on canvas in three parts. 11 3/4 x 15 3/4 in. (29.8 x 40 cm) each; 11 3/4 x 47 1/4 in. (29.8 x 120 cm) overall. Signed and dated “Bujnowski 2005” on the reverse of each panel. PrOvENaNCE Raster Gallery, Warsaw

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 122

36672_PHI_102-141.indd 122

Cycle:

10-02-06 03:31

147

wilhelm sAsnAl b. 1972 Diode, 2007. Oil on canvas. 15 3/4 x 15 3/4 in. (40 x 40 cm). Signed and dated “Wilhelm Sasnal 2007” on the overlap.

PrOvENaNCE Anton Kern Gallery, New York

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 123

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Cycle:

10-02-06 03:31

148

149

148 JonAthAn meese b. 1970 Die Informantinnin “Killtyrm”, 2007. Oil, resin, cutout paper collage and cotton pads on canvas. 15 3/4 x 11 7/8 in. (40 x 30.2 cm). Signed, titled and dated “J Meese Die Informantinnin ‘Killtyrm’ 07” on the reverse.

149 JonAthAn meese b. 1970 Die 1. Informationsquelle “Chefsache”, 2007. Oil, resin, cutout paper collage and cotton pads on canvas. 15 3/4 x 11 7/8 in. (40 x 30.2 cm). Signed, titled and dated “J Meese Die 1. Informationsquelle ‘Chefsache’ 07” on the reverse.

PrOvENaNCE Contemporary Fine Arts, Berlin; Galerie Krinzinger, Vienna

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 124

36672_PHI_102-141.indd 124

Cycle:

10-02-06 03:31

150

150 GeorGe conDo b. 1957 Christ on the Cross, 2007. Colored pencil on paper. 30 1/4 x 22 1/4 in. (76.8 x 56.5 cm). Signed and dated “Condo Aug 6 07” upper left. PrOvENaNCE Acquired directly from the artist Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0 125

36672_PHI_102-141.indd 125

Cycle:

10-02-06 03:31

151

151 DAviD rAtcliFF b. 1970 Abstract Painting (Burberry), 2005. Acrylic on canvas. 56 3/4 x 48 1/4 in. (144.1 x 122.6 cm). Signed, titled and dated ‘ABSTRACT PAINTING (BURBERRY) MAY 2005 LOS ANGELES’ on the reverse. PrOvENaNCE Team Gallery, New York ExHibitED Basel, Liste Art Fair, 2005

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 126

36672_PHI_102-141.indd 126

Cycle:

10-02-06 03:31

152

152 terence koh b. 1977 Do Not Doubt the Dangerousness of my Butterfly Song, Black, 2004. Custom metal vitrine, speakers, iPod, song with artist singing in his own private language, paint, Indian hair, male battus philenor butterfly and blackened ash from a gingko tree. 60 x 45 x 18 in. (152.4 x 114.3 x 45.7 cm). This work is unique. PrOvENaNCE Maureen Paley Interim Arts, London ExHibitED Los Angeles, Peres Projects, Do Not Doubt the Dangerousness of my Butterfly Song, July 3 - August 7, 2004 LitEraturE ArtForum, New York, Summer 2004, No. 10, p. 94 (detail illustrated)

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 127

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Cycle:

10-02-06 03:31

153

154

153 briAn kennon b. 1972 Richard Hawkins Decapitated Head, Ben Green, 2007. Archival inkjet print. 47 1/2 x 36 in. (120.7 x 91.4 cm) paper size. Signed twice, titled and dated “Brian Kennon ‘Richard Hawkins Decapitated Head, Ben Green’ 2007” and numbered of six on the reverse. This work is from an edition of six. PrOvENaNCE daniel hug, Los Angeles Estimate $ 2 , 0 0 0 - 3 , 0 0 0

154 AnDrew Guenther b. 1976 Dreamcatcher, 2004. Oil on canvas. 78 x 60 in. (198.1 x 152.4 cm). Signed, titled and dated “Andrew Guenther Dreamcatcher 2004” on the overlap. PrOvENaNCE Perry Rubenstein Gallery, New York

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 128

36672_PHI_102-141.indd 128

Cycle:

10-02-06 03:32

155

155 AGAthe snow b. 1976 Witch Chow Fun, 2008. Found vintage chair, fabric rope, found doll head and hands with synthetic hair, tulle, cotton, and found wicker backing. 37 1/2 x 29 x 24 1/2 in. (95.3 x 73.7 x 62.2 cm). PrOvENaNCE Lucky Draw: Sculpture Center Benefit Auction, New York Estimate $ 5 , 0 0 0 -7, 0 0 0 129

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Cycle:

10-02-06 03:32

For me the most provocative tale dealing with the origin of multiple languages is the biblical story of the ‘Tower of Babel’, in which God punishes man for his vanity and grandiosity precisely by violently denying him the ability to understand the languages of others. When I made the ‘Babel Series’ installation in 1999, this violent failure, the failure of language to function as the glue coalescing different cultures (which is still the case now as much as it was then), became a compelling point of reference for me.

Many Key Members of the twentieth-century avant-garde were preoccupied with the possibility of a universal language that might communicate above and beyond the specificity of linguistic and national references…With the ‘Babel Series’ I wanted to make a work that would pay homage to such endeavors while at the same time recognizing the extent to which any notion of pure language has become increasingly hard to maintain…The most primal units of language are regurgitated by the ambassadors of MTV, this being a medium which has succeeded—beyond the wildest dreams of the twentieth-century avant-garde—in forging a language that is accessible to people from vastly different contexts.

Candice breitz in an interview with rosanne altstatt, ‘Killing me softly…an interview with Candice breitz,’ Kunst-Bulletin, No. 6: June, 2001

156 cAnDice breitz b. 1972 Babel Mirrors (Grace Jones, Wham, Prince, The Police, Abba, Queen, Madonna), 2000. Video stills on polystyrene mirror in seven parts. 12 3/8 x 70 5/8 in. (31.4 x 179.4 cm) each. Signed, titled, dated “C Breitz 2000” and numbered of eight on the reverse of each panel. This work is an artist’s proof from an edition of eight artist’s proofs. PrOvENaNCE Art & Public, Geneva Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 130

36672_PHI_102-141.indd 130

Cycle:

10-02-06 03:32

156

131

36672_PHI_102-141.indd 131

Cycle:

10-02-06 03:32

157

157 Thomas Ruff b. 1958 Substrate, 2003. Suite of four ditone prints mounted on Dibond. 34 3/4 x 25 1/2 in. (88.3 x 64.8 cm) each. Each signed “Thomas Ruff” on labels adhered to the reverse. These works are from an edition of 45 plus 10 artist’s proofs. Provenance Edition Schellmann, New York Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 132

36672_PHI_102-141.indd 132

Cycle:

10-02-06 10:43

158

158 pAul pFeiFFer b. 1966 Four Horsemen of the Apocalypse 10, 2004, 2004. Fujiflex digital c-print. 48 x 60 in. (121.9 x 152.4 cm). This work is from an edition of six and is accompanied by a certificate of authenticity signed by the artist. PrOvENaNCE Gagosian Gallery, London ExHibitED New York, Gagosian Gallery, Paul Pfeiffer: Pirate Jenny, November 6 - December 18, 2004 (another example exhibited)

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 133

36672_PHI_102-141.indd 133

Cycle:

10-02-06 03:32

159

160

161

159 Kim mccarty b. 1956 GIRL, 2003. Watercolor on paper. 29 7/8 x 22 in. (75.9 x 55.9 cm). Signed and dated “K. McCarty 03” lower right.

161 BhaKti Baxter b. 1979 Untitled (Cindy with her eyes closed), 2004. Ink on mylar. 22 x 19 7/8 in. (55.9 x 50.5 cm). Signed and dated “Bhakti Baxter 2004” lower left.

Provenance Rebecca Ibel Gallery, Columbus

Provenance Fredric Snitzer Gallery, Miami

Estimate $ 5 , 0 0 0 -7, 0 0 0

Estimate $ 3 , 0 0 0 - 4 , 0 0 0

160 Kim mccarty b. 1956 BOY, 2002. Watercolor on paper. 29 3/4 x 22 1/4 in. (75.6 x 56.5 cm). Signed and dated “K. McCarty 02” lower right. Provenance Rebecca Ibel Gallery, Columbus

Estimate $ 5 , 0 0 0 -7, 0 0 0 134

36672_PHI_102-141.indd 134

Cycle:

10-02-08 20:59

162

162 kAren kilimnik b. 1955 Fairy Battle, 2001. Organza, lace, tulle, silk flowers and leaves, moss, ribbon, painted toothpicks, metal pins and string. 6 x 27 x 16 in. (15.2 x 68.6 x 40.6 cm). PrOvENaNCE Emily Tsingou Gallery, London ExHibitED Dublin, Irish Museum of Modern Art, Karen Kilimnik Fairy Battle, September 27, 2002 - February 2, 2003 LitEraturE C. Mac Giolla LĂŠith and Irish Museum of Modern Art, eds., Karen Kilimnik: Fairy Battle, 2002, cover (illustrated)

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 135

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Cycle:

10-02-06 03:33

163

164

165

163 CeCiLy Brown b. 1969 Untitled (Bunny Gangbang), 1996. Oil on canvas. 16 x 20 in. (40.6 x 50.8 cm). Signed and dated “Cecily Brown ‘96” twice on the reverse and on the stretcher bar. Provenance Private collection, New York Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0

165 Sara van der Heide b. 1977 Marie, 2002. Tempera on canvas. 77 x 77 in. (195.6 x 195.6 cm). Signed, titled and dated “Sara v/d Heide Marie 12 2002” on the reverse. Provenance CRG Gallery, New York

Estimate $ 3 , 0 0 0 - 4 , 0 0 0

164 Jörg Lozek b. 1971 Jungling Iáchelnd, c. 2004-2005. Oil and acrylic on canvas. 51 1/4 x 39 1/4 in. (130.2 x 99.7 cm). Signed, titled and dated “Jörg Lozek Jungling Iáchelnd 2004” on the reverse. Provenance Sandroni Rey, Los Angeles Estimate $ 4 , 0 0 0 - 6 , 0 0 0 136

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Cycle:

10-02-08 23:41

166

actual size

166 Karen KilimniK b. 1955 Hut at Zermatt, 2000. Water soluble oil on canvas. 8 x 6 1/4 in. (20.3 x 15.9 cm). Signed and dated “Karen Kilimnik December 11 ‘00” on the reverse. Provenance 303 Gallery, New York exhibited New York, 303 Gallery, Karen Kilimnik, January 6 - February 10, 2001 Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 137

36672_PHI_102-141.indd 137

Cycle:

10-02-08 22:08

167

168

169

167 Jesus DiAz De vivAr b. 1976 Tyson (God Is Watching You), 2008. Silkscreen on embroidered glitter on canvas. 63 x 43 1/8 in. (160 x 109.5 cm). Signed “Jesus Diaz de Vivar” lower right with the artist’s logo lower left and again with artist’s thumbprint on the reverse. This work is unique. PrOvENaNCE Private Collection ExHibitED Paris, A3 Arts,

169 chArles kArubiAn Hermitage Coll. 1625-1713 Carlo Moratta Pope Clement IX, 2007. Oil on canvas. 60 x 48 in. (152.4 x 121.9 cm). Signed and titled “Charles Karubian Hermitage Coll. 1625-1713 Carlo Moratta Pope Clement IX” on the reverse.

June 24 - 26, 2008

May 12 - June 16, 2007

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

Estimate $ 3 , 0 0 0 - 4 , 0 0 0

PrOvENaNCE Private Collection ExHibitED New York, Rental Gallery, Oliver Twist,

168 richArD louDerbAck Majick, 2005. Oil on board. 20 x 20 in. (50.8 x 50.8 cm). Signed and dated “Richard Louderback 2005” on the reverse. PrOvENaNCE Museum 52, London Estimate $ 1, 0 0 0 -1, 5 0 0 138

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Cycle:

10-02-06 03:34

170

171

170 hÅvArD homstveDt b. 1976 New Skin, 2008. Oil, acrylic, adhesive and painted appliqué on canvas. 14 1/8 x 11 1/4 in. (35.9 x 28.6 cm). Signed and dated “Havard Homstvedt 08” on the reverse. PrOvENaNCE Galleri Riis, Oslo Estimate $ 2 , 0 0 0 - 3 , 0 0 0

171 hÅvArD homstveDt b. 1976 Feeling Man/Diamonds, 2005. Oil on linen. 84 1/4 x 72 1/2 in. (214 x 184.2 cm). Signed and dated “Havard Homstvedt 05” on the reverse. PrOvENaNCE Kantor / Feuer Gallery, Los Angeles

Estimate $ 5 , 0 0 0 -7, 0 0 0 139

36672_PHI_102-141.indd 139

Cycle:

10-02-06 03:34

172

172 briAn FAhlstrom b. 1978 Captivation / Allegro Vivace, 2005. Oil on canvas. 73 3/4 x 89 1/2 in. (187.3 x 227.3 cm). Signed, titled and dated “Brian Fahlstrom ‘Captivation / Allegro Vivace’ 2005” on the strainer. PrOvENaNCE Marc Foxx, Los Angeles Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 140

36672_PHI_102-141.indd 140

Cycle:

10-02-06 03:34

173

173 christoph ruckhäberle b. 1972 Untitled, 2005. Oil on canvas. 74 7/8 x 110 1/4 in. (190.2 x 280 cm). Signed and dated “RUCKHÄBERLE 2005” on the overlap. PrOvENaNCE Galerie Kleindienst, Leipzig ExHibitED Leipzig, galerieKleindienst, Christoph Ruckhäberle, Partyschreck, April 30 - May 28, 2005 Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 141

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174

175

174 CHRISTOPH SCHMIDBERGER b. 1974 Untitled, 2001. Graphite and ink on paper laid down on board. 12 x 8 in. (30.5 x 20.3 cm). Signed and dated “Christoph Schmidberger 2001” on the reverse. Provenance Galerie Six Friedrich Lisa Ungar, Berlin exhibited

175 MunTEan & ROSEnBluM b. 1962 Two works: Untitled (the Future is...) and Untitled (a commitment is...), 2002. Graphite and collaged paper cutouts on paper. 15 3/8 x 11 3/4 in. (39.1 x 29.8 cm) each. Each signed and dated “Mun/Ros.02” on the reverse.

Graz, Neue Galerie am Landesmuseum Joanneum, Christoph Schmidberger: The Whole Magazine

Provenance Galerie Susanna Kulli, St. Gallen

Thing, March 29 - April 20, 2001 Literature C. Schmidberger, The Whole Magazine Thing, Graz,

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

2001, p. 7 (illustrated)

Estimate $ 3 , 0 0 0 - 4 , 0 0 0

• 142

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10-02-06 07:40

176

176 CHRISTOPH SCHMIDBERGER b. 1974 I Am Open For Everything, Don’t Get Me Wrong, 2005. Oil on canvas. 70 3/4 x 51 in. (179.7 x 129.5 cm). Signed “Christoph Schmidberger” lower right; signed and dated “Christoph Schmidberger 2005” three times on the overlap. Provenance Goff + Rosenthal, New York

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 143

36672_PHI_142-195.indd 143

Cycle:

10-02-06 07:40

177

178

179

177 Shay Kun b. 1974 Wrong Way, 2009-2010. Oil and acrylic on canvas. 24 x 36 in. (61 x 91.4 cm). Signed and dated “Shay Kun 2009-2010” on the reverse.

179 Stefano arienti b. 1961 Untitled (Abete, Lago Rosso), 2002. Cut paper posters. 54 1/4 x 38 1/2 in. (137.8 x 97.8 cm). Provenance Studio Guenzani, Milan Estimate $ 6 , 0 0 0 - 8 , 0 0 0

Provenance Acquired directly from the artist

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 178 Stephen BuSh b. 1958 Maculata, 2005. Oil and enamel on linen. 72 x 72 in. (182.9 x 182.9 cm). Signed, titled and dated “Stephen Bush ‘Maculata’ 2005” on the reverse. Provenance Goff + Rosenthal, New York exhibited New York, Goff + Rosenthal, Stephen Bush, Penetrol, October 15 - November 12, 2005 Literature “Pushing boundaries in Painting”, re-title.com Newsletter, Issue 12, October - November 2005 (illustrated); J. Goodman, “Stephen Bush at Goff + Rosenthal”, Art in America, April 2006

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0 144

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Cycle:

10-02-06 13:44

180

Sam SaliSbury b. 1977 Untitled, 2005. Oil on canvas. 51 1/2 x 41 1/2 in. (130.8 x 105.4 cm).

Provenance Marc Jancou Fine Art, New York

Literature Marc Jancou Fine Art, ed., Sam Salisbury, New York, 2006, cover (illustrated)

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 145

36672_PHI_142-195.indd 145

Cycle:

10-02-06 13:43

181

182

183

181 Jay Davis b. 1975 Nothing Sacred Left, 2004. Acrylic on vinyl. 46 x 54 in. (116.8 x 137.2 cm). Provenance Mary Boone Gallery, New York Estimate $ 4 , 0 0 0 - 6 , 0 0 0

183 Oleg TisTOl b. 1960 Ararat – 9, 2006. Oil on canvas. 17 5/8 x 39 3/8 in. (44.8 x 100 cm). Initialed “O. Tistol” lower left and dated “2006” lower right; signed, titled and dated “O.Tistol 2000 ‘ARARAT #9’” on the reverse. Provenance Art-Agent Ukr. Gallery, Kiev

•

exhibited Kiev, Russian Art Museum, Ukranian Art Today, Kiev-Paris, Yearning for Immensity. The

182 DaN KOPP b. 1974 Untitled, 2006. Acrylic and spray paint on paper. 18 x 24 in. (45.7 x 61 cm). Signed and dated “Dan Kopp 7/06” on the reverse.

Experience of Comprehending Metaphysics, October 25 - November 20, 2008; Moscow Museum of

Provenance Acquired directly from the artist

Estimate $ 5 , 0 0 0 -7, 0 0 0

Modern Art, Khudfond, Oleg Tistol, November 6 - December 6, 2009

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 146

36672_PHI_142-195.indd 146

Cycle:

10-02-06 13:47

184

184 Lisa RuyteR b. 1968 Across 110th Street, 1999. Acrylic on canvas. 60 x 78 in. (152.4 x 198.1 cm). Signed, titled and dated “Lisa Ruyter ‘Across 110th Street’ 1999” on the overlap. Provenance Galerie Dorothée de Pauw, Brussels exhibited Brussels, Galerie Dorothée de Pauw, Lisa Ruyter, October 28 November 27, 1999

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 147

36672_PHI_142-195.indd 147

Cycle:

10-02-06 10:51

185

186

185 Steve Canaday b. 1967 Hollywood Bags, 2002. Acrylic on canvas. 55 x 65 in. (139.7 x 165.1 cm). Provenance Black Dragon Society, Los Angeles Estimate $ 3 , 0 0 0 - 4 , 0 0 0

186 aya Uekawa b. 1979 Study for Working Title: Middle Class Syndrome 6, 2006. Graphite on paper. 23 3/4 x 18 7/8 in. (60.3 x 47.9 cm). Provenance Kravets/Wehby Gallery, New York

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 148

36672_PHI_142-195.indd 148

Cycle:

10-02-06 13:49

187

187 Mr. b. 1969 cop in the sky, 2003. Graphite, ink, acrylic, found adhesive stickers, found plastic bag with figure, molded plaster and mounted wooden beam on panel. 16 3/8 x 13 3/8 in. (41.6 x 34 cm). Signed and dated “Mr. 2003” on the reverse. Provenance Galerie Emmanuel Perrotin, Paris Estimate $ 7, 0 0 0 - 9 , 0 0 0 Artwork © 2003 Mr. / Kaikai Kiki Co., Ltd All Rights Reserved

149

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Cycle:

10-02-08 21:59

188

189

190

188 SHInTaRO MIyaKE b. 1970 Miss Sweet, 2004. Colored pencil on paper. 42 x 17 in. (106.7 x 43.2 cm). Signed, titled and dated “Shintaro Miyake 2004 Miss Sweet [in Japanese]” on the reverse. Provenance Galerie Krinzinger, Vienna Estimate $ 5 , 0 0 0 -7, 0 0 0

190 GaIJIn fuJITa b. 1972 Study for Slow and Easy, 2007. Spray paint, felt-tip pen and colored pencil on paper. 53 x 85 1/4 in. (134.6 x 216.5 cm). Provenance LA Louvre Gallery, Venice

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0

189 SHInTaRO MIyaKE b. 1970 Miss Sweet, 2004. Colored pencil on paper. 42 x 17 in. (106.7 x 43.2 cm). Signed, titled and dated “Shintaro Miyake 2004 Miss Sweet [in Japanese]” on the reverse. Provenance Galerie Krinzinger, Vienna Estimate $ 5 , 0 0 0 -7, 0 0 0 150

36672_PHI_142-195.indd 150

Cycle:

10-02-06 07:41

191

191 Lee Dongi b. 1967 Smoking (black), 2006. Acrylic on canvas. 35 1/2 x 35 1/2 in. (90.2 x 90.2 cm). Signed, titled and dated “Smoking (black) 2006 Dongi Lee DL. 06-22-97” on the reverse. Provenance One and J. Gallery, Seoul Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 151

36672_PHI_142-195.indd 151

Cycle:

10-02-06 10:50

192

193

192 RICHaRD alDRICH b. 1975 Untitled, 2006. Oil and wax on panel. 19 5/8 x 14 7/8 in. (49.8 x 37.8 cm). Provenance Yvon Lambert, New York Estimate $ 4 , 0 0 0 - 6 , 0 0 0

193 MaGnuS SIGuRDaRSOn b. 1966 Komposition Tranquility IV from (Tranquility Series), 2008. Chromogenic print face-mounted to Plexiglas. 24 x 67 1/2 in. (61 x 171.5 cm). Signed and dated â&#x20AC;&#x153;Magnus Sigurdarson 2010â&#x20AC;? on a label adhered to the reverse. This work is accompanied by a certificate of authenticity signed by the artist. Provenance Pan American Art Projects, Miami

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 152

36672_PHI_142-195.indd 152

Cycle:

10-02-06 07:41

194

194 daMien hiRst b. 1965 Untitled (Spin Painting), 2002. Colored pencil, ink and watercolor on paper. 11 x 8 1/2 in. (27.9 x 21.6 cm). Signed â&#x20AC;&#x153;Damien Hirstâ&#x20AC;? lower right. This work is unique from a series of 100 original spin paintings made for the AIDS Community Research Initiative of America (ACRIA). Provenance ACRIA, New York

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 153

36672_PHI_142-195.indd 153

Cycle:

10-02-06 08:00

195

195 MaRk di suveRo b. 1933 Two works: Untitled, 2009. Oil on wood. 23 7/8 x 49 in. (60.6 x 124.5 cm) each. Provenance Publicolor Benefit Auction, New York Estimate $ 3 , 0 0 0 - 4 , 0 0 0 154

36672_PHI_142-195.indd 154

Cycle:

10-02-06 08:01

196

197

196 LioneL estĂŠve b. 1967 Ballon vert et filet noir, 2004. Latex and string. 43 3/8 in. (110.2 cm) diameter. This work is unique and is accompanied by a label signed by the artist. Provenance Galerie Emmanuel Perrotin, Paris Estimate $ 4 , 0 0 0 - 6 , 0 0 0

197 LioneL estĂŠve b. 1967 Ballon violet et filet orange, 2004. Latex and string. 43 3/8 in. (110.2 cm) diameter. This work is unique and is accompanied by a label signed by the artist. Provenance Galerie Emmanuel Perrotin, Paris Estimate $ 4 , 0 0 0 - 6 , 0 0 0 155

36672_PHI_142-195.indd 155

Cycle:

10-02-06 10:53

198

198 Ryan Mcginness b. 1971 Sitters, 2001. Acrylic on aluminum. 30 1/4 x 30 1/4 in. (76.8 x 76.8 cm). Signed, titled and dated “Ryan McGinness ‘Sitters’ 2001” on the reverse. Provenance Gifted by the artist to the collection of Ulrik Trojaborg Estimate $ 6 , 0 0 0 - 8 , 0 0 0 156

36672_PHI_142-195.indd 156

Cycle:

10-02-06 08:01

199

199 Ryan Mcginness b. 1971 Welcome Pineapple, 2001. Acrylic on aluminum. 30 1/4 x 30 1/4 in. (76.8 x 76.8 cm). Signed, titled and dated “Ryan McGinness ‘Welcome Pineapple’ 2001” on the reverse. Provenance Gifted by the artist to the collection of Ulrik Trojaborg Estimate $ 6 , 0 0 0 - 8 , 0 0 0 157

36672_PHI_142-195.indd 157

Cycle:

10-02-06 08:01

200

200 allan MccolluM b. 1944 The Shapes Project (2005): Monoprints, 2006, 2005. 144 monoprints from Vector files on acid-free paper in the artistâ&#x20AC;&#x2122;s frames. 5 7/8 x 4 3/8 in. (14.9 x 11.1 cm) each; 50 1/2 x 144 in. (128.3 x 365.8 cm) as installed. This work is accompanied by a certificate of authenticity. Provenance Galerie Thomas Schulte, Berlin exhibited New York, Barbara Krakow Gallery, Allan McCollum The Shapes Project, March 1 - April 9, 2008

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 158

36672_PHI_142-195.indd 158

Cycle:

10-02-06 08:01

159

36672_PHI_142-195.indd 159

Cycle:

10-02-06 08:01

201

202

203

201 MaRk MandeRs b. 1968 Provisional Floor Plan Self Portrait as a Building, 2002. Graphite on paper. 19 5/8 x 25 1/2 in. (49.8 x 64.8 cm). Dated “7-5-2002” lower left and signed “M Manders 2002” on the reverse. Provenance Private Collection Estimate $ 4 , 0 0 0 - 6 , 0 0 0

203 chRistian schuMann b. 1970 Ablution, 2004. Acrylic on canvas. 60 1/4 x 84 in. (153 x 213.4 cm). Signed, titled and dated “Christian Schumann Ablution 2004” on the overlap. Provenance carlier | gebauer, Berlin Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0

202 JaMes Welling b. 1951 New Abstraction 1A, 2009. Hand-knotted wool and five-ply silk. 107 1/4 x 71 3/4 in. (272.4 x 182.2 cm). Signed, dated “James Welling New Abstraction 1A” and numbered of 15 on a label sewn to the reverse. This work is from an edition of 15. Provenance BravinLee programs, New York

Estimate $ 7, 0 0 0 - 9 , 0 0 0 160

36672_PHI_142-195.indd 160

Cycle:

10-02-06 08:02

204

204 cosiMa von Bonin b. 1962 Untitled (Cloth #5), 1999. Handkerchiefs and thread. 76 x 95 in. (193 x 241.3 cm). Signed, titled and dated â&#x20AC;&#x153;Cosima von Bonin 1999 Cloth #5â&#x20AC;? on a label sewn to the reverse. Provenance Galerie Christian Nagel, Berlin Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 161

36672_PHI_142-195.indd 161

Cycle:

10-02-06 08:02

“these individual photographs usually function as part of a larger ensemble, being grouped according to subject types and displayed in an overall, non-hierarchical grid pattern. Looked at one at a time, each of them displays in rich detail the idiosyncratic features of a particular aspect of nature. When they are configured as a group, becoming co-dependent, their more formal aspects come to the fore, such as their equality of scale, their generally similar forms and shapes, the overall consistent horizon line that turns the ensemble into a lateral composition of alternating sky-white and earth colors. they thus engage in a continual back-and-forth between individuality and uniformity, expressive subjectivity and purported objectivity. While eliasson’s systematic approach to and serial presentation of his subject matter find clear precedents in the photographs of German bernd and hilla becher, there are differences: where the bechers work in black and white, eliasson uses the inherently less austere medium of color photography, and his subject matter welcomes more eccentric topographic anatomies than the bechers’ industrial series.”

M. Grynsztejn “attention Universe: the Work of olafur eliasson”, d. birnbaum, M. Grynsztejn; M. Speaks, Olafur Eliasson, new York, 2002, p. 60

162

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10-02-06 08:02

205

205 Olafur EliassOn b. 1967 Nine works: Landscapes, 1995. Color photographs. 8 x 11 1/2 in. (20.3 x 29.2 cm) each framed. This work is from an edition of three. Provenance Galleria Emi Fontana, Milan Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 163

36672_PHI_142-195.indd 163

10-02-08 22:11

206

207

206 gRegoR schneideR b. 1969 Totes Haus Ur Rheydt, 1999. 11 black and white photographs in the artist’s frames. 7 3/4 x 10 1/8 in. (19.7 x 25.7 cm) - 10 1/8 x 7 3/4 in. (25.7 x 19.7 cm). Each are signed, titled, dated and numbered of three along the lower margin of the matteboard and again on the reverse of the backing board. These works are each from an edition of three. Provenance Galerie Volker Diehl, Berlin Estimate $ 3 , 0 0 0 - 4 , 0 0 0

207 david deutsch and Phil gRaueR b. 1943, b. 1965 Four works: Nightsun I; Nightsun II; Nightsun III; Nightsun IV, 1999. Gelatin silver prints. Each 32 1/4 x 44 in. (81.9 x 111.8 cm) - 32 7/8 x 44 7/8 in. (83.5 x 114 cm) paper size. Each signed “David Deutsch” and numbered of five on the reverse. These works are each from an edition of five. Provenance Leo Koenig, Inc, New York; Private collection, Switzerland

Estimate $ 3 , 0 0 0 - 4 , 0 0 0 164

36672_PHI_142-195.indd 164

Cycle:

10-02-06 08:03

208

208 HirosHi sugimoto b. 1948 Tokyo International Forum, 2000-2001. Gelatin silver print. 23 5/8 x 19 1/4 in. (60 x 48.9 cm) paper size. Signed â&#x20AC;&#x153;Sugimoto,â&#x20AC;? blindstamped with SUGI number 944 and numbered of 25 lower right margin. This work is from an edition of 25. Provenance Private Collection Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 165

36672_PHI_142-195.indd 165

Cycle:

10-02-06 10:54

209

210 209 yang fudong b. 1971 Two works: Honey 2 and Honey 4, 2003. C-prints. 27 1/2 x 19 3/4 in. (69.9 x 50.2 cm) each. These works are each from an edition of 10. Market’s Boom: A Case Study of the Haudenschild Collection,” Yishu, December 2007

210 cui XiuWen b. 1970 “Angel” No. 9, 2006. C-print in three parts. 74 1/2 x 40 3/8 in. (189.2 x 102.6 cm) each. Signed, titled, dated “Cui Xiuwen “Angel” No. 9 2006” and numbered of eight in English and Chinese on the reverse of each panel. This work is from an edition of eight. Provenance Marella Gallery, Milan exhibited Los Angeles, DF2

Estimate $ 5 , 0 0 0 -7, 0 0 0

Gallery, Cui Xiuwen - Angel, October 28, 2006 - February 10, 2007 (another example exhibited); Milan,

Provenance Marian Goodman Gallery, New York LiteratUre M. M. McCoy, “After the

Primo Marella Gallery, ‘Angel’ Cui Xiuwen, March 22 - April 8, 2007 (another example exhibited) LiteratUre DF2 Gallery, ed., Cui Xiuwen - Angel, Los Angeles, 2006, p. 41 (illustrated); Marella Gallery and Tang Contemporary Art, eds., After Angel - Cui Xiuwen, 2007, pp. 42-43 (illustrated)

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0 166

36672_PHI_142-195.indd 166

Cycle:

10-02-06 08:04

211

212

211 caRlos aMoRales b. 1970 Double Character Portrait, 2003. Digital c-print. 21 1/2 x 30 1/4 in. (54.6 x 76.8 cm). Signed “C. Amorales” on a label adhered to the reverse. This work is from an edition of five. Provenance Annet Gelink Gallery, Amsterdam Estimate $ 5 , 0 0 0 -7, 0 0 0

212 caRlos aMoRales b. 1970 Drawing design & Unfinished mask, 1999. Diptych: digital c-prints. Each 21 1/2 x 30 1/2 in. (54.6 x 77.5 cm) paper size. Unfinished mask signed “C. Amorales” on a label adhered to the reverse. This work is from an edition of five. Provenance Annet Gelink Gallery, Amsterdam

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 167

36672_PHI_142-195.indd 167

Cycle:

10-02-06 08:04

213

214

215

213 Jenny saville in collaBoRation With glenn luchfoRd b. 1970, 1968 Four works: Closed Contact A-D, 2002. C-prints. 15 1/2 x 11 3/8 in. (39.4 x 28.9 cm) each. Signed “Glenn Luchford Saville”, lettered “A-D” and numbered of 25 on the reverse. Each work is from an edition of 25 plus one artist’s proof. Provenance Gagosian Gallery, New York

215 helMut gRill b. 1965 23.dec.2004 (AFTER ASTARTE), 2004. C-print. 47 1/2 x 70 1/4 in. (120.7 x 178.4 cm). This work is from an edition of five. Provenance Acquired directly from the artist exhibited Salzburg, Rudolf Budja Galerie/ Artmosphere Graz, after astarte: beauty, war and love, March 15 - April 22, 2006 (another example

exhibited Rome, Museo d’Arte Contemporanea di Roma, Jenny Saville, 1995 (another example

exhibited)

exhibited) LiteratUre D. Eccher, ed., Jenny Saville, Milan, 2005, pp. 40-42, 125 (illustrated)

Estimate $ 5 , 0 0 0 -7, 0 0 0

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 214 nan goldin b. 1953 James on stage at the Richard Tyler show, NYC, 1995. Dye destruction print. 13 3/4 x 20 in. (34.9 x 50.8 cm). Signed, titled, dated “Nan Goldin James on stage at the Richard Tyler show, NYC 1995” and numbered of 10 on the reverse. This work is from an edition of 10. Provenance Matthew Marks Gallery, New York Estimate $ 2 , 5 0 0 - 3 , 5 0 0 168

36672_PHI_142-195.indd 168

Cycle:

10-02-06 08:04

217

216

218

216 Nobuyoshi ArAki b. 1940 Untitled, 1990s. Dye destruction print. 23 7/8 x 19 7/8 in. (60.6 x 50.5 cm) paper size. Signed “Nobuyoshi Araki” on the reverse.

218 ANNikA LArssoN b. 1972 Untitled (polisi), 2002. Dye destruction print. 29 x 39 in. (73.7 x 99.1 cm). Signed “Annika Larsson” on the reverse. This work is from an edition of three. Provenance Andréhn-Schiptjenko, Stockholm Estimate $ 2 , 0 0 0 - 3 , 0 0 0

Provenance White Cube, London

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 217 Nobuyoshi ArAki b. 1940 Untitled, 1990s. Dye destruction print. 23 7/8 x 19 7/8 in. (60.6 x 50.5 cm) paper size. Signed “Nobuyoshi Araki” on the reverse. Provenance White Cube, London

Estimate $ 2 , 5 0 0 - 3 , 5 0 0

169

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Cycle:

10-02-06 11:17

219

220

219 GreGory Crewdson b. 1962 Two works: Production Still (Library Street #2) and Production Still (Brightview #2), 2003. Digital c-prints. Each 14 x 18 in. (35.6 x 45.7 cm) paper size. Each signed and dated “Gregory Crewdson 2003” and numbered of 20 lower right. These works are from an edition of 20. Provenance Luhring Augustine, New York Estimate $ 6 , 0 0 0 - 8 , 0 0 0

220 GreGory Crewdson b. 1962 Production Still (Brightview), 2003. Digital c-print. 14 x 18 in. (35.6 x 45.7 cm) paper size. Signed and dated “Gregory Crewdson 2003” lower right. This work is from an edition of 20. Provenance Luhring Augustine, New York Estimate $ 3 , 0 0 0 - 4 , 0 0 0 170

36672_PHI_142-195.indd 170

Cycle:

10-02-07 09:47

221

222

221 Scott Peterman b. 1968 Bad Water Basin I, 2005. C-print. 40 x 76 in. (101.6 x 193 cm). This work is from an edition of five. Provenance Silverstein Gallery, New York Estimate $ 4 , 0 0 0 - 6 , 0 0 0

222 Gerard Byrne b. 1969 A country road, a tree, evening: Cruagh, on the road between Kilakee and Tibradden, Dublin Mountains, 2006. C-print. 34 1/4 x 43 in. (87 x 109.2 cm). This work is from an edition of five. Provenance Lisson Gallery, London Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 171

36672_PHI_142-195.indd 171

Cycle:

10-02-06 14:01

223

224

223 Phil Collins b. 1970 stankovec, 2003. Lightjet print on Fuji Crystal Archive paper reverse mounted on Diasec in two parts. 29 7/8 x 19 7/8 in. (75.9 x 50.5 cm) each. Signed “Phil Collins” twice on labels adhered to the reverse of each panel. This work is from an edition of four plus one artist’s proof. Provenance Kerlin Gallery, Dublin Estimate $ 3 , 0 0 0 - 4 , 0 0 0

224 Erwin wurm b. 1954 Series CC: Graz Man with carpet, 2001, printed 2003. Color coupler print. 39 x 46 3/4 in. (99.1 x 118.7 cm). Signed, titled, dated “Erwin Wurm Series CC: Graz Man with carpet 2001/03” and numbered of five on a label adhered to the reverse of the backing board. This work is from an edition of five. Provenance art:concept, Paris Estimate $ 3 , 0 0 0 - 5 , 0 0 0 172

36672_PHI_142-195.indd 172

Cycle:

10-02-06 10:56

225

226

227

225 MaRiah RoBeRtson b. 1975 El Farolito, 24th and Mission, San Francisco, CA, 2007. Gelatin silver print. 15 7/8 x 19 3/4 in. (40.3 x 50.2 cm). This work is from an edition of four plus two artist’s proofs. Provenance Guild & Greyshkul, New York Estimate $ 2 , 0 0 0 - 3 , 0 0 0

227 Jessica Backhaus b. 1970 Jesus and the Cherries, 2001. Chromogenic print. 20 x 24 in. (50.8 x 61 cm) paper size. Signed, titled and dated “J. Backhaus ‘Jesus and the Cherries’ 2001” and numbered of 15 on the reverse of the backing board. This work is from an edition of 15. Provenance Yancey Richardson Gallery, New York LiteratUre A. Zavos, “Theme Friday: Jesus”, FeatureShoot.com, New York, December 4, 2009 (illustrated)

226 andReW MooRe b. 1957 Cuarto de Anton Arrufat, 2006. Chromogenic print. 30 1/8 x 39 5/8 in. (76.5 x 100.6 cm). Signed, titled and dated “Andrew Moore Cuarto de Anton Arrufat 2006” and numbered of 10 on the reverse. This work is from an edition of 10.

Estimate $ 1, 0 0 0 -1, 5 0 0

Provenance Yancey Richardson Gallery, New York

Estimate $ 3 , 0 0 0 - 4 , 0 0 0 173

36672_PHI_142-195.indd 173

Cycle:

10-02-06 08:05

228

229

231 230

232

233

228 kaMRan diBa b. 1937 Fontana from Tehran Edition Series, 2009. Acrylic on canvas. 51 1/8 x 38 3/8 in. (130 x 97.5 cm). Signed and dated “K. Diba 09” lower left.

231 anthony BuRdin Untitled, 2004. Ball point pen and ink on paper. 9 x 12 in. (22.9 x 30.5 cm). Provenance Maccarone, New York Estimate $ 2 , 0 0 0 - 3 , 0 0 0

Provenance Acquired directly from the artist

Estimate $ 5 , 0 0 0 -7, 0 0 0 232 anthony BuRdin Untitled, 2004. Ball point pen and ink on paper. 9 x 12 in. (22.9 x 30.5 cm). Provenance Maccarone, New York Estimate $ 2 , 0 0 0 - 3 , 0 0 0

229 zhang hui b. 1969 Beijing Wawa (Bandage), 2006. Oil on canvas. 23 1/4 x 19 1/2 in. (59.1 x 49.5 cm). Signed and dated “ZHui 2006” lower left; signed twice, titled and dated “Beijing Wawa (Bandage) 2006” on the reverse. Provenance Private collection, New York Estimate $ 3 , 5 0 0 - 4 , 5 0 0

233 anthony BuRdin Untitled, 2004. Ball point pen and ink on paper. 9 x 12 in. (22.9 x 30.5 cm). Provenance Maccarone, New York Estimate $ 2 , 0 0 0 - 3 , 0 0 0

230 anthony BuRdin Untitled, 2004. Ball point pen and ink on paper. 12 x 9 in. (30.5 x 22.9 cm). Provenance Maccarone, New York Estimate $ 2 , 0 0 0 - 3 , 0 0 0 174

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Cycle:

10-02-06 08:06

234

Su Xinping b. 1960 Untitled, 2006. Oil on canvas. 57 3/4 x 44 7/8 in. (146.7 x 114 cm). Signed and dated “SU XINPING 2006” lower right.

Provenance Acquired directly from the artist

Estimate $ 5 0 , 0 0 0 -7 0 , 0 0 0 175

36672_PHI_142-195.indd 175

Cycle:

10-02-08 21:08

235

236

237

235 Ray sell b. 1981 Big Bullet Rides, 2009. Collaged magazine cutouts, newsprint and acrylic on canvas mounted in the artist’s frame. 13 x 17 in. (33 x 43.2 cm). Signed and dated “Ray Sell 11/09” on the reverse. Provenance Leo Kesting Gallery, New York Estimate $ 1, 0 0 0 -1, 5 0 0

237 Jason MeadoWs b. 1972 Expression, 2005. Acrylic, ink, watercolor and colored pencil on paper. 25 1/2 x 19 5/8 in. (64.8 x 49.8 cm). Signed, titled and dated “Jason Meadows, Expression 05” on the reverse. Provenance Private Collection Estimate $ 3 , 0 0 0 - 4 , 0 0 0

236 Ray sell b. 1981 The Lookin’ Glass, 2010. Collaged magazine cutouts, newsprint, bottle caps, epoxy and acrylic on canvas mounted in the artist’s frame. 13 x 10 in. (33 x 25.4 cm). Signed and dated “Ray Sell 1/10” on the reverse. Provenance Leo Kesting Gallery, New York

Estimate $ 1, 0 0 0 -1, 5 0 0 176

36672_PHI_142-195.indd 176

Cycle:

10-02-06 08:06

238

238 Jens loRenzen b. 1961 Die Mauer IV (The Wall IV), 2008 - 2009. Oil on canvas. 39 1/2 x 27 1/2 in. (100.3 x 69.9 cm) each; 39 1/2 x 82 1/2 in. (100.3 x 209.6 cm) overall. Provenance Keszler Gallery, New York Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 In his series Die Mauer (The Wall), German artist Jens Lorenzen pays a unique homage to the Berlin Wall. The works in this series are meant to give the impression of an actual wall and can be seen either as a unit or as individual elements. The collaged appearance of the works are meant to reflect the paint chipping off the many images that were displayed on the colorful west side of the Berlin Wall (in contrast, the east side was barren, a reflection of the difference between the two societies of Germany). Lorenzen’s use of brand names—in these three paintings, most notably Prince Cigarettes, Ritter Sport and Marlboro—echo Andy Warhol. Much like with Warhol, despite the brands’ internationally recognized names, the importance of Lorenzen’s work lies not just in the images themselves but in the way he chooses to alter and present them. The present lot does not focus solely on consumerism but also includes references to the German version of the American comic series, Prince Valiant (Prinz Eisenherz) and the logo from the British Daily Express. 177

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Cycle:

10-02-06 08:06

239

240

239 DAviD shAw b. 1965 High Water, 2005. Ink and colored pencil on paper. 25 7/8 x 40 in. (65.7 x 101.6 cm). Signed, titled and dated “D Shaw ‘High Water’ 2005” on the reverse. Provenance Kevin Bruk Gallery, Miami

240 Abetz/Drescher (MAike Abetz AnD Oliver Drescher ) b. 1970, 1969 Who Are You, 2003. Acrylic on canvas. 71 x 78 1/2 in. (180.3 x 199.4 cm). Signed, titled and dated “Abetz Drescher Who Are You 03” on the reverse.

Estimate $ 3 , 0 0 0 - 4 , 0 0 0

Provenance Galerie Volker Diehl, Berlin Literature R. Smith, “Art Review: Emerging Talent, And Plenty of It”, New York Times, March 12, 2004 (illustrated); A. Scrima, “Time Travels: Abetz & Drescher”, db artmag, Issue 19, 2004 (illustrated)

Estimate $ 5 , 0 0 0 -7, 0 0 0 178

36672_PHI_142-195.indd 178

Cycle:

10-02-06 14:18

241

henning kles b. 1970 Tiltsburg, 2003. Acrylic and oil on canvas. 59 1/4 x 59 1/4 in. (150.5 x 150.5 cm). Signed and dated “Kles 2003” on the reverse.

Provenance Frahm Ltd., London

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 179

36672_PHI_142-195.indd 179

Cycle:

10-02-06 08:07

Kevin appel’s new paintings depict a world so fractured that it’s hard to imagine the damage ever being repaired. Psychological trauma and social unrest ripple across the smooth surfaces of his canvases, revealing the artist to be a sharp-eyed realist whose uncompromising work is all the stronger for being metaphorical and suggestive. […] raw anxiety and gut-tightening dread percolate beneath the deceptively antiseptic surfaces of those loaded paintings, suggesting a diabolical alliance between Ludwig Mies van der rohe and the Unabomber. appel’s new paintings […] dive deeper into the potential for violence—both natural and otherwise—that defines a nation gripped by fear and driven by the desire to obliterate terrorism. […] the blunt-force trauma that appel’s paintings make palpable is not the whole story. he crafts his canvases with consummate care and labor-intensive devotion, building their compositions with considerable delicacy, unassuming felicity and formal sophistication. their circle-the-wagons atmosphere attests to a type of go-italone defiance made famous by all types of survivors, both real and mythical.

d. Pagel, “not just divided but violently ripped apart,” Los Angeles Times, november 19, 2004

180

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Cycle:

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242

242 kevin aPPel b. 1967 Country Home #3 (Dreamer), 2006. Oil, enamel and acrylic on canvas over panel. 77 x 80 in. (195.6 x 203.2 cm). Signed, titled and dated â&#x20AC;&#x153;Kevin Appel Country Home 3 (Dreamer) 2006â&#x20AC;? on the reverse. Provenance Wilkinson Gallery, London Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 181

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Cycle:

10-02-06 08:07

243

244

245

246

243 delia BRoWn b. 1969 Untitled (Toilet), 2001. Watercolor and graphite on paper. 9 1/8 x 14 in. (23.2 x 35.6 cm). Signed and dated “Delia Brown 2001” on the reverse.

245 dan attoe b. 1975 Fire Hydrant, 2002. Oil on medium-density fiberboard. 5 x 7 in. (12.7 x 17.8 cm). Signed, titled and dated “Dan Attoe Fire Hydrant 2002” on the reverse.

Provenance Margo Leavin Gallery, Los Angeles

Provenance Peres Projects, Los Angeles

Estimate $ 3 , 0 0 0 - 4 , 0 0 0

Estimate $ 2 , 5 0 0 - 3 , 5 0 0

244 Jon flack Pan, 2007. Oil on canvas. 50 1/4 x 89 3/4 in. (127.6 x 228 cm). Signed, titled and dated “Jon Flack ‘Pan’ 2007” on the reverse.

246 BiRgit MegeRle b. 1975 Untitled, 2003. Oil on canvas. 23 3/4 x 31 1/2 in. (60.3 x 80 cm). Signed and dated “Birgit Megerle 2003” on the reverse. Provenance Private Collection Estimate $ 1, 0 0 0 -1, 5 0 0

Provenance Raid FC Contemporary Art, Los Angeles

exhibited Santa Monica, Mark

Moore Gallery, Jon Flack, May 20 - July 1, 2006

Estimate $ 5 , 0 0 0 -7, 0 0 0 182

36672_PHI_142-195.indd 182

Cycle:

10-02-06 08:08

247

248

249

247 faRis McReynolds b. 1977 Untitled (House), 2004. Oil on canvas. 30 x 36 in. (76.2 x 91.4 cm). Signed, titled and dated “Faris Untitled (House) 2004” on the overlap.

249 ivan MoRley b. 1966 From Don, George and Diane, 2003. Oil, gold and aluminum leaf on glass. 36 x 31 in. (91.4 x 78.7 cm). Signed twice, titled and dated “Ivan Morley From Don, George and Diane 2003” on the reverse. Provenance Patrick Painter, Inc., Santa Monica Estimate $ 8 , 0 0 0 -1 2 , 0 0 0

Provenance Roberts & Tilton, Los Angeles

Estimate $ 8 0 0 -1, 2 0 0 248 thoMas scheiBitz b. 1968 Untitled, 1999. Graphite, colored pencil and felt-tip pen on paper. 11 5/8 x 8 1/8 in. (29.5 x 20.6 cm). Initialed and dated “S. 99” lower right. Provenance Private Collection

Estimate $ 1, 0 0 0 -1, 5 0 0 183

36672_PHI_142-195.indd 183

Cycle:

10-02-06 08:08

250

251

252

254

253

255

250 geRald davis b. 1974 Salva Denorum Experience, 2003. Graphite on paper. 17 7/8 x 23 3/4 in. (45.4 x 60.3 cm). Signed and dated “Gerald Davis 2003” on the reverse. Provenance Private Collection

253 allen RuPPeRsBeRg b. 1944 Allan Kaprow / Arman / Raymond Hains / Ian Hamilton Finlay, 2006. Silkscreen print. 38 1/4 x 50 1/8 in. (97.2 x 127.3 cm). Signed and dated “ARuppersberg 2006” lower center. This work is unique.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0

Provenance Galerie Micheline Szwajcer, Antwerp

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 251 Will cotton b. 1965 Cup Cakes, 2003. Graphite on paper. 15 x 11 1/4 in. (38.1 x 28.6 cm). Signed and dated “Cotton 03” lower right. Estimate $ 1, 0 0 0 -1, 5 0 0

254 gillian caRnegie b. 1971 Mayqueen, 2003. Charcoal on paper. 23 1/4 x 23 1/4 in. (59.1 x 59.1 cm). Provenance Cabinet, London Estimate $ 2 , 0 0 0 - 3 , 0 0 0

252 kelly Mclane b. 1968 L.A.R.P. Almost Beautiful (what is that smell), 2005. Graphite on paper. 15 1/4 x 11 3/8 in. (38.7 x 28.9 cm). Signed and dated “Kelly McLane, 2005 ‘L.A.R.P Almost Beautiful (what is that smell)’” on the reverse.

255 tiM stoneR b. 1970 Untitled, 2001. Watercolor on paper. 11 1/4 x 15 in. (28.6 x 38.1 cm). Initialed and dated “TS 01” on the reverse. Provenance The approach, London Estimate $ 1, 5 0 0 - 2 , 0 0 0

Provenance The Armitage Foundation Benefit, New York

Provenance CRG Gallery, New York

Estimate $ 1, 5 0 0 - 2 , 0 0 0 184

36672_PHI_142-195.indd 184

Cycle:

10-02-06 08:09

256

Graham Gillmore b. 1963 Penmanship Is Queen Of The Arts, 2001. Acrylic, ink and paper on canvas. 93 x 71 in. (236.2 x 180.3 cm).

Provenance Mary Boone Gallery, New York exhibited New York, Mary Boone Gallery, Graham Gillmore, March 8 - April 27, 2002 Literature G. Henry, “Graham Gillmore at Mary Boone”, Art in America, September 2002

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 185

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Cycle:

10-02-06 14:20

257

258

259

260

257 WilliaM PoWhida b. 1976 Untitled (Dana Schutz), 2005. Graphite and adhesive on paper. 18 x 14 1/8 in. (45.7 x 35.9 cm) paper size. Provenance Momenta Art, New York Estimate $ 1, 2 0 0 -1, 8 0 0

259 BendiX haRMs b. 1967 Quartertyp, 2002. Oil on linen. 55 x 49 1/4 in. (139.7 x 125.1 cm). Signed, titled and dated “Bendix Harms Quartertyp 2002” on the reverse. Provenance Anton Kern Gallery, New York

Estimate $ 8 , 0 0 0 -1 0 , 0 0 0 258 Jason Mclean b. 1971 Mind Full Evening Breeze, 2003. Ink, watercolor and collage on paper. 17 x 11 in. (43.2 x 27.9 cm). Provenance Richard Heller Gallery, Santa Monica Estimate $ 5 0 0 -7 0 0

260 thoMas ackeRMann b. 1952 Moon Art Rat, 2008-09. Oil, ink and beeswax on canvas. 79 1/2 x 72 1/2 in. (201.9 x 184.2 cm). Signed, titled and dated “Thomas Ackermann Moon Art Rat 08-09” on the reverse. Provenance Acquired directly from the artist Estimate $ 3 , 0 0 0 - 4 , 0 0 0 186

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Cycle:

10-02-06 08:09

261

262

261 uWe koWski b. 1963 Warte, 2004. Oil on canvas. 51 1/4 x 59 in. (130.2 x 149.9 cm). Signed, titled and dated “Uwe Kowski Warte 2004” on the reverse.

262 gReg haBeRny b. 1970 Destroy All Monsters, 2009. Pastel, felt-tip pen, acrylic and ink on paper laid on wood in the artist’s frame. 42 5/8 x 52 1/2 in. (108.3 x 133.4 cm). Signed, titled and dated twice “Destroy All Monsters G. Haberny 2009” on the reverse.

Provenance Gorney Braven + Lee, New York

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0

Provenance Acquired directly from the artist exhibited Miami, Fountain Art Fair, Destroy All Monsters, December 3 - 7, 2009

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 187

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Cycle:

10-02-06 08:09

263

263 tiM lokiec b. 1977 Resin Sex style, 2004. Oil, acrylic and crayon on panel. 40 1/2 x 36 1/2 in. (102.9 x 92.7 cm). Signed, titled and dated “Tim Lokiec Resin Sex style 2004” on the reverse. Provenance Zach Feuer Gallery (LFL), New York Estimate $ 2 , 0 0 0 - 3 , 0 0 0 188

36672_PHI_142-195.indd 188

Cycle:

10-02-06 08:09

264

264 tiM lokiec b. 1977 MSB Mirror, 2005. Acrylic, gouache, colored pencil, felt-tip pen and collage on panel. 72 x 83 3/4 in. (182.9 x 212.7 cm). Signed twice, titled and dated â&#x20AC;&#x153;Tim Lokiec MSB Mirror November 2005â&#x20AC;? on the reverse. Provenance Zach Feuer Gallery (LFL), New York Estimate $ 4 , 0 0 0 - 6 , 0 0 0 189

36672_PHI_142-195.indd 189

Cycle:

10-02-06 08:10

265 266

267

265 kenny schaRf b. 1958 We’re Here!!!, 2001. Graphite on paper. 10 1/2 x 12 1/2 in. (26.7 x 31.8 cm). Signed and dated “K Scharf ‘01” on the reverse.

267 allen RuPPeRsBeRg b. 1944 Alighiero e Boetti, 2006. Silkscreen print on Colby cardboard posters in five parts. 22 x 14 in. (55.9 x 35.6 cm) each. This work is unique.

Provenance Kantor Gallery, Los Angeles exhibited Los Angeles, Kantor Gallery,

Provenance Galerie Micheline Szwajcer, Antwerp

Groovenian Drawings, February 20 - March 25, 2004

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0

Estimate $ 3 , 0 0 0 - 4 , 0 0 0 266 kenny schaRf b. 1958 Acceleration, 2001. Acrylic and watercolor on paper. 10 1/8 x 14 in. (25.7 x 35.6 cm). Signed, titled and dated “Kenny Scharf Acceleration ‘01” on the reverse. Provenance Acquired directly from the artist Estimate $ 5 , 0 0 0 -7, 0 0 0 190

36672_PHI_142-195.indd 190

Cycle:

10-02-06 08:10

268

268 kenny schaRf b. 1958 travelaire, 2000. Oil on canvas. 24 x 18 in. (61 x 45.7 cm). Inscribed, signed, titled and dated “To George- thanx! Kenny Scharf travelaire ‘00” on the reverse. Provenance Tony Shafrazi Gallery, New York Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 191

36672_PHI_142-195.indd 191

Cycle:

10-02-06 08:10

269

270

269 BRian leo b. 1976 Installation #1, 2009. Acrylic and felt-tip pen on canvas. 22 1/4 x 31 1/4 in. (56.5 x 79.4 cm) overall. Provenance Leo Kesting Gallery, New York Estimate $ 1, 8 0 0 - 2 , 5 0 0

270 anna seW hoy b. 1976 Nugget, 2000. Childrenâ&#x20AC;&#x2122;s bicycle with decals and putty. 18 x 37 x 20 in. (45.7 x 94 x 50.8 cm). This work is unique. Provenance Massimo Audiello, New York

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 192

36672_PHI_142-195.indd 192

Cycle:

10-02-06 08:11

271 272

274

273

271 os geMeos b. 1974 Untitled, 2003. Watercolor, ink and colored pencil on paper. 7 1/4 x 13 3/8 in. (18.4 x 34 cm). Signed and dated “Os Gemeos _ 03” on a label adhered to the reverse of the backing board. Provenance New Image Art Gallery, Los Angeles Estimate $ 8 0 0 -1, 2 0 0

273 chRis Johanson b. 1968 This Is You, 2002. Acrylic, metal hooks, screws, plates and wire on wood. 104 x 67 1/2 x 21 in. (264.2 x 171.5 x 53.3 cm). Titled “This Is You” on base. Provenance Roberts & Tilton, Los Angeles

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

272 chRis Johanson b. 1968 Romantic Landscape, 2002. Acrylic on birch panel. 48 x 54 in. (121.9 x 137.2 cm). Signed and dated “Chris Johanson 2002” on the reverse.

274 chRis Johanson b. 1968 Untitled, 2006. Acrylic, ink, graphite and spray paint on paper. 22 x 30 in. (55.9 x 76.2 cm). Provenance Galerie Georg Kargl, Vienna Estimate $ 2 , 0 0 0 - 3 , 0 0 0

Provenance Roberts & Tilton, Los Angeles

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 193

36672_PHI_142-195.indd 193

Cycle:

10-02-06 08:11

275

277

276

278

279

275 shePaRd faiRey b. 1970 Obey 95 HPM, 2005. Screenprint on paper. 41 3/4 x 28 1/2 in. (106 x 72.4 cm). Signed, dated “Shepard Fairey 05” and numbered of 10 along the lower edge. This work is from a varied edition of 10. Provenance Acquired directly from the artist Estimate $ 2 , 0 0 0 - 3 , 0 0 0

278 t-kid b. 1961 New York City Subway Map with Graffiti and Tag, 2010. Spray and metallic paint, ink and felt-tip pen on found paper. 32 1/2 x 22 3/4 in. (82.6 x 57.8 cm). Signed and dated “Terrible T Kid 10” center left. Provenance Acquired directly from the artist

Estimate $ 3 0 0 - 4 0 0 276 ghost b. 1964 New York City Track Service Sign with Graffiti and Tag, 2009. Spray and acrylic paint, felt-tip pen and paper collage on laminated subway sign. 17 3/8 x 11 3/8 in. (44.1 x 28.9 cm). This work is unique. Provenance Acquired directly from the artist Estimate $ 5 0 0 -7 0 0

279 katoPe b. 1976 Godbird in the Forest, 2009. Acrylic and sparkle decals on varnished wood. 11 3/4 x 9 in. (29.8 x 22.9 cm). Signed and dated “KaToPe 2009” on the strainer. Provenance Acquired directly from the artist

Estimate $ 5 0 0 -7 0 0 277 coPe 2 (feRnando caRlo) New York City Subway Map with Graffiti and Tag, 2009. Spray paint and felt-tip pen on found paper. 32 1/2 x 22 3/4 in. (82.6 x 57.8 cm). This work is unique. Provenance Acquired directly from the artist Estimate $ 3 0 0 - 4 0 0 194

36672_PHI_142-195.indd 194

Cycle:

10-02-06 08:12

280

281

283

282

284

286

285

287

280 aRBito b. 1975 The Seeker - Hi, 2009. Translucent resin and acrylic. 8 1/4 x 4 x 2 3/4 (21 x 10.2 x 7 cm). Signed, titled and numbered “Arbito Seeker 1/1” on the underside.

284 BloBPus Cyclopus, 2009. Acrylic on vinyl. 8 3/4 x 7 1/2 x 5 in. (22.2 x 19.1 x 12.7 cm). Signed and dated “Blobpus 2009.2.27” on the underside. This work is unique.

Provenance Acquired directly from the artist

Estimate $ 3 0 0 - 4 0 0

281 steve MeRRill b. 1952 Astromons Pair, 2009. Acrylic on vinyl. 6 1/2 x 3 x 3 in. (16.5 x 7.6 x 7.6 cm). This work is unique. Provenance Acquired directly from the artist Estimate $ 2 0 0 - 3 0 0

285 ken akaMatsu/MaRMit co. Darkron, 2009. Acrylic on vinyl. 12 1/4 x 9 x 3 1/4 in. (31.1 x 22.9 x 8.3 cm). Signed and dated “K. Akamatsu 2009” on the reverse. Provenance Acquired directly from the artist

Estimate $ 4 0 0 - 6 0 0 282 daniel goffin b. 1979 Netwerkz, 2009. Resin, each with custom-made cardboard box with silkscreen panel. Figures: 6 1/2 x 4 x 3 1/2 in. (16.5 x 10.2 x 8.9 cm) - 11 x 3 3/4 x 3 1/2 in. (27.9 x 9.5 x 8.9 cm); boxes: 14 x 12 1/4 x 8 in. (35.6 x 31.1 x 20.3 cm) each. Each signed and dated “Daniel Goffin 2009” and numbered of two on the underside of the figures except for the figure second from the right as illustrated, signed and dated “Daniel Goffin 2009” on the underside. This work is from an edition of two.

286 kyoka ikeda/gaRgaMel co. b. 1977 Zagoran with Burlap Sack, 2009. Acrylic on vinyl with screenprinted burlap sack and custom-made cardboard box. Figure: 9 1/4 x 5 x 3 3/4 in. (23.5 x 12.7 x 9.5 cm); sack: 16 x 8 in. (40.6 x 20.3 cm). Signed, dated and numbered of 30 on the underside. This work is from an edition of 30.

Provenance Acquired directly from the artist

Estimate $ 4 0 0 - 5 0 0

Provenance Acquired directly from the artist

Estimate $ 1, 0 0 0 -1, 2 0 0 283 eMMett PotteR iii Two works: Simbio and Spaced Invaders, 2010. Translucent resin. 5 3/4 x 7 x 3 in. (14.6 x 17.8 x 7.6 cm) and 1 3/4 x 3 x 3 in. (4.4 x 7.6 x 7.6 cm) each. Each initialed “EFP III” on inset. These works are unique.

287 leecifeR b.1967 Two works: Capt. Dokuwashi and Red Doku Skull, 2009. Acrylic on wood and vinyl and acrylic. 40 1/8 x 10 1/2 in. (101.9 x 26.7 cm) and 9 1/2 x 6 3/4 x 4 5/8 in. (24.1 x 17.1 x 11.7 cm). Signed and dated “Lcfr 2009” lower right; signed and dated “Lcfr 2009” on the underside. These works are unique.

Provenance Acquired directly from the artist

Estimate $ 4 5 0 - 5 5 0

Estimate $ 4 0 0 - 5 0 0 195

36672_PHI_142-195.indd 195

Cycle:

10-02-06 08:13

NOW LOts 1 - 36

lot 1 DAVID lACHAPEllE Est $7,000-9,000

lot 2 RoBERt AND sHANA PARKEHARRIsoN Est $1,800-2,200

lot 3 RoBERt AND sHANA PARKEHARRIsoN Est $1,800-2,200

lot 4 RoBERt AND sHANA PARKEHARRIsoN Est $1,800-2,200

lot 5 RoBERt AND sHANA PARKEHARRIsoN Est $1,800-2,200

lot 6 VIK MUNIZ Est $5,000-7,000

lot 7 GREGoRY CREWDsoN Est $ 4,000-6,000

lot 8 VIK MUNIZ Est $7,000-9,000

lot 9 lIsA oPPENHEIM Est $2,500-3,500

lot 10 VIK MUNIZ Est $12,000-18,000

lot 11 VIK MUNIZ Est $5,000-7,000

lot 12 VIK MUNIZ Est $ 4,000-6,000

lot 13 AlE X HAAs Est $3,000-5,000

lot 14 MARIlYN MINtER Est $10,000-15,000

lot 15 lIsE sARFAtI Est $3,000-5,000

lot 16 DAVID DREBIN Est $3,000-4,000

lot 17 DAVID DREBIN Est $3,000-4,000

lot 18 ERWIN olAF Est $10,000-15,000

lot 19 KIM JooN Est $6,000-8,000

lot 20 KIM JooN Est $6,000-8,000

lot 21 NoBUYosHI ARAKI Est $1,200-1,800

lot 22 NoBUYosHI ARAKI Est $1,200- 1,800

lot 23 REGINA DElUIsE Est $800-1,200

lot 24 REGINA DElUIsE Est $800-1,200

lot 25 KAtY GRANNAN Est $2,500-3,500

lot 26 REGINA DElUIsE Est $800-1,200

lot 27 REGINA DElUIsE Est $800-1,200

lot 28 NAoMI HARRIs Est $5,000-7,000

lot 29 NAoMI HARRIs Est $5,000-7,000

lot 30 ANN Woo Est $3,000-5,000

lot 31 NICHolAs PRIoR Est $2,000-3,000

lot 32 GÖtZ DIERGARtEN Est $2,500-3,500

lot 33 AlEC sotH Est $10,000-15,000

lot 34 stÉPHANE CoUtURIER Est $5,000-7,000

lot 35 sIMoN NoRFolK Est $7,000-9,000

lot 36 RoBERt PolIDoRI Est $15,000-20,000

196

36672_PHI_196-203.indd 196

Cycle:

10-02-06 09:21

NOW LOts 37 - 72

lot 37 WENG FEN Est $6,000-8,000

lot 38 JIN sHAN Est $2,000-3,000

lot 39 WoUt BERGER Est $2,000-3,000

lot 40 EDWARD BURtYNsKY Est $5,000-7,000

lot 41 EVA HIlD Est $8,000-12,000

lot 42 AYAlA sERFAtY Est $ 4,000-6,000

lot 43 JUlIAN MAYoR Est $2,000-3,000

lot 4 4 CHRIs RUCKER Est $2,500-3,500

lot 45 JoHANNA GRAWUNDER Est $10,000-15,000

lot 46 AtElIER VAN lIEsHoUt Est $6,000-8,000

lot 47 JURGEN BEY Est $1,000-1,500

lot 48 KIKI sMItH Est $1,000-1,500

lot 49 AlE X RosKIN Est $ 4,000-6,000

lot 50 KEllY MCCAllUM Est $2,500-3,500

lot 51 KEllY MCCAllUM Est $2,500-3,500

lot 52 CARlos MottA Est $10,000-15,000

lot 53 RolF sACHs Est $2,000-3,000

lot 54 PHIlIPPE MoREl Est $12,000-18,000

lot 55 RoN ARAD Est $5,000-7,000

lot 56 ElENA ColoMBo Est $2,500-3,500

lot 57 JUlIAN MAYoR Est $3,000-5,000

lot 58 FRANÇoIs AZAMBoURG Est $2,000-3,000

lot 59 FABIo NoVEMBRE Est $3,000-5,000

lot 60 PEtER tRAAG Est $3,000-5,000

lot 61 GEoFFREY BRADFIElD Est $8,000-10,000

lot 62 IsCA GREENFIElDsANDERs Est $8,000-12,000

lot 63 ElIZABEtH PEYtoN Est $1,200-1,800

lot 64 EllEN GAllAGHER Est $700-1,000

lot 65 lIsA YUsKAVAGE Est $600-900

lot 66 MARlENE DUMAs Est $1,200-1,800

lot 67 RosANGElA RENNó Est $1,500-2,500

lot 68 CHUCK ClosE Est $1,000-1,500

lot 69 lAURIE sIMMoNs Est $900-1,200

lot 70 tHE ClAYtoN BRotHERs Est $ 400-600

lot 71 GIllIAN WEARING Est $900-1,200

lot 72 WIlHElM sAsNAl Est $1,200-1,800

197

36672_PHI_196-203.indd 197

Cycle:

10-02-06 09:24

NOW LOts 73 - 108

lot 73 MARIlYN MINtER Est $800-1,200

lot 74 VARIoUs ARtIsts Est $900-1,200

lot 75 JAN tIMME Est $1,500-2,500

lot 76 sHEPARD FAIREY Est $2,500-3,500

lot 77 MARtIN PURYEAR Est $3,500-4,500

lot 78 CHRIs BAllANtYNE Est $1,200-1,800

lot 79 lIsA RUYtER Est $1,000-1,500

lot 80 tHoMAs EGGERER Est $2,000-3,000

lot 81 PEtER DoIG Est $ 4,000-6,000

lot 82 PEtER DoIG Est $1,500-2,500

lot 83 MARCEl DZAMA Est $800-1,200

lot 84 MARCEl DZAMA Est $2,000-3,000

lot 85 MARCEl DZAMA Est $2,000-3,000

lot 86 BARRY MCGEE Est $8,000-12,000

lot 87 MEl BoCHNER Est $1,800-2,500

lot 88 JACK PIERsoN Est $600-900

lot 89 CHRIstoPHER Wool Est $2,000-3,000

lot 90 CHRIstoPHER Wool Est $600-800

lot 91 DAMIEN HIRst Est $8,000-12,000

lot 92 KEHINDE WIlEY Est $2,000-3,000

lot 93 tAKAsHI MURAKAMI Est $6,000-9,000

lot 94 RYAN MCGINNEss Est $1,200-1,800

lot 95 JEFF KooNs Est $1,500-2,500

lot 96 tAKAsHI MURAKAMI Est $3,000-5,000

lot 97 tAKAsHI MURAKAMI Est $3,000-4,000

lot 98 tAKAsHI MURAKAMI Est $1,500-2,500

lot 99 YosHItoMo NARA Est $800-1,200

lot 100 EllsWoRtH KEllY Est $3,000-4,000

lot 101 DAMIEN HIRst Est $2,000-3,000

lot 102 MoNIQUE PRIEto Est $800-1,000

lot 103 DAMIEN HIRst Est $1,500-2,500

lot 104 tIM EItEl Est $2,500-3,500

lot 105 tIM EItEl Est $1,500-2,500

lot 106 sUZANNE lAFoNt Est $200-300

lot 107 ED RUsCHA Est $2,000-3,000

lot 108 lARRY JoHNsoN Est $600-900

198

36672_PHI_196-203.indd 198

Cycle:

10-02-06 09:28

NOW LOts 109 - 144

lot 109 tIm davIs est $ 400-600

lot 110 stephaNIe CINellI est $500-700

lot 111 CaNdIda hÖFer est $1,500-2,500

lot 112 eberhard havekost est $600-900

lot 113 thomas struth est $1,000-1,500

lot 114 thomas ruFF est $1,000-1,500

lot 115 Charles lutz est $6,000-8,000

lot 116 GreGor hIldebraNdt est $2,000-3,000

lot 117 dave muller est $ 4,000-6,000

lot 118 WIllIam Cordova est $8,000-12,000

lot 119 CheYNeY thompsoN est $ 4,000-6,000

lot 120 CheYNeY thompsoN est $ 4,000-6,000

lot 121 FraNCIs alŸs est $2,000-3,000

lot 122 JoN pYlYpChuk est $10,000-15,000

lot 123 ChrIs JohaNsoN est $6,000-8,000

lot 124 ChrIstIaN sChumaNN est $5,000-7,000

lot 125 ChrIs JohaNsoN est $5,000-7,000

lot 126 erIk parker est $10,000-15,000

lot 127 rIta aCkermaNN est $3,000-4,000

lot 128 martIN eder est $7,000-9,000

lot 129 marIlYN mINter est $15,000-20,000

lot 130 rYaN mCGINleY est $2,500-3,500

lot 131 paul rusCoNI est $ 4,000-6,000

lot 132 leaNdro erlICh est $10,000-15,000

lot 133 JosephINe meCkseper est $3,000-4,000

lot 134 eIleeN QuINlaN est $5,000-7,000

lot 135 JosephINe meCkseper est $8,000-12,000

lot 136 kara Walker est $8,000-10,000

lot 137 sIobhaN lIddell est $2,000-3,000

lot 138 mIChael Joo est $7,000-9,000

lot 139 hope athertoN est $15,000-20,000

lot 140 tomorY dodGe est $8,000-12,000

lot 141 amelIe voN WulFFeN est $7,000-9,000

lot 142 mattheW moNahaN est $18,000-25,000

lot 143 JohaNNes kahrs est $1,000-1,500

lot 14 4 moNICa boNvICINI est $15,000-20,000

199

36672_PHI_196-203.indd 199

Cycle:

10-02-08 21:18

NOW LOts 145 - 180

lot 145 lERonE wilson Est $5,000-7,000

lot 146 Rafal Bujnowski Est $6,000-8,000

lot 147 wilHElm sasnal Est $30,000-40,000

lot 148 jonatHan mEEsE Est $6,000-8,000

lot 149 jonatHan mEEsE Est $6,000-8,000

lot 150 GEoRGE Condo Est $12,000-18,000

lot 151 david RatCliff Est $6,000-8,000

lot 152 tEREnCE koH Est $8,000-12,000

lot 153 BRian kEnnon Est $2,000-3,000

lot 154 andREw GuEntHER Est $ 4,000-6,000

lot 155 aGatHE snow Est $5,000-7,000

lot 156 CandiCE BREitz Est $30,000-40,000

lot 157 tHomas Ruff Est $25,000-35,000

lot 158 Paul PfEiffER Est $30,000-40,000

lot 159 kim mCCaRty Est $5,000-7,000

lot 160 kim mCCaRty Est $5,000-7,000

lot 161 BHakti BaxtER Est $3,000-4,000

lot 162 kaREn kilimnik Est $20,000-30,000

lot 163 CECily BRown Est $15,000-20,000

lot 164 jöRG lozEk Est $ 4,000-6,000

lot 165 saRa van dER HEidE Est $3,000-4,000

lot 166 kaREn kilimnik Est $30,000-40,000

lot 167 jEsus diaz dE vivaR Est $ 4,000-6,000

lot 168 RiCHaRd loudERBaCk Est $1,000-1,500

lot 169 CHaRlEs kaRuBian Est $3,000-4,000

lot 170 HÅvaRd HomstvEdt Est $2,000-3,000

lot 171 HÅvaRd HomstvEdt Est $5,000-7,000

lot 172 BRian faHlstRom Est $15,000-20,000

lot 173 CHRistoPH RuCkHÄBERlE Est $15,000-20,000

lot 174 CHRistoPH sCHmidBERGER Est $3,000-4,000

lot 175 muntEan & RosEnBlum Est $6,000-8,000

lot 176 CHRistoPH sCHmidBERGER Est $10,000-15,000

lot 177 sHay kun Est $6,000-8,000

lot 178 stEPHEn BusH Est $12,000-18,000

lot 179 stEfano aRiEnti Est $6,000-8,000

lot 180 sam salisBuRy Est $10,000-15,000

200

36672_PHI_196-203.indd 200

Cycle:

10-02-08 21:34

NOW LOts 181 - 216

lot 181 JaY davis Est $ 4,000-6,000

lot 182 dan koPP Est $2,000-3,000

lot 183 olEg tistol Est $5,000-7,000

lot 184 lisa ruYtEr Est $15,000-20,000

lot 185 stEvE CanadaY Est $3,000-4,000

lot 186 aYa uEkaWa Est $2,500-3,500

lot 187 Mr. Est $7,000-9,000

lot 188 shintaro MiYakE Est $5,000-7,000

lot 189 shintaro MiYakE Est $5,000-7,000

lot 191 gaiJin FuJita Est $10,000-15,000

lot 191 lEE dongi Est $15,000-20,000

lot 192 riChard aldriCh Est $ 4,000-6,000

lot 193 Magnus sigurdarson Est $2,500-3,500

lot 194 daMiEn hirst Est $6,000-8,000

lot 195 Mark di suvEro Est $3,000-4,000

lot 196 lionEl EstévE Est $ 4,000-6,000

lot 197 lionEl EstévE Est $ 4,000-6,000

lot 198 rYan MCginnEss Est $6,000-8,000

lot 199 rYan MCginnEss Est $6,000-8,000

lot 200 allan MCColluM Est $10,000-15,000

lot 201 Mark MandErs Est $ 4,000-6,000

lot 202 JaMEs WElling Est $7,000-9,000

lot 203 Christian sChuMann Est $15,000-20,000

lot 204 CosiMa von Bonin Est $20,000-30,000

lot 205 olaFur Eliasson Est $30,000-40,000

lot 206 grEgor sChnEidEr Est $3,000-4,000

lot 207 david dEutsCh and Phil grauEr Est $3,000-4,000

lot 208 hiroshi sugiMoto Est $10,000-15,000

lot 209 Yang Fudong Est $5,000-7,000

lot 210 Cui XiuWEn Est $12,000-18,000

lot 211 Carlos aMoralEs Est $5,000-7,000

lot 212 Carlos aMoralEs Est $8,000-12,000

lot 213 JEnnY savillE in CollaBoration With glEnn luChFord Est $10,000-15,000

lot 214 nan goldin Est $2,500-3,500

lot 215 hElMut grill Est $5,000-7,000

lot 216 noBuYoshi araki Est $2,500-3,500

201

36672_PHI_196-203.indd 201

Cycle:

10-02-06 16:26

NOW LOts 217 - 252

lot 217 nobuyoshi araki est $2,500-3,500

lot 218 annika larsson est $2,000-3,000

lot 219 GreGory Crewdson est $6,000-8,000

lot 220 GreGory Crewdson est $3,000-4,000

lot 221 sCott PeterMan est $ 4,000-6,000

lot 222 Gerard byrne est $10,000-15,000

lot 223 Phil Collins est $3,000-4,000

lot 224 erwin wurM est $3,000-5,000

lot 225 Mariah robertson est $2,000-3,000

lot 226 andrew Moore est $3,000-4,000

lot 227 JessiCa baCkhaus est $1,000-1,500

lot 228 kaMran diba est $5,000-7,000

lot 229 zhanG hui est $3,500-4,500

lot 230 anthony burdin est $2,000-3,000

lot 231 anthony burdin est $2,000-3,000

lot 232 anthony burdin est $2,000-3,000

lot 233 anthony burdin est $2,000-3,000

lot 234 su XinPinG est $50,000-70,000

lot 235 ray sell est $1,000-1,500

lot 236 ray sell est $1,000-1,500

lot 237 Jason Meadows est $3,000-4,000

lot 238 Jens lorenzen est $15,000-20,000

lot 239 david shaw est $3,000-4,000

lot 240 abetz/dresCher (Maike abetz and oliver dresCher ) est $5,000-7,000

lot 241 henninG kles est $20,000-30,000

lot 242 kevin aPPel est $10,000-15,000

lot 243 delia brown est $3,000-4,000

lot 24 4 Jon FlaCk est $5,000-7,000

lot 245 dan attoe est $2,500-3,500

lot 246 birGit MeGerle est $1,000-1,500

lot 247 Faris MCreynolds est $800-1,200

lot 248 thoMas sCheibitz est $1,000-1,500

lot 249 ivan Morley est $8,000-12,000

lot 250 Gerald davis est $2,000-3,000

lot 251 will Cotton est $1,000-1,500

lot 252 kelly MClane est $1,500-2,000

202

36672_PHI_196-203.indd 202

Cycle:

10-02-08 21:41

NOW LOts 253 - 287

lot 253 allen ruppersberG est $ 4,000-6,000

lot 254 GIllIan CarneGIe est $2,000-3,000

lot 255 tIM stoner est $1,500-2,000

lot 256 GraHaM GIllMore est $8,000-12,000

lot 257 WIllIaM poWHIDa est $1,200-1,800

lot 258 Jason MClean est $500-700

lot 259 benDIx HarMs est $8,000-10,000

lot 260 tHoMas aCKerMann est $3,000-4,000

lot 261 uWe KoWsKI est $8,000-12,000

lot 262 GreG Haberny est $6,000-8,000

lot 263 tIM loKIeC est $2,000-3,000

lot 264 tIM loKIeC est $ 4,000-6,000

lot 265 Kenny sCHarf est $3,000-4,000

lot 266 Kenny sCHarf est $5,000-7,000

lot 267 allen ruppersberG est $8,000-12,000

lot 268 Kenny sCHarf est $15,000-20,000

lot 269 brIan leo est $1,800-2,500

lot 270 anna seW Hoy est $ 4,000-6,000

lot 271 os GeMeos est $800-1,200

lot 272 CHrIs JoHanson est $2,500-3,500

lot 273 CHrIs JoHanson est $ 4,000-6,000

lot 274 CHrIs JoHanson est $2,000-3,000

lot 275 sHeparD faIrey est $2,000-3,000

lot 276 GHost est $500-700

lot 277 Cope 2 (fernanDo Carlo) est $300-400

lot 278 t-KID est $300-400

lot 279 Katope est $500-700

lot 280 arbIto est $300-400

lot 281 steve MerrIll est $200-300

lot 282 DanIel GoffIn est $1,000-1,200

lot 283 eMMett potter III est $ 450-550

lot 284 blobpus est $300-400

lot 285 Ken aKaMatsu/ MarMIt Co. est $ 400-600

lot 286 KyoKa IKeDa/ GarGaMel Co. est $ 400-500

lot 287 leeCIfer est $ 400-500

203

36672_PHI_196-203.indd 203

Cycle:

10-02-06 16:45

GUIDE FOR PROSPECTIVE BUYERS BUYING AT AUCTION

∆ Property In Which Phillips de Pury & Company Has An Ownership Interest

The following pages are designed to offer you information on how to buy at auction at Phillips

Lots with this symbol indicate that Phillips de Pury & Company owns the lot in whole or in part

de Pury & Company. Our staff will be happy to assist you.

or has an economic interest in the lot equivalent to an ownership interest.

CONDITIONS OF SALE

•

No Reserve

•

The Conditions of Sale and Authorship Warranty which appear later in this catalogue

Unless indicated by a

govern the auction. Bidders are strongly encouraged to read them as they outline the legal

is the confidential value established between Phillips de Pury & Company and the seller and

relationship among Phillips, the seller and the buyer and describe the terms upon which

below which a lot may not be sold. The reserve for each lot is generally set at a percentage of

property is bought at auction. Please be advised that Phillips de Pury & Company generally

the low estimate and will not exceed the low pre-sale estimate.

, all lots in this catalogue are offered subject to a reserve. A reserve

acts as agent for the seller. 2 BIDDING IN THE SALE BUYER’S PREMIUM Phillips de Pury & Company charges the successful bidder a commission, or buyer’s premium,

Bidding At Auction

on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of

Bids may be executed during the auction in person by paddle or by telephone or prior to the

the total purchase price at the following rates: 25% of the hammer price up to and including

sale in writing by absentee bid.

$50,000, 20% of the portion of the hammer price above $50,000 up to and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000.

BIDDING IN PERSON To bid in person, you will need to register for and collect a paddle before the auction begins.

1 PRIOR TO AUCTION

Proof of identity in the form of government issued identification will be required, as will an

Catalogue Subscriptions

original signature. We may also require that you furnish us with a bank reference. New clients

If you would like to purchase a catalogue for this auction or any other Phillips de Pury &

are encouraged to register at least 48 hours in advance of a sale to allow sufficient time for us

Company sale, please contact us at +1 212 940 1240 or +44 20 7318 4010.

to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses.

Pre-Sale Estimates

Please do not misplace your paddle. In the event you lose it, inform a Phillips de Pury &

Pre-Sale estimates are intended as a guide for prospective buyers. Any bid within the high

Company staff member immediately. At the end of the auction, please return your paddle to the

and low estimate range should, in our opinion, offer a chance of success. However, many lots

registration desk.

achieve prices below or above the pre-sale estimates. Where “Estimate on Request” appears, please contact the specialist department for further information. It is advisable to contact us

Bidding By Telephone

closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do

If you cannot attend the auction, you may bid live on the telephone with one of our multi-

not include the buyer’s premium or any applicable taxes.

lingual staff members. This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low pre-sale estimate is at least $1000. Telephone bids may

Pre-Sale Estimates In Pounds Sterling And Euros

be recorded. By bidding on the telephone, you consent to the recording of your conversation.

Although the sale is conducted in US dollars, the pre-sale estimates in the auction catalogues

We suggest that you leave a maximum bid, excluding the buyer’s premium and any applicable

may also be printed in pounds sterling and/or euros. Since the exchange rate is that at the time

taxes, which we can execute on your behalf in the event we are unable to reach you by

of catalogue production and not at the date of auction, you should treat estimates in pounds

telephone.

sterling or euros as a guide only. Absentee Bids Catalogue Entries

If you are unable to attend the auction and cannot participate by telephone, Phillips de Pury

Phillips may print in the catalogue entry the history of ownership of a work of art, as well as

& Company will be happy to execute written bids on your behalf. A bidding form can be found

the exhibition history of the property and references to the work in art publications. While we

at the back of this catalogue. This service is free and confidential. Bids must be placed in the

are careful in the cataloguing process, provenance, exhibition and literature references may

currency of the sale. Our staff will attempt to execute an absentee bid at the lowest possible

not be exhaustive and in some cases we may intentionally refrain from disclosing the identity

price taking into account the reserve and other bidders. Always indicate a maximum bid,

of previous owners. Please note that all dimensions of the property set forth in the catalogue

excluding the buyer’s premium and any applicable taxes. Unlimited bids will not be accepted.

entry are approximate.

Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence.

Condition Of Lots Our catalogues include references to condition only in the descriptions of multiple works (e.g.,

Employee Bidding

prints). Such references, though, do not amount to a full description of condition. The absence

Employees of Phillips de Pury & Company and our affiliated companies, including the

of reference to the condition of a lot in the catalogue entry does not imply that the lot is free

auctioneer, may bid at the auction by placing absentee bids so long as they do not know the

from faults or imperfections. Solely as a convenience to clients, Phillips de Pury & Company

reserve when submitting their absentee bids and otherwise comply with our employee bidding

may provide condition reports. In preparing such reports, our specialists assess the condition

procedures.

in a manner appropriate to the estimated value of the property and the nature of the auction in which it is included. While condition reports are prepared honestly and carefully, our staff

Bidding Increments

are not professional restorers or trained conservators. We therefore encourage all prospective

Bidding generally opens below the low estimate and advances in increments of up to 10%,

buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in

subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments

the case of any lot of significant value, that you retain your own restorer or professional

set below may be lowered to the next bidding increment.

advisor to report to you on the property’s condition prior to bidding. Any prospective buyer of photographs or prints should always request a condition report because all such property

$50 to $1,000

by $50s

is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed,

$1,000 to $2,000

by $100s

Phillips de Pury & Company accepts no liability for the condition of the frame. If we sell any lot

$2,000 to $3,000

by $200s

unframed, we will be pleased to refer the purchaser to a professional framer.

$3,000 to $5,000

by $200s, 500, 800 (i.e. $4,200, 4,500, 4,800)

Pre-Auction Viewing

$5,000 to $10,000

by $500s

Pre-auction viewings are open to the public and free of charge. Our specialists are available to

$10,000 to $20,000

by $1,000s

give advice and condition reports at viewings or by appointment.

$20,000 to $30,000

by $2,000s

$30,000 to $50,000

by $2,000s, 5,000, 8,000

Electrical And Mechanical Lots

$50,000 to $100,000

by $5,000s

All lots with electrical and/or mechanical features are sold on the basis of their decorative

$100,000 to $200,000

by $10,000s

value only and should not be assumed to be operative. It is essential that, prior to any intended

above $200,000

auctioneer’s discretion

use, the electrical system is verified and approved by a qualified electrician. The auctioneer may vary the increments during the course of the auction at his or her own Symbol Key

discretion.

The following key explains the symbols you may see inside this catalogue. 3 THE AUCTION O Guaranteed Property

The seller of lots with this symbol has been guaranteed a minimum price. The guarantee may

Conditions of Sale

be provided by Phillips de Pury & Company, by a third party or jointly by us and a third party.

As noted above, the auction is governed by the Conditions of Sale and Authorship Warranty.

Phillips de Pury & Company and third parties providing or participating in a guarantee may

All prospective bidders should read them carefully. They may be amended by saleroom

benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not

addendum or auctioneer’s announcement.

successful. A third party guarantor may also bid for the guaranteed lot and may be allowed to net the financial remuneration against the final purchase price if such party is the successful

Interested Parties Announcement

bidder.

In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or

36672_PHI_204-216.indd 204

10-02-07 09:54

CONTEMPORARY ART AUCTION NEW YORK CONTEMPORARY ART EVENING SALE Viewing 27 February – 4 March

4 MARCH 2010 7pm

Phillips de Pury & Company 450 West 15 Street New York 10011 Enquiries +1 212 940 1260 Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com

GEORGE CONDO Trapped Priest, 2005 (detail) Estimate $80,000-120,000

36672_PHI_204-217.indd 205

Cycle:

10-02-08 22:18

a party providing or participating in a guarantee on the lot, Phillips de Pury & Company will make an announcement in the saleroom that interested parties may bid on the lot. Consecutive and Responsive Bidding The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing consecutive bids or bids in response to other bidders. 4 AFTER THE AUCTION Payment Buyers are required to pay for purchases immediately following the auction unless other arrangements are agreed with Phillips de Pury & Company in writing in advance of the sale. Payments must be made in US dollars either by cash, check drawn on a US bank or wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our corporate policy not to make or accept single or multiple payments in cash or cash equivalents in excess of US$10,000. Credit Cards As a courtesy to clients, Phillips de Pury & Company will accept American Express, Visa and Mastercard to pay for invoices of $10,000 or less. Collection It is our policy to request proof of identity on collection of a lot. A lot will be released to the buyer or the buyer’s authorized representative when Phillips de Pury & Company has received full and cleared payment and we are not owed any other amount by the buyer. Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, we will upon request transfer purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for collection within 30 days following the date of the auction. We will levy removal, interest, storage and handling charges on uncollected lots. Loss or Damage Buyers are reminded that Phillips de Pury & Company accepts liability for loss or damage to lots for a maximum of five days following the auction. Transport and Shipping As a free service for buyers, Phillips de Pury & Company will wrap purchased lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property purchased at Phillips de Pury & Company. Please refer to Paragraph 7 of the Conditions of Sale for more information. Export and Import Licenses Before bidding for any property, prospective bidders are advised to make independent inquiries as to whether a license is required to export the property from the United States or to import it into another country. It is the buyer’s sole responsibility to comply with all import and export laws and to obtain any necessary licenses or permits. The denial of any required license or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot. Endangered Species Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a license or certificate prior to exportation and additional licenses or certificates upon importation to any foreign country. Please note that the ability to obtain an export license or certificate does not ensure the ability to obtain an import license or certificate in another country, and vice versa. We suggest that prospective bidders check with their own government regarding wildlife import requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licenses or certificates as well as any other required documentation. The denial of any required license or certificate or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot.

36672_PHI_204-216.indd 206

10-02-07 09:54

sex 20 march 2010 LONDON

36672_PHI_204-217.indd 207

10-02-08 22:26

CONDITIONS OF SALE The Conditions of Sale and Authorship Warranty set forth below govern the relationship

between bidders and buyers, on the one hand, and Phillips de Pury & Company and sellers, on

is printed in this catalogue or otherwise available from Phillips de Pury & Company. Telephone

the other hand. All prospective buyers should read these Conditions of Sale and Authorship

bidding is available for lots whose low pre-sale estimate is at least $1000. Phillips de Pury

Warranty carefully

& Company reserves the right to require written confirmation of a successful bid from a

before bidding.

telephone bidder by fax or otherwise immediately after such bid is accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the

1 INTRODUCTION

recording of the conversation.

Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale and Authorship Warranty; (b) additional notices and terms printed in other places in this

(d) When making a bid, whether in person, by absentee bid or on the telephone, a bidder

catalogue, including the Guide for Prospective Buyers, and (c) supplements to this catalogue

accepts personal liability to pay the purchase price, as described more fully in Paragraph 6

or other written material posted by Phillips de Pury & Company in the saleroom, in each case

(a) below, plus all other applicable charges unless it has been explicitly agreed in writing with

as amended by any addendum or announcement by the auctioneer prior to the auction.

Phillips de Pury & Company before the commencement of the auction that the bidder is acting as agent on behalf of an identified third party acceptable to Phillips de Pury & Company and

By bidding at the auction, whether in person, through an agent, by written bid, by telephone

that we will only look to the principal for such payment.

bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty.

(e) Arranging absentee and telephone bids is a free service provided by Phillips de Pury & Company to prospective buyers. While we undertake to exercise reasonable care in

These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain

undertaking such activity, we cannot accept liability for failure to execute such bids except

all the terms on which Phillips de Pury & Company and the seller contract with the buyer.

where such failure is caused by our willful misconduct.

2 PHILLIPS de PURY & COMPANY AS AGENT

(f) Employees of Phillips de Pury & Company and our affiliated companies, including the

Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated in this

auctioneer, may bid at the auction by placing absentee bids so long as they do not know the

catalogue or at the time of auction. On occasion, Phillips de Pury & Company may own a lot, in

reserve when submitting their absentee bids and otherwise comply with our employee bidding

which case we will act in a principal capacity as a consignor, or may have a legal, beneficial or

procedures.

financial interest in a lot as a secured creditor or otherwise. 5 CONDUCT OF THE AUCTION

•

3 CATALOGUE DESCRIPTIONS AND CONDITION OF PROPERTY

(a) Unless otherwise indicated by the symbol

Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless

is the confidential minimum selling price agreed by Phillips de Pury & Company with the

such description is changed or supplemented, as provided in Paragraph 1 above) and in the

seller. The reserve will not exceed the low pre-sale estimate at the time of the auction.

each lot is offered subject to a reserve, which

condition that they are in at the time of the sale on the following basis. (b)The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a (a) The knowledge of Phillips de Pury & Company in relation to each lot is partially dependent

lot for sale (including after the fall of the hammer) if he or she believes there may be error or

on information provided to us by the seller, and Phillips de Pury & Company is not able to

dispute and take such other action as he or she deems reasonably appropriate.

and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge this fact and accept responsibility for carrying out inspections and investigations to satisfy

themselves as to the lots in which they may be interested. Notwithstanding the foregoing,

she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place

we shall exercise such reasonable care when making express statements in catalogue

one or more bids on behalf of the seller up to the reserve without indicating he or she is doing

descriptions or condition reports as is consistent with our role as auctioneer of lots in

so, either by placing consecutive bids or bids in response to other bidders.

this sale and in light of (i) the information provided to us by the seller, (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of relevant experts, in each case

(d) The sale will be conducted in US dollars and payment is due in US dollars. For the

at the time any such express statement is made.

benefit of international clients, pre-sale estimates in the auction catalogue may be shown in pounds sterling and/or euros and, if so, will reflect approximate exchange rates. Accordingly,

(b) Each lot offered for sale at Phillips de Pury & Company is available for inspection by

estimates in pounds sterling or euros should be treated only as a guide.

prospective buyers prior to the auction. Phillips de Pury & Company accepts bids on lots on the basis that bidders (and independent experts on their behalf, to the extent appropriate given

(e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the

the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior

auctioneer will be the buyer and the striking of the hammer marks the acceptance of the

to bidding and have satisfied themselves as to both the condition of the lot and the accuracy of

highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and

its description.

responsibility for the lot passes to the buyer as set forth in Paragraph 7 below.

(f) If a lot is not sold, the auctioneer will announce that it has been “passed,” “withdrawn,”

they are not in perfect condition. As a courtesy to clients, Phillips de Pury & Company may

“returned to owner” or “bought-in.”

prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports may make reference to particular

(g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale

imperfections of a lot, but bidders should note that lots may have other faults not expressly

and Authorship Warranty as if sold in the auction.

referred to in the catalogue or condition report. All dimensions are approximate. Illustrations are for identification purposes only and cannot be used as precise indications of size or to

6 PURCHASE PRICE AND PAYMENT

convey full information as to the actual condition of lots.

(a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium and any applicable sales tax (the “Purchase Price”). The buyer’s premium is 25% of the hammer

(d) Information provided to prospective buyers in respect of any lot, including any pre-sale

price up to and including $50,000, 20% of the portion of the hammer price above $50,000 up to

estimate, whether written or oral, and information in any catalogue, condition or other report,

and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000.

commentary or valuation, is not a representation of fact but rather a statement of opinion held by Phillips de Pury & Company. Any pre-sale estimate may not be relied on as a prediction of

(b) Sales tax, use tax and excise and other taxes are payable in accordance with applicable

the selling price or value of the lot and may be revised from time to time by Phillips de Pury

law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted

& Company in our absolute discretion. Neither Phillips de Pury & Company nor any of our

exclusive of applicable taxes. Phillips de Pury & Company will only accept valid resale

affiliated companies shall be liable for any difference between the pre-sale estimates for any

certificates from US dealers as proof of exemption from sales tax. All foreign buyers should

lot and the actual price achieved at auction or upon resale.

contact the Client Accounting department about tax matters.

4 BIDDING AT AUCTION

(a) Phillips de Pury & Company has absolute discretion to refuse admission to the auction or

following the auction regardless of any intention to obtain an export or import license or other

participation in the sale. All bidders must register for a paddle prior to bidding, supplying such

permit for such lot. Payments must be made by the invoiced party in US dollars either by cash,

information and references as required by Phillips de Pury & Company.

check drawn on a US bank or wire transfer, as follows:

(b) As a convenience to bidders who cannot attend the auction in person, Phillips de Pury

(i) Phillips de Pury & Company will accept payment in cash provided that the total amount paid

& Company may, if so instructed by the bidder, execute written absentee bids on a bidder’s

in cash or cash equivalents does not exceed US$10,000. Buyers paying in cash should do so

behalf. Absentee bidders are required to submit bids on the “Absentee Bid Form,” a copy of

in person at our Client Accounting desk at 450 West 15th Street, Third Floor, during regular

which is printed in this catalogue or otherwise available from Phillips de Pury & Company.

weekday business hours.

Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum amount he or she intends to bid, excluding the buyer’s premium and any applicable sales or

(ii) Personal checks and banker’s drafts are accepted if drawn on a US bank and the buyer

use taxes. The auctioneer will not accept an instruction to execute an absentee bid which does

provides to us acceptable government issued identification. Checks and banker’s drafts

not indicate such maximum bid. Our staff will attempt to execute an absentee bid at the lowest

should be made payable to “Phillips de Pury & Company LLC.” If payment is sent by mail,

possible price taking into account the reserve and other bidders. Any absentee bid must be

please send the check or banker’s draft to the attention of the Client Accounting department

received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid

at 450 West 15th Street, New York, NY 10011 and make sure that the sale and lot number is

received will take precedence.

written on the check. Checks or banker’s drafts drawn by third parties will not be accepted.

36672_PHI_204-216.indd 208

10-02-07 09:54

THE ESTATE OF MRS. HARRY N. ABRAMS PAINTINGS

WORKS ON PAPER

EDITIONS

SCULPTURE

PHOTOGRAPHS

RIVERS NEVELSON KISLING ARMAN STEINBERG BOMBOIS GROOMS CHRISTO GROSS DINE SOYER BURLIUK POMODORO LICHTENSTEIN WARHOL MORRIS PICASSO SAMARAS AVERY GIACOMETTI HARTLEY INDIANA ANUSZKIEWICZ KELLY TINGUELY MIRO ARP BONTECOU KLEE WESSELMANN TOLEDO KATZ RAUSCHENBERG MARISOL GROPPER JENSEN MOTHERWELL OLITSKI BEARDEN PASCIN MAURER EPSTEIN TAMAYO DEKOONING FRANKENTHALER SEGAL CALDER DELAUNAY JENKINS MAILLOL OLDENBERG JOHNSON APPEL MOORE DALI FRANCIS REINHARDT D’ARCANGELO WESLEY RAMOS ALBERS BEARD GOTTLIEB BRECHT BRAINARD LUCEBERT AUCTION 7 APRIL 2010 NEW YORK Viewing 27 March – 7 April

Phillips de Pury & Company 450 West 15 Street New York 10011 Enquiries +1 212 940 1200 Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com

LUCAS SAMARAS

ROBERT INDIANA

JOHN WESLEY

ROY LICHTENSTEIN

ARMAN

ANDY WARHOL

TOM WESSELMANN

Robert Indiana: © 2010 Morgan Art Foundation / Artists Rights Society (ARS), New York Arman: © 2010 Artists Rights Society (ARS), New York / ADAGP, Paris Andy Warhol: © 2010 The Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York

36672_PHI_204-217.indd 209 Ads_revised_2_9.indd 2

Cycle:

10-02-09 17:50 2/9/10 4:32 PM

(iii) Payment by wire transfer may be sent directly to Phillips de Pury & Company. Bank

shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to

transfer details:

recover the hammer price and buyer’s premium for that lot, together with interest and the costs of such proceedings; or (viii) release the name and address of the buyer to the seller to enable

Citibank

the seller to commence legal proceedings to recover the amounts due and legal costs.

322 West 23rd Street, New York, NY 10011 SWIFT Code: CITIUS33

(b) As security to us for full payment by the buyer of all outstanding amounts due to Phillips

ABA Routing: 021 000 089

de Pury & Company and our affiliated companies, Phillips de Pury & Company retains, and

For the account of Phillips de Pury & Company LLC

the buyer grants to us, a security interest in each lot purchased at auction by the buyer and in

Account no.: 58347736

any other property or money of the buyer in, or coming into, our possession or the possession of one of our affiliated companies. We may apply such money or deal with such property as

Please reference the relevant sale and lot number.

the Uniform Commercial Code or other applicable law permits a secured creditor to do. In the event that we exercise a lien over property in our possession because the buyer is in default

(d) Title in a purchased lot will not pass until Phillips de Pury & Company has received the

to one of our affiliated companies, we will so notify the buyer. Our security interest in any

Purchase Price for that lot in cleared funds. Phillips de Pury & Company is not obliged to

individual lot will terminate upon actual delivery of the lot to the buyer or the buyer’s agent.

release a lot to the buyer until title in the lot has passed and appropriate identification has been provided, and any earlier release does not affect the passing of title or the buyer’s

unconditional obligation to pay the Purchase Price.

also irrevocably authorizes Phillips de Pury & Company to pledge the buyer’s property in our possession by actual or constructive delivery to our affiliated company as security for the

7 COLLECTION OF PROPERTY

payment of any outstanding amount due. Phillips de Pury & Company will notify the buyer if the

(a) Phillips de Pury & Company will not release a lot to the buyer until we have received

buyer’s property has been delivered to an affiliated company by way of pledge.

payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips de Pury & Company or any of our affiliated companies, including

10 RESCISSION BY PHILLIPS de PURY & COMPANY

any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such

Phillips de Pury & Company shall have the right, but not the obligation, to rescind a sale

other terms as we in our sole discretion shall require, including completing any anti-money

without notice to the buyer if we reasonably believe that there is a material breach of the

laundering or anti-terrorism financing checks. As soon as a buyer has satisfied all of the

seller’s representations and warranties or the Authorship Warranty or an adverse claim is

foregoing conditions, he or she should contact our Shipping department at +1 212 940 1372 or

made by a third party. Upon notice of Phillips de Pury & Company’s election to rescind the

+1 212 940 1373 to arrange for collection of purchased property.

sale, the buyer will promptly return the lot to Phillips de Pury & Company, and we will then refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the

(b) The buyer must arrange for collection of a purchased lot within five days of the date of

refund shall constitute the sole remedy and recourse of the buyer against Phillips de Pury &

the auction. Promptly after the auction, we will transfer all lots to our warehouse located

Company and the seller with respect to such rescinded sale..

at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients,

11 ExPORT, IMPORT AND ENDANGERED SPECIES LICENSES AND PERMITS

Phillips de Pury & Company will upon request transfer on a bi-weekly basis purchased lots

Before bidding for any property, prospective buyers are advised to make their own inquiries

suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for

as to whether a license is required to export a lot from the United States or to import it into

collection within 30 days following the date of the auction. Purchased lots are at the buyer’s

another country. Prospective buyers are advised that some countries prohibit the import

risk, including the responsibility for insurance, from the earlier to occur of (i) the date of

of property made of or incorporating plant or animal material, such as coral, crocodile,

collection or (ii) five days after the auction. Until risk passes, Phillips de Pury & Company

ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value.

will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the

Accordingly, prior to bidding, prospective buyers considering export of purchased lots should

Purchase Price paid, subject to our usual exclusions for loss or damage to property.

familiarize themselves with relevant export and import regulations of the countries concerned. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary

export, import and endangered species licenses or permits. Failure to obtain a license or

lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling,

permit or delay in so doing will not justify the cancellation of the sale or any delay in making

insurance and shipping services or coordinate with shipping agents instructed by the buyer in

full payment for the lot.

order to facilitate such services for property bought at Phillips de Pury & Company. Any such instruction, whether or not made at our recommendation, is entirely at the buyer’s risk and

12 CLIENT INFORMATION

responsibility, and we will not be liable for acts or omissions of third party packers or shippers.

In connection with the management and operation of our business and the marketing and

Third party shippers should contact us by telephone at +1 212 940 1376 or by fax at +1 212 924

supply of auction related services, or as required by law, we may ask clients to provide

6477 at least 24 hours in advance of collection in order to schedule pickup.

personal information about themselves or obtain information about clients from third parties (e.g., credit information). If clients provide us with information that is defined by law as

(d) Phillips de Pury & Company will require presentation of government issued identification

“sensitive,” they agree that Phillips de Pury & Company and our affiliated companies may

prior to release of a lot to the buyer or the buyer’s authorized representative.

use it for the above purposes. Phillips de Pury & Company and our affiliated companies will not use or process sensitive information for any other purpose without the client’s express

8 FAILURE TO COLLECT PURCHASES

consent. If you would like further information on our policies on personal data or wish to make

(a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of

corrections to your information, please contact us at +1 212 940 1228. If you would prefer not to

the auction, the buyer will incur a late collection fee of $35, storage charges of $5 per day and

receive details of future events please call the above number.

pro rated insurance charges of .1% of the Purchase Price per month on each uncollected lot. (b) If a purchased lot is paid for but not collected within six months of the auction, the buyer

13 LIMITATION OF LIABILITY

authorizes Phillips de Pury & Company, upon notice, to arrange a resale of the item by auction

(a) Subject to subparagraph (e) below, the total liability of Phillips de Pury & Company, our

or private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable

affiliated companies and the seller to the buyer in connection with the sale of a lot shall be

discretion. The proceeds of such sale will be applied to pay for storage charges and any other

limited to the Purchase Price actually paid by the buyer for the lot.

outstanding costs and expenses owed by the buyer to Phillips de Pury & Company or our affiliated companies and the remainder will be forfeited unless collected by the buyer within

(b) Except as otherwise provided in this Paragraph 13, none of Phillips de Pury & Company, any

two years of the original auction.

of our affiliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips de Pury & Company or

9 REMEDIES FOR NON-PAYMENT

any of our affiliated companies or (ii) accepts responsibility to any bidder in respect of acts

(a) Without prejudice to any rights the seller may have, if the buyer without prior agreement

or omissions, whether negligent or otherwise, by Phillips de Pury & Company or any of our

fails to make payment of the Purchase Price for a lot in cleared funds within five days of the

affiliated companies in connection with the conduct of the auction or for any other matter

auction, Phillips de Pury & Company may in our sole discretion exercise one or more of the

relating to the sale of any lot.

following remedies: (i) store the lot at Phillips de Pury & Company’s premises or elsewhere at the buyer’s sole risk and expense at the same rates as set forth in Paragraph 8 (a) above; (ii)

cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated

warranty of satisfactory quality and fitness for purpose, are specifically excluded by Phillips de

damages; (iii) reject future bids from the buyer or render such bids subject to payment of a

Pury & Company, our affiliated companies and the seller to the fullest extent permitted by law.

deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to notification of the buyer,

(d) Subject to subparagraph (e) below, none of Phillips de Pury & Company, any of our

exercise a lien over any of the buyer’s property which is in the possession of Phillips de Pury

affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond

& Company and instruct our affiliated companies to exercise a lien over any of the buyer’s

the refund of the Purchase Price referred to in subparagraph (a) above, whether such loss

property which is in their possession and, in each case, no earlier than 30 days from the date

or damage is characterized as direct, indirect, special, incidental or consequential, or for the

of such notice, arrange the sale of such property and apply the proceeds to the amount owed

payment of interest on the Purchase Price to the fullest extent permitted by law.

to Phillips de Pury & Company or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission and all sale-related expenses; (vi) resell the lot

(e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of

by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s

Phillips de Pury & Company or any of our affiliated companies to the buyer in respect of any

reasonable discretion, it being understood that in the event such resale is for less than the

fraud or fraudulent misrepresentation made by any of us or in respect of death or personal

original hammer price and buyer’s premium for that lot, the buyer will remain liable for the

injury caused by our negligent acts or omissions.

36672_PHI_204-216.indd 210

10-02-07 09:54

PHOTOGRAPHS AUCTION 16 APRIL 2010 10am & 2pm Viewing 9 – 15 April

NEW YORK

Phillips de Pury & Company 450 West 15 Street New York 10011 Enquiries +1 212 940 1245 Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com

ERWIN OLAF Troy from Grief, 2007 Estimate $15,000-20,000

36672_PHI_204-217.indd 211

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AUTHORSHIP WARRANTY 14 COPYRIGHT

Phillips de Pury & Company warrants the authorship of property in this auction catalogue for a

The copyright in all images, illustrations and written materials produced by or for Phillips de

period of five years from date of sale by Phillips de Pury & Company, subject to the exclusions

Pury & Company relating to a lot, including the contents of this catalogue, is and shall remain

and limitations set forth below.

at all times the property of Phillips de Pury & Company and such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips de Pury

(a) Phillips de Pury & Company gives this Authorship Warranty only to the original buyer of

& Company and the seller make no representations or warranties that the buyer of a lot will

record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not

acquire any copyright or other reproduction rights in it.

extend to (i) subsequent owners of the property, including purchasers or recipients by way of gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property created

15 GENERAL

prior to 1870, unless the property is determined to be counterfeit (defined as a forgery made

(a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above,

less than 50 years ago with an intent to deceive) and has a value at the date of the claim under

and Authorship Warranty set out the entire agreement between the parties with respect to the

this warranty which is materially less than the Purchase Price paid; (iii) property where the

transactions contemplated herein and supersede all prior and contemporaneous written, oral

description in the catalogue states that there is a conflict of opinion on the authorship of the

or implied understandings, representations and agreements.

property; (iv) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; or (v) property

(b) Notices to Phillips de Pury & Company shall be in writing and addressed to the department

whose description or dating is proved inaccurate by means of scientific methods or tests not

in charge of the sale, quoting the reference number specified at the beginning of the sale

generally accepted for use at the time of the publication of the catalogue or which were at

catalogue. Notices to clients shall be addressed to the last address notified by them in writing

such time deemed unreasonably expensive or impractical to use.

to Phillips de Pury & Company. (b) In any claim for breach of the Authorship Warranty, Phillips de Pury & Company reserves (c) These Conditions of Sale are not assignable by any buyer without our prior written consent

the right, as a condition to rescinding any sale under this warranty, to require the buyer to

but are binding on the buyerâ&#x20AC;&#x2122;s successors, assigns and representatives.

provide to us at the buyerâ&#x20AC;&#x2122;s expense the written opinions of two recognized experts approved in advance by Phillips de Pury & Company. We shall not be bound by any expert report

(d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable

produced by the buyer and reserve the right to consult our own experts at our expense. If

for any reason, the remaining provisions shall remain in full force and effect. No failure by any

Phillips de Pury & Company agrees to rescind a sale under the Authorship Warranty, we shall

party to exercise, nor any delay in exercising, any right or remedy under these Conditions of

refund to the buyer the reasonable costs charged by the experts commissioned by the buyer

Sale shall act as a waiver or release thereof in whole or in part.

and approved in advance by us.

16 LAW AND JURISDICTION

(a) ThThe rights and obligations of the parties with respect to these Conditions of Sale

for breach of the Authorship Warranty provided that (i) he or she has notified Phillips de Pury

and Authorship Warranty, the conduct of the auction and any matters related to any of the

& Company in writing within three months of receiving any information which causes the

foregoing shall be governed by and interpreted in accordance with laws of the State of New

buyer to question the authorship of the lot, specifying the auction in which the property was

York, excluding its conflicts of law rules.

included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips de Pury & Company in the

(b) Phillips de Pury & Company, all bidders and all sellers agree to the exclusive jurisdiction

same condition as at the time of its auction and is able to transfer good and marketable title in

of the (i) state courts of the State of New York located in New York City and (ii) the federal

the lot free from any third party claim arising after the date of the auction.

courts for the Southern and Eastern districts of New York to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale

(d) The buyer understands and agrees that the exclusive remedy for any breach of the

and Authorship Warranty relate or apply.

Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against Phillips

de Pury & Company, any of our affiliated companies and the seller and is in lieu of any other

connection with proceedings in any court by facsimile transmission, personal service, delivery

remedy available as a matter of law. This means that none of Phillips de Pury & Company, any

by mail or in any other manner permitted by New York law or the law of the place of service, at

of our affiliated companies or the seller shall be liable for loss or damage beyond the remedy

the last address of the bidder or seller known to Phillips de Pury & Company.

expressly provided in this Authorship Warranty, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the original Purchase Price.

36672_PHI_204-216.indd 212

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FILM C ON TEMPO RA RY A RT P HOTO GRA PH S E DITIO N S M EMO RA BILIA AUCTION

29 APRIL 2010

NEW YORK

Phillips de Pury & Company 450 Wes t 15 St reet New York 10011 Enquiries +1 212 940 1234 Cat alogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com

36672_PHI_204-217.indd 213 Ads_revised_2_9.indd 3

Cycle:

10-02-09 17:50 2/9/10 4:32 PM

phillips de pury & company

chairman

Directors

advisory Board

Simon de Pury

Aileen Agopian

Maria Bell

Finn Dombernowsky

Janna Bullock

Patty Hambrecht

Lisa Eisner

Charlie Horne

Lapo Elkann

Thierry Nataf

Ben Elliot

Alexander Payne

Lady Elena Foster

Rodman Primack

H.I.H. Francesca von Habsburg

Olivier Vrankrenne

Marc Jacobs

chief Executive officer Bernd Runge

senior Directors

Malcolm McLaren

Michael McGinnis

Ernest Mourmans

Dr. Michaela de Pury

Aby Rosen Christiane zu Salm Juergen Teller Princess Gloria von Thurn und Taxis Jean Michel Wilmotte Anita Zabludowicz

intErnational spEcialists

Berlin

Dr. Michaela de Pury, International Senior Director, Contemporary Art +49 17 289 73611 Shirin Kranz, Specialist, Contemporary Art +49 30 880 018 42

Brussels Buenos aires Geneva los angeles london milan moscow paris

Olivier Vrankenne, International Senior Specialist +32 486 43 43 44 Brooke de Ocampo, International Specialist, Contemporary Art +44 777 551 7060 Katie Kennedy Perez, Specialist, Contemporary Art +41 22 906 8000 Maya McLaughlin, International Specialist, Contemporary Art +1 323 791 1771 Leonie Moschner, International Senior Specialist +44 7815 050 461 Laura Garbarino, International Specialist, Contemporary Art +39 339 478 9671 Svetlana Marich, Specialist, Contemporary Art +7 495 225 88 22 Edouard de Moussac, International Specialist, Contemporary Art +33 6 64 23 27 81 Johanna Frydman, Specialist, Design +33 142 78 67 77

shanghai/Beijing hong Kong/singapore Zurich/israel

Jeremy Wingfield, International Specialist, Contemporary Art +852 6895 1805 Chin-Chin Yap, International Specialist, Contemporary Art +1 212 940 1250 Fiona Biberstein, International Specialist, Contemporary Art +41 43 344 86/32

marKEtinG

GEnEral counsEl

manaGinG DirEctors

Thierry Nataf, Senior Vice President

Patty Hambrecht

Charlie Horne, New York/Americas Finn Dombernowsky, London/Europe

WorlDWiDE oFFicEs NEW YORK

PARIS

BERLIN

450 West 15 Street, New York, NY 10011, USA

15 rue de la Paix, 75002 Paris, France

Auguststrasse 19, 10117 Berlin, Germany

tel +1 212 940 1200 fax +1 212 924 5403

tel +33 1 42 78 67 77 fax +33 1 42 78 23 07

tel +49 30 8800 1842 fax +49 30 8800 1843

LONDON

ZURICH

GENEVA

Howick Place, London SW1P 1BB, United Kingdom

Fraum端nsterstrasse 21, Postfach 2520, CH-8022

23 quai des Bergues, 1201 Geneva, Switzerland

tel +44 20 7318 4010 fax +44 20 7318 4011

Zurich, Switzerland

tel +41 22 906 80 00 fax +41 22 906 80 01

tel +44 7717 755 981

36672_PHI_204-217.indd 214

Cycle:

10-02-08 22:41

CONTEMPORARY ART AUCTIONS NEW YORK PART I 13 MAY 2010 7pm PART II Viewing 7 – 13 May

14 MAY 2010 10am & 2pm

Phillips de Pury & Company 450 West 15 Street New York 10011 Enquiries +1 212 940 1260 Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com

BARNABY FURNAS Duel (July 4th), 2004 (detail) Estimate $500,000-700,000

36672_PHI_204-217.indd 215

Cycle:

10-02-08 22:43

SPECIALISTS AND DEPARTMENTS

CONTEMPORARY ART Michael McGinnis, Senior Director

+1 212 940 1254

and worldwide Head, Contemporary Art

LoNDoN Peter Sumner, Head of Sales, London

+44 20 7318 4063

Henry Allsopp

+44 20 7318 4060

Laetitia Catoir

+44 20 7318 4064

Judith Hess

+44 20 7318 4705

MODERN AND CONTEMPORARY EDITIONS New York Cary Leibowitz, worldwide Co-Director

+1 212 940 1222

kelly Troester, worldwide Co-Director

+1 212 940 1221

Jannah Greenblatt

+1 212 940 1332

Joy Deibert

+1 212 940 1333

PHOTOGRAPHS LoNDoN

Leonie Moschner

+44 20 7318 4074

Lou Proud

Ivgenia Naiman

+44 20 7318 4071

Sebastien Montabonel

+44 20 7318 4025

Sarah Buchwald

+44 20 7318 4085

Alexandra Bibby

+44 20 7318 4087

Catherine Higgs

+44 20 7318 4089

emma Lewis

+44 20 7318 4092

raphael Lepine

+44 20 7318 4078

Siobhan o’Connor

+44 20 7318 4093

Tanya Tikhnenko

+44 20 7318 4065

Phillippa willison

+44 20 7318 4070

New York Aileen Agopian, New York Director

+1 212 940 1255

roxana Bruno

+1 212 940 1229

Timothy Malyk

+1 212 940 1258

Sarah Mudge

+1 212 940 1259

Jean-Michel Placent

+1 212 940 1263

rodman Primack

+1 212 940 1256

Maria Bueno

+1 212 940 1261

Sara Davidson

+1 212 940 1262

Alexandra Leive

+1 212 940 1252

Peter Flores

+1 212 940 1223

(Uli) Zhiheng Huang

+1 212 940 1288

DESIGN Alexander Payne, worldwide Director

+44 20 7318 4052

+44 20 7318 4018

New York Vanessa kramer, New York Director

+1 212 940 1243

Shlomi rabi

+1 212 940 1246

Caroline Shea

+1 212 940 1247

Sarah krueger

+1 212 940 1245

Carol ehlers, Consultant

+1 212 940 1245

JEWELRY Nazgol Jahan, worldwide Director

+1 212 940 1283

New York Carmela Manoli

+1 212 940 1302

Heather Zises

+1 212 940 1290

emily Bangert

+1 212 940 1365

GeNeVA Carolin Bulgari

+41 22 906 80 00

LoNDoN Lane McLean

+44 20 7318 4032

LoNDoN Domenico raimondo

+44 20 7318 4016

ellen Stelter

+44 20 7318 4021

Ben williams

+44 20 7318 4027

Marcus McDonald

+44 20 7318 4014

Marine Hartogs

THEME SALES LoNDoN Tobias Sirtl, London Manager

+44 20 7318 4095

Arianna Jacobs

+44 20 7318 4054

George o’Dell

+44 20 7318 4040

+44 20 7318 4021 New York

New York Alex Heminway, New York Director Tara Dewitt

+1 212 940 1269 +1 212 940 1265

Meaghan roddy

+1 212 940 1266

Marcus Tremonto

+1 212 940 1268

Alexandra Gilbert

+1 212 940 1268

Corey Barr, New York Manager

+1 212 940 1234

Anne Huntington

+1 212 940 1210

Stephanie Max

+1 212 940 1301

PRIvATE SALES New York Andrea Hill

PArIS Johanna Frydman

36672_PHI_204-217.indd 216

+33 1 42 78 67 77

+1 212 940 1238

BerLIN Christina Scheublein

+49 30 886 250 57

Cycle:

10-02-08 22:44

SALe inFormAtion

Auction Saturday 6 March 2010, 12pm Viewing Saturday 27 February, 10am – 6pm Sunday 28 February, 12pm – 6pm Monday 1 March, 10am – 6pm Tuesday 2 March, 10am – 6pm Wednesday 3 March, 10am – 6pm Thursday 4 March, 10am – 6pm Friday 5 March, 10am – 6pm Viewing & Auction LocAtion 450 West 15 Street New York 10011 SALe DeSignAtion In sending in written bids or making enquiries please refer to this sale as NY000110 or NOW: Art of the 21st Century. theme SALeS new York Corey Barr, Manager +1 212 940 1234 Anne Huntington, Cataloguer +1 212 940 1210 Stephanie Max, Administrator +1 212 940 1301 London Tobias Sirtl, Manager +44 20 7318 4095 Arianna Jacobs, Cataloguer +44 20 7318 4054 George O’Dell, Administrator +44 20 7318 4040 consultant Steve Agin, Toy Art +1 908 475 1796 cAtALogueS +1 212 940 1240 Catalogues £15/$25 at the Gallery catalogues@phillipsdepury.com AbSentee AnD teLephone biDS Rebecca Lynn +1 212 940 1228 +1 212 924 1749 fax bids@phillipsdepury.com cLient Accounting Sylvia Leitao +1 212 940 1231 buyers Accounts Nicole Rodriguez +1 212 940 1235 Seller Accounts Barbara Doupal +1 212 940 1232 Nadia Somwaru +1 212 940 1280 cLient SerViceS +1 212 940 1200 Shipping Beth Petriello +1 212 940 1373 Jennifer Brennan +1 212 940 1372 propertY mAnAger Robert Weingart +1 212 940 1241 eDitoriAL Karen Wright, Editor Iggy Cortez, Editorial Assistant photogrAphY Kent Pell, Matthew Kroening and Clint Blowers

back cover Candice Breitz, Babel Mirrors (Grace Jones, Wham, Prince, The Police, Abba, Queen, Madonna), 2002. Lot 156 (detail)

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