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NOW

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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
Whats 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 exactly like their owners. Am therefore particularly happy that we
could include a story on Amy 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
interview karen wright | photographs poppy de villeneuve
Amy Phelan photographed at home in New York, January 20, 2010

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Opposite: Amy Phelan with Marilyn Minters photograph

Left: Lina Bertucci, Sara, 22, Graphic Designer, 2007; right: Jean Dubuffet, La Danseuse Mongole,1954

I fIrst meet Amy PhelAn on facebook after she accepted my friend assortment of candies tangy apple sour sweets, green liquorices, m&ms
request. ed Baynard, an artist friend, had suggested I befriend her as he and margarita chips. their arrangement in black bowls of various heights
liked what she was posting on her facebook page and the artists, collec- and their lurid green color catches my eye.
tors and curators listed among her friends. As one who has little interest I ask Amy what their first major purchase was. It was eight years ago,
in the website, I agreed rather begrudgingly. her postings began to appear she says, pointing to a spectacular Dubuffet across the living room. We
regularly in my news feed and, unlike many of my other invitations to this started by collecting modern the Dubuffet and a Picasso pencil drawing
opening or that event, her postings, and in particular the photographs of her in the hallway she says. the de Kooning came shortly after. she likes the
everyday life and travels, displayed an endearing warmth and humor. It was Dubuffet for its sweet spirit, it is as if there is a man behind the mask,
in this spirit that I placed the request to interview her through facebook, and the de Kooning seated woman for the fact that although it is a little
the result of which led me to her spectacular more abstract, she is clearly a woman. she is
living room on new york's Upper east side. still soft and beautiful, and the fact that it is

it was both exciting


We settle comfortably on squishy painted on newspaper gives it a cutting edge. It
sofas and start to chat, first about her child- was the de Kooning, she admits, that gave them
hood in Dallas, texas, with her hard-working the confidence to move from modern into the
middle-class parents and a beloved brother.
the family is interested in sports, it was a and intimidating to contemporary.
the first contemporary works they bought,

be a dallas cowboys
texan sports family, and it seemed a natural reflect the personalities of these two collectors.
progression for her to become a cheerleader with thomas ruff photographs, with their golden
the Dallas Cowboys, which she was between coloration and blurry focus, look at first glance
1991 and 1994. she recalls how competitive it
was to become one of the girls who all came cheerleader, and it a bit old-fashioned and tie them into the spirit of
modernist work. It is the subject matter of these

gave me the confidence


from dancing backgrounds and the rule was that works from ruff's pornography series that ties
you had to work or be in full-time education. them firmly into the contemporary.
It was both intimidating and exciting to be a part I ask about the marilyn minter photographs
of the team and it gave me the confidence to be
out there.
the cheerleading squad was not paid,
to be out there 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
however, and eventually her parents decided themselves and makenzie moon, their 14-year-
she needed a job so she moved into the business world as the Director old daughter. their Aspen home also houses the majority of their collection
of marketing in a medical manufacturing company they sold medical of contemporary art.
mattresses, she recalls, laughing. I ask her if she liked the job. she responds they were in the Baldwin Gallery, the gallery of the late harley
emphatically. yes, Idid! Isold those mattresses really well!they did so well Baldwin, and he suggested that John commission a work of Amy by marilyn,
that the company eventually went public. an idea at which she was initially embarrassed. she accepted the challenge
Amy moved to new york in 2000, marrying hedge fund manager John and when she and John arrived at marilyns downtown studio not knowing
Phelan shortly afterwards. they have recently celebrated their seventh what to expect. the initial sitting took some four hours and was made more
wedding anniversary. the couple started to collect art, opting not to hire fun by copious amounts of wine being drunk by both her and John and the
any consultants or curators, preferring to carry out their own research. artist. I ask if minter made her up and she says, no. I was already wearing
she admits you cant see everything but says they prefer a personal input. make up but she puts Vaseline on your face and then sprays you with water
It is clear from looking around me, as I sit in their home, that this is a highly from a plant mister so the water beads up. the images from the sitting were
personal selection of a bold and educated eye. so successful that marilyn has used them as the basis for a whole series of
Amy is seated in front of a large abstraction by Willem de Kooning of paintings, she says adding that, the main one is in their house in Aspen.
swooping reds and blues hung over the sofa, each of its carefully judged marilyn was my first artist friend, she says, I get on really well with
marks adding something suggestive, erotic even in such a setting as her. Amy acknowledges that success has come late to [minter] and that
this, to the canvas. But my attention today is focused instead on a less she had a hard row to hoe her mother was a drug addict. she was always
familiar sight, a black lacquer tray in front of me where there is an on the outside of the art world, painting her pornographic works. she says

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

that minter said recently that it was the works about her mother which board members as well as being a steward of the organization'. she says, 'I
attracted attention and finally gained her respect in the art world. take my responsibility as a trustee very seriously, I leave the personal at the
I ask about other artists whose studios she has visited and she names door. As for the Guggenheims position in the new york City art hierarchy
a few Chuck Close, raqib shaw and marc Quinn in london, Israeli artist she says it is the only international museum in the world.
nir haad, ron mueck and Jim hodges. Jim, like marilyn, has also become John, her husband, is a trustee at the Aspen Art museum, and she is
a friend. she recalls meeting him at an opening and immediately felt a spir- on both the national council of the museum and is the director of the gala
itual connection with him. she has several works by hodges a cut-paper committee, having run their successful summer benefit Art Crush for the
piece here in new york as well as cobweb hangings and more cut-paper past five years. Amy has also become a trustee for Creative time. she also
works in Aspen. she says, this is what makes collecting the work of liv- tells me that she is a long-standing member of the new york Junior league,
ing artists so special. luckily, I have always found in the past that there is which encourages women to volunteer to support disadvantaged women.
always a parallel relationship between the artist and the work and that if she is about to receive an award for service from the Junior league, and
Ilike the work I usually like the artist, she says when I tease her gently, asking her where she
looking around for some wood to knock on. will hang it, her response is a robustly humorous

the matthew barney


she has also met some artists through one: I am printing it on tee shirts!
facebook. Initially she says, like so many oth- talking about the Junior league leads us
ers, she had become a member because her to a discussion of womans power. so much of
daughter wanted to join. she allowed it only if
she could be her facebook friend and monitor seemed to work with the work in the collection deals with pornog-
raphy, confronting the paradox of how these

what i perceive as
her wall. she admits that she is more interested images can be both beautiful and sexy, and at
now than her daughter, going on first thing in the same time an embodiment of a potentially
the morning with her coffee and winding down destructive life. she talks about the fred Burton
with it late at night. she says that facebook is
a form of controlled voyeurism, she loves to the core of our image in the den nearby. It is about an ambigu-
ous image, you dont know really what it is and it

collection, beauty
look at other peoples photographs, so she puts is both strange and beautiful.
many of her own photographs up as well. It is I ask if the large triangular butterfly work
like looking through binoculars into peoples by Damien hirst in the dining room is her only
lives but you can step away as well.

By noW the ChAmPAGne, pink of course,


and destruction hirst, and she says yes, here in new york, but
now we have plenty in Aspen a pharmaceuti-
cal vitrine, a spot painting, a spin painting, one
has been broken open and served in beautiful of the 700,000 of them, but I love them but I
antique glasses, and the gloves are off. I ask about the central image above think the new paintings may be priced too high. I ask what she thinks about
the fireplace, in which five topless woman stand in a row. It is from matthew hirst's forthcoming show The End of an Era at the Gagosian Gallery in new
Barney's Cremaster Cycle, she says, and points to a detail, I love the fact york, and she smiles and shrugs. I think his work is too expensive for many
that the foaming soap bubbles behind the girls are in the Guggenheim people. she collects Chuck Close's works and has been to his studio on
fountain. she continues, matthew Barney appealed to us as it seemed to many occasions. We adore and love his work and his prices are so much
work with what I perceive as the core of our collection, beauty and destruc- lower, and his production is so much slower.
tion. I point to a small work on a table next to me in which two naked girls the photographer Poppy de Villeneuve, who has come to photograph
stand together. It is by lisa yuskavage she says it is an ambiguous image Amy, has arrived during our talk and asks her about the predominant color
it could be two sisters, or friends Ilike the tenderness of the image. green present not only in the sweets in the living room but in the wallpaper
the Barney image is particularly apposite as it is the Guggenheim that and furnishings of the large dining room nearby and the den next to us. Amy
invited Amy to be a trustee in 2007 and also to co-chair the international says green is a special color to her, carrying with it, not only connotations
gala for 2008, 2009 and again this year. she admits that this museum has of prosperity and money but also eroticism and sexuality.
special challenges. It is a hard installation, and everything is on a tilt even We are winding down our conversation and Poppy is anxious to start
if you dont realize it. But she states emphatically that it is a pleasure to work. I ask Amy for a final word on collecting. her response turns into some-
be involved in it. she sees her job as supporting the curators and fellow thing akin to a mission statement: Its a life style but also life changing. n

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Damien Hirst, Superstition, set of plates

multiples
choice
text iggy cortez

Hirst: Damien Hirst, courtesy Gagosian Gallery, New York, photo Robert McKeever; West: Franz West, courtesy Gagosian Gallery, New York, photo Robert McKeever;
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
Franz West, Uncle chair Marcel Dzama, Melting Snowmen canisters
larger audience.
Dzama: courtesy Cerealart; Cattelan: courtesy Cerealart; Caccamise: courtesy Cerealart

Cattelan, Subotnick, Gioni, The Wrong Gallery, minature Chris Caccamise, Action Paint Can (After R. Gober)

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Kenny Scharf, Painted Objects Grayson Perry, scarf
Perry: courtesy Tate Shop; Kapoor: courtesy Louisa Guinness Gallery; Mir: photo Medioimages, Photodisc Getty Images, courtesy La Biennale di Venezia;

Anish Kapoor, Water cufflinks Aleksandra Mir, VENEZIA (all places contain all others), free postcards
Gallacio: Anya Gallaccio, courtesy the Thomas Dane Gallery; Gtz: courtesy Elvis & Kresse, Arts Launch Collection;

Anya Gallacio, While Reaching for Alma Alta, porcelain apples Lothar Gtz, Ludwig bowling bag

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Jeff Koons, Puppy vase

Gagosian Gallery Store


Tim Noble and Sue Webster, silver with ruby cufflinks

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Keith Haring, Pop Shop recreation at Tate Modern
Olivier Millagou, Nancy wallet

Shinique Smith, Little Nugget sculpture

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Noble & Webster: courtesy Louisa Guinness Gallery; Millagou: courtesy Elvis & Kresse Arts Launch Collection; Koons: 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

10-02-05 04:45
ALTHouGH THE ARTISTS 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 multiples status in
contemporary art production. Featuring Jeff Koonss puppy-shaped flower
vases and Damien Hirsts 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
Elmgreen and Dragset, Forgotten Baby
own logic and possibilities.
Pop Life, Tate Moderns recent group show on the exchange between
art and commerce, investigated the multiples conceptual and ideological
origins in Warholian Pop art philosophy and the New York art scene of
the 1980s. Keith Harings 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 artists signature trinkets.
Eerily identical to the original, the reinstallation was more mournful
and reflective than celebratory, despite the installations endless cycle
of upbeat pop tunes. The idealism behind Harings merchandise has all
but vanished through its ubiquity, but through the Pop Shops fleeting
reappearance each keychain and t-shirt reacquired its sense of creative,
democratic purpose. Redirecting us to the present day, one Star Presss
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
Elmgreen & Dragset: courtesy Cerealart; Rehberger: Marzia Fiore, courtesy Cohn&Wolfe; Ruscha: courtesy Louisa Guinness Gallery

works with artists to design whimsical and affordable artist editions,


captures an irreverent spirit in their perpetually expanding inventory.
Tobias Rehberger, Illy Espresso Cup Marcel Dzamas melting snowmen, porcelain figures that distill the artists
trademark love of dark fairytales, function doubly as art and canisters.
More diabolically, Elmgreen and Dragsets 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 neighbors doorstep. Cerealarts 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 Rehbergers 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 caf was also an installation. The cafs espresso cups, designed
by Rehberger for Illy, were also available at the Biennales 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 Gtz, Paul Morrison and olivier Millagou to repurpose waste into
fashionable handbags, aligning themselves with arts recent imperative to
Ed Ruscha, Here bookmark take over social space and alter our everyday habits. n

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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 wont be eliminated.'

Louise Bourgeois
A wonderful photogrAph of louise rather than ideal form, yet Brancusis Bird in
Bourgeois taken by dimitris Yeros in 2007 shows Space (1923) comes to mind; because of the asso-
her, head resting on hand, gazing into the middle ciations triggered by clothing, though, one tends
distance. Shot from below to enhance her stat- to see the sculptures as figures, which makes
ure and authority, the portrait presents her as a one think of giacomettis spindly pedestrians,
wise woman, a seer. her lined face reveals her such as Walking Man (1960).
advanced age, but its her eyes that grab your while acknowledging the past, Bourgeois
attention; their intelligence and vitality indicate sculptures are a new departure, though. the
that, at the age of 98, she is still very much a force bronze is hidden beneath a coat of white paint

All images of artwork are louise Bourgeois, courtesy Cheim & read and hauser & wirth. the artist in 2007: portrait by dimitris Yeros;
to be reckoned with. whose pallor produces a ghostly uniformity rem-
look more closely and you notice her tee- iniscent of a shroud. But thoughts of death are
shirt; written in capitals across the front is her banished by the amazing variety and expres-
name followed by those of artists Jenny holzer, siveness of the figures; these are not lifeless
Cindy Sherman and Bruce weber, her juniors by bodies, but individuals animated by the will to
about 50 years. with no gaps between the words, survive. Some are scrawny, others bloated; some
the letters form a solid block of interrelationships droop like withered fruits, others are inflated
the warp and weft, as it were, of contemporary by sickness, lust or greed; some figures cocoon
Louise Bourgeois in 2007 American art. And presiding over this cultural themselves against the cold while others seem
continuum, louise Bourgeois assumes the role naked, exposing distended guts within swollen
of fountainhead. bellies. It is tempting to see them as self-por-
It may seem perverse, in an issue on art traits observations about the aging body, but
now, to feature an artist approaching her cen- also as declarations of the fact that, in defiance
Echo: photo Mike Bruce; personage at peridot gallery: photo: Aaron Siskind

tenary, but there are compelling reasons for of time, Bourgeois is very much alive, as an artist
doing so. Bourgeois no longer leaves her new and a woman.
York brownstone, but she still works obsessively her work has always been an oblique com-
every day and, unlike artists who have one big mentary on her state of mind. In this respect, the
idea which they explore for the rest of their lives recent bronzes are reminiscent of the Personages
with increasing predictability, she continues to she began in 1941, when she had lived in newYork
surprise. not only does her work get better and for just three years and was dreadfully home-
better, it remains amazingly fresh. sick for her native france. working on the roof
take for example a recent series of bronze of her apartment building on east 18th Street,
sculptures, the Echos, cast from jumpers, jack- she made spindly wooden figures, inspired by
ets and sweat shirts. draped over poles to keep the surrounding skyscrapers, that stand alone
them upright during the casting process, the or are clustered in family groups, surrogates for
garments appear to stand unsupported, miracu- the people she had left behind creating a past
lously defying gravity. A jumper balances on one that I could not do without, was how she put it.
arm with the poise of a ballet dancer while hold- whereas the bronze figures sag, droop and furl,
ing the other arm aloft as though in celebration. these early totems are as stiff as poles. Its the
Bourgeois is clearly interested in imperfection stiffness of someone whos afraid, Bourgeois

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Cycle:
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, hes 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 new-
comer, now an established grande dame. while
the wooden figures stand to attention as though
dutifully awaiting their turn, the bronzes demon-
strate 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 flow-
ers. 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 womans
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 peoples minds between fertility
and creativity is a long established one; it is com-
monplace, for instance, to talk of giving birth to
an image or an idea and, since Bourgeois flow-
ers 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 dis-
appointed 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 fathers mistress and stayed with

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Below: Louise Bourgeois,

Fillette, 1968

Above: Louise Bourgeois, Three Femme Maison paintings, 194547, installed at the Centre George Pompidou in 2008.

the family for ten years. Memories of the intense century will be unveiled in the form of a flaming

All images of artwork are louise Bourgeois, courtesy Cheim & read and hauser & wirth. Femme Maison: photo Adam rzepka; Fillette: Collection Museum of Modern
jealousy induced by this betrayal still provide chair surrounded by a ring of mirrors, contained

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
Bourgeois with one of her most enduring themes. inside a glass structure designed by the architect
My work is a series of exorcisms, she has said. peter Zumthor. further, two important exhibi-
one of my most important subjects is Sadie tions open this April the nationalgalerie in
gordon richmond the mistress is a threat Berlin will exhibit Bourgeois work in dialogue
because she is the favorite. Competition with the with that of hans Bellmer, and the fondazione
mother is one thing, but competition with a cho- Vedova in Venice will mount an in-depth installa-
sen favorite is unthinkable, intolerable. tion of Bourgeois fabric drawings.
the family moved to Choisy-le-roi just
Louise Bourgeois with her brother, her father
outside paris, then to Antony where the river A retroSpeCtIVe orgAnIZed by tate
and Sadie Gordon Richmond in Nice, c. 1923 Bivre flowed through their garden. her par- Modern in london in 2007, which traveled to the
ents restored antique tapestries and the tannin Centre pompidou in paris, the guggenheim in
in the water was essential for the dyes. In 1936 new York, the Museum of Contemporary Art in
Bourgeois moved to paris to study art and soon los Angeles, and the hirshhorn in washington
began exhibiting. She started dealing in prints d.C., was clearly intended as a definitive state-
and drawings from her fathers tapestry gallery ment. focusing on key pieces that are among the
and there met art historian robert goldwater most iconic and troubling works of the 20th and
whom she married in 1938. the couple moved to early 21st centuries, it set out to consolidate her
the States, adopted a french child and subse- reputation and confirm her place in history.
quently had two of their own. despite bringing It is worth looking at some of these mas-
up three sons, Bourgeois continued to work and, terpieces as a reminder of the extraordinary
little by little, gained visibility in the new York art diversity of her work. At one time, the artist suf-
world. But it was an uphill struggle and interna- fered from agoraphobia and was unable to leave
tional attention came only after her husbands the house; the painting series Femme Maison
death in 1973. (Housewife, 194547) features a woman trapped
Since the late 1970s, her reputation has inside a house as if imprisoned by domesticity.
grown rapidly; in 1977 she received an honor- Fillette (Little Girl, 1968) dangles from a meat
ary doctorate from Yale university; in 1982 she hook like a skewered trophy. Close inspection
became the first woman to have a retrospective reveals a vaginal opening nestling between the
at the Museum of Modern Art, new York, and in spheres at the base of the latex shaft. the giant
1993 she represented the united States at the phallus turns out to be androgynous; rather than
Venice Biennale. today she is considered one of a joke about male narcissism and sexual obses-
the most important living artists and, despite her sion, it implies that we are all in thrall to desire.
age, continues to accept major commissions. In the sculptures reveal a whole life based on
2000, she was the first artist to make an instal- eroticism; the sexual or the absence of sex is eve-
lation for the vast turbine hall in londons tate rything, says Bourgeois. eroticism can be real
Modern and, in June, her memorial to the witches or imagined, reciprocated or not. there is desire,
burned in Vardo, norway, in the seventeenth the flirtation, the fear of failure, vulnerability,

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Louise Bourgeois 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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Above: Louise Bourgeois, Do Not Abandon Me, 1999

jealousy and violence. Im interested in all the identifies with the infant yet, as a mother, she

All images of artwork are louise Bourgeois, courtesy Cheim & read and hauser & wirth. Cell (Arch of Hysteria): Collection Centro Andaluz de Arte Contemporaneo,
elements. Arch of Hysteria (1993) is a bronze cast must surely empathize with the woman who, at
of a slender headless male body that hangs by an this vulnerable moment, fears her lovers rejec-
umbilical thread like a gleaming human sacrifice, tion and anticipates her child turning its back on

Seville, photo peter Bellamy; Arch of Hysteria, photo Allan finkelman; Do Not Abandon Me: Collection ursula hauser, Switzerland, photo Christopher Burke
athletic yet vulnerable.the title refers to the work her. Such ambiguities transform this little sculp-
of 19th-century french neurologist, Jean-Martin ture into an exploration of reciprocity, of giving
Charcot, who studied the relationship between as a form of emotional blackmail and of the way
anxiety and physical tension. Bourgeois has also the child inhabits the adult.
made a female Arch of which, she says, pleas- the giant bronze spider, Maman (1999), is
ure and pain are merged in a state of happiness. a tribute to her mother who, as an expert tapes-
Top left: Louise Bourgeois, Cell (Arch of Hysteria), 199293
her arch the mounting of sexual tension and the try restorer, was adept at spinning and weaving.
Above: Louise Bourgeois, Arch of Hysteria, 1993 release of tension is sexual. Bourgeois describes her as her best friend, but
But the male version seems to embody far the sculpture suggests more ambivalent feel-
more disturbing and conflicted emotions. It first ings; the scale of this monster would make
appeared in Cell (Arch of Hysteria), one of the anyone wary, especially as spiders are notorious
cell-like installations the artist began in the early for devouring their mates and drinking the blood
1990s. Sequestered at the heart of a bleak cham- of their prey. And the artist accuses her mother
ber constructed from sheet metal, the tense body of complicity in spinning the web of deceit that
lies on a bedcover embroidered Je taime (I love characterized her childhood: you, mother, are
you). presiding over the space like a weapon of using me to keep track of your husband. this is
torture is an ancient band saw. the prison-like child abuse.
surroundings and the presence of the machine
suggest a state of agony rather than one of louISe BourgeoIS plACe in the art histori-
ecstasy; the victim has already lost his head and cal canon may be assured, but her formidable
arms and the saw seems primed to dismember achievements are not the only reason for fea-
him further. this is not an image of sexual trans- turing her in this issue; the other is her ongoing
port but of a body stretched on the rack of actual influence on younger artists. It is hard to imag-
or anticipated torture; metaphorically speaking, ine the work eva hesse, Kiki Smith, Annette
this is the price exacted by love. Messager, tracey emin, robert gober or Sarah
In the mid-1990s, Bourgeois began stitch- lucas being possible without her example.
ing lumpen figures out of toweling, mattress Bourgeois influence has been pervasive,
ticking or pink bandage. Some are life-size, but yet it is subtle and diffuse. her work forms a con-
many are like dolls whose small scale makes tinuum in which themes such as love, jealousy,
them seem vulnerable and their sexual antics sex, gender, motherhood and the family are con-
absurd. Do Not Abandon Me is a mother and new- stantly revisited, but it takes so many different
born infant sewn together from scraps of pink forms that it would be hard to copy stylistically.
cloth, which addresses the artists ongoing fear depending on the message she wants to convey,
of abandonment. to be born is to be ejected, she switches from paint to wood, latex, marble,
she wrote. to be abandoned. Bourgeois clearly bronze, glass, fabric, embroidery, found objects

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Louise Bourgeois:
upcoming exhiBitions
Solo SHoWS

Louise Bourgeois: Les Fleurs Kukje gallery,


Seoul, Korea, february25 March 31, 2010

Bellmer/Bourgeois Double Sexus Sammlung


Scharf-gerstenberg, nationalgalerie, Berlin,
germany, April24 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

The Place of the Witches The Witches of


Finnmark Memorial Vardo, norway. Scheduled
to open on June 23, 2010, this is dedicated to
Above: Louise Bourgeois, Maman, 1999, installed at Tate Modern, London, in 2007 the victims of a 17th-century witch hunt, and is
being done in collaboration with the architect
Below: Louise Bourgeois with her sculpture on the roof of her apartment building in NYC in 1944
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
or installations. Materials are not the subject of celebrate the witches lives.
the artist, she says. the subject of the artist is:
emotions and ideas Both. In effect, she has [working title:] Louise Bourgeois: Mother and
replaced adherence to the concept of truth to Child nordic watercolor Museum, Skarhamn,
materials, espoused by many artists during her Sweden, September november 2010
lifetime, with the more flexible one of truth to
oneself, and it is this approach that has proved [working title:] Louise Bourgeois:
inspirational. Wunderkammer Kunsthalle wien, Vienna,
Bourgeois primary audience has always Austria, late 2010 or early 2011
been herself. this is partly a matter of choice,
partly one of necessity. She is driven by compul- Louise Bourgeois: Moi, Eugnie Grandet
sion, the need to alleviate the emotional conflicts Maison de Balzac, paris, france,
engendered by her unorthodox childhood. Art is november 2, 2010 february 7, 2011
a guaranty of sanity, she has said. I organize a
sculpture the way we organize a treatment for Louise Bourgeois: The Return of the Repressed
the sick. You have to have a strategy to get the fundacin proa, Buenos Aires, Argentina,
wanted results does the tension go down, is november 2010 february 2011; Instituto
the compulsion eliminated, is the pain gone? tomie ohtake, Sao paulo, Brazil, March 2011
She suffers from insomnia and fills the May 2011; the Museu do Arte Moderno,
Maman: photo Marcus leith; louise Bourgeois in 1944: photo louise Bourgeois Archive

sleepless hours in an ongoing conversation with riode Janeiro, Brazil, June 2011 July 2011
herself that takes the form of lists and jottings
resembling poems, exorcisms or chants. And in [working title:] Louise Bourgeois: Storytelling
countless drawings and watercolors she employs fondation Beyeler / Beyeler Museum Ag,
the repeating patterns of grids, circles and riehen / Basel, Switzerland, June 2011 or
spirals to soothe her damaged psyche, as one fall/winter 201112
might repeat a mantra or repair a tapestry with
myriad stitches. [working title:] Louise Bourgeois: Cells
louise Bourgeois is a law unto herself; dis- national gallery of Canada, ottawa,
regarding fame or fashion, she places herself Canada, fall 2012
and her obsessions at the heart of her practice.
Success in art, she has said, is measured by IMPorTANT GrouP SHoWS
how nearly you have arrived at what you want to
say. And this determination to follow an agenda The Beauty of Distance: Songs of Survival in
prompted by her own drives, ambitions and a Precarious Age 17th Biennale of Sydney,
desires has empowered subsequent generations Museum of Contemporary Art, Sydney,
of women to ignore fashion and determine their Australia, May 5 August 1, 2010
own subject matter and approach. As a result,
her influence permeates practically every aspect Surreal House Barbican Art gallery, london,
of the ethos in which women artists work today. united Kingdom, June 10 September 17, 2010

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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 wasnt 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 were 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 everyones 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 peoples work
goes downhill after theyve peaked and become
famous, but hers has gone up, not down; theres
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 cant solve.
Because shes trying to work things out for her
own sake, she doesnt care if people say weve
seen that before. her work is quite obsessive,
but I think its really honest; theres a genuine-
ness about it.
has she ever met

Louise bourgeois stature


Bourgeois? I met her
in new York about two
months ago and she told

has changed the potentiaL for me off for not coming


before. She has invited

women coming after her


me to collaborate on
a series of prints of a
woman in various stages

tracey emin of pregnancy. Its a pow-

louise Bourgeois in 2009: photo Alex Van gelder; emin: tracey emin. All rights reserved, dACS 2010; the artist in 1946: photo louise Bourgeois Archive
erful subject for me at
the moment, because Ive
just had major surgery to
remove scar tissue from
my ovaries and womb. Im
Born In 1963, tracey emin was brought up in the too old to have a child with my own eggs; but its
seaside town of Margate, Kent. She was abused all over now, anyway. Ive just got to get well and
from the age of eight and, after being raped at fit; Im lucky Ive got my art.
thirteen, became promiscuous. the depres- how would she describe Bourgeois leg-
sion that followed led to attempted suicide, but acy? her stature has changed the potential for
through her work, she has found ways of exorcis- women coming after her. weve had no women
ing the pain; rage is converted into raw energy who compare with, say, picasso and Matisse, but
and self-pity into an unflinching appetite for now we can cite her as an example. the art world
self-exploration. In drawings, paintings, videos, is still extremely sexist; for women its still diffi-
sculptures, appliqud blankets and neon signs, cult. I was oblivious to it when I was younger, but
she continually revisits childhood traumas. She now Ive got older I see it more clearly. I was pow-
ruthlessly mines this resource, systematically ered by my sexual drive; it was what got me out of
probing the disappointment, fear and loneliness bed in the morning. But what powers a 98-year-
felt so keenly as a child, while also celebrating old? her career is a brilliant example of the fact
her adult sexuality and the euphoria of new love. that it doesnt have to stop, but to come from a
one of the generation know asYBAs (Young different place. You have to recreate, redefine
British Artists), emin has often been dubbed the and rethink.
bad girl of British art. her most famous sculp- when I have a creative block and feel low,
ture, Everyone I Have Ever Slept With 1963-95 was I think about my visit to her house. She put these
destroyed in a fire. the walls of an igloo-shaped bright cerise drawings on the floor and it was
tent were appliqud with the names of everyone magical. I thought, She is so prolific, imagina-
she had shared a bed with since birth, includ- tive and inventive; if she can achieve that at her
ing her twin brother and the fetuses that briefly age, I can kick myself into doing some work. Ive
lodged in her own womb. A makeshift temple to definitely got a lifetimes work in me, because
intimacy, it was a poignant testimony to the ease its getting more intense, more streamlined and
Louise Bourgeois in 2009 with which relationships are broken. In 1999 emin more itself. when I was in Venice I had a vision of
was nominated for the turner prize and exhib- myself at eighty. I thought, Ill be making art for
Tracey Emin, Everyone I Have Ever ited an unmade bed surrounded by the detritus another forty years like louise Bourgeois, so just
Slept With 19631995, 1995 of sex, drink and sickness; in 2007 she became a get through this. theres 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 fan-
tasize about who she was and where she came.
later she studied fine art at the Beaux-Arts
in paris then, in defiance of her mothers 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 similari-
ties 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 pre-
occupations and a similar approach and way of
thinking. Im 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 didnt speak the language (Ididnt
talk until I was six) with a mother who was physi- in a length of hair threaded down chimneys and Bourgeois often works at night, when she
cally so different from me. I got a real shock when through windows. Ive seen that photograph of cant sleep. has the day invaded the night or has
I saw my father; it was like looking in a mirror. louise Bourgeois, Anderson confirms, but Ive the night invaded the day? she asks in a diptych
Being in england is very important to me; its like not been aware of references to hair in her draw- that pairs image with text. I work a lot at night or
inhabiting a world I imagined as a child. ings. when I work Im not conscious of other in the early morning, Anderson tells me. I wake
A photograph of louise Bourgeois taken artists; otherwise Id be thinking everything has up around 4 am and the best hours are when Im
in 1946 shows her sitting at an easel in her new been done already. very tired and not far from sleep. Sometimes I
York apartment, her shoulders and back cloaked despite being a mother, in her work work all night, but the rule is theres no rule.
in a mane of hair reaching to her waist. long hair Bourgeois frequently casts herself in the role of Am I a ghost of louise Bourgeois?,
often features in her drawings and prints; some- a child. Anderson explores the mother/daugh- Anderson asks. there are a lot of similarities,
times it forms a protective mantle but, at others, ter relationship through the use of surrogates but the way I do things and the preoccupations
it traps the hapless woman in a tight cocoon. including a life-sized waxwork and a marionette are mine, even if they are the same. And I have
Anderson inherited her red hair from her which, in a series of photographs called Master the feeling that I have no choice; its what keeps
father and it makes dramatic appearances in Puppet, is seen manipulating her. role reversal me going. If I dont work I cant live; its more
her work. rapunzel, an installation involving is also the subject of My Mother, a series of vid- important than life itself.
three thousand metres of red hair, was recently eos in which the artist plays both mother and A london exhibition is being planned in
installed in three venues the picasso Museum, daughter. In a mother/daughter relationship you which Andersons films, drawings and sculp-
paris, the frac paca, Marseille, and the Marc feel the tension, she says. power makes itself tures will be shown alongside three videos of
Chagall national Museum, nice. this March, felt like a character or person; thats why Im Bourgeois at work, made by Brigitte Cornand
riflemaker gallery in london will be entwined interested in family relationships. over a period of twelve years, starting in 1994. n

Louise Bourgeois in her studio, c. 1946

Alice Anderson, rapunzel, 3000 meters of dolls hair, 2008

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tavares strachan
the final
frontiertext hans ulrich obrist

Alaskan Mountain Flow: Christopher Hoover

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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 students when I was teaching at the IUAV in
NoW than Hans Ulrich obrist. He is an intrepid studio visitor and exhibition-goer, with his Venice and one of Daniel Birnbaums pupils in
the Frankfurt Stdelschule and I remember
antennae permanently tuned to the zeitgeist, not to mention that he was recently named when Daniel and I talked about this extraordinary
Number one in an art world Power 100. I bumped into Hans Ulrich at the New Museum in young guy we had met! I still remember when
New York. He introduced me to Eungie Joo, recently appointed the curator for the Tomas had his first public appearance at the
Venice Architectural Biennale. He convinced the
Generational Triennial at the New Museum for 2012. She enquired if Hans Ulrich had heard of powers-that-be to place his floating city, made
Tavares Strachan? His animated response led me to commission this article. -Karen Wright with very light materials, above the railway sta-
tion. It sounded like a Utopia, and while it
I first saw Tavares work in Pierogi 2000 in somehow didnt totally work, it made us all dream.
Brooklyn, and now he is going into outer space. I Tavares makes me think of Tomas and
think he is very interesting. I saw his Arctic Ice Buckminster Fuller. I hear these rumors that he
Project in which he transported an iceberg may well be the first artist to go into outer space.
from the Arctic River to the Bahamas and then to We need to fact check that though! He is prepar-
Miami and while he is definitely a follower of ing to become a cosmonaut. I think in 2006 he had
Olafur Eliasson who, in a show I co-curated in already started negotiations with the
Paris in 1998 (Nuit Blanche-Scnes nordiques les Yu.A.Gagarin State Scientific Research-and-
annes 9), put these gigantic melting ice pieces Testing Cosmonaut Training Center and with the
above Paris, this piece by Tavares is different to Institute of Oceanology in Russia so he really
Olafur's work. With Tavares at least with the does his training. It is quite extraordinary that
works we have seen so far there is the question Tavares may be the first, or at least one of the
of one thing existing simultaneously as scientific first, visual artists to go into outer space!
vitrine and as an ice block, producing a symbiosis There is quite a long history of space
of pieces. projects illustrated by the large numbers of unre-
Tavares works are very much experiments. alized extra-terrestrial projects that I have
He is interested, in some way, in the production collected over the years, and most of them relate
of reality, and not representation. He made these to science fiction. Now they relate more to half-
rockets which are very funny in Nassau, so complete or quasi-complete Utopias. I think this
somehow you could say he is on the edge of outer may be a result of climate change which we
space. These kind of artist-inventors are in a need to fight with a sense of urgency and as a
post-Buckminster Fuller mode in that they are parallel action there are also parallel realities
concerned less about producing types of objects that can be explored. I am currently working on a
than in finding ways to produce reality. Carsten project with Olafur on an architecture project about
Hller, in his perceptual explorations and investi- whether we can project a city into outer space.
gation of place, along with Olafur, seem to be We must not forget that the inventor-artists
predecessors to Tavares. We see this very are only one strain of artists identifiable at the
strongly too with Phillippe Parreno, Dominique moment. Everywhere I go, there are artists mak-
Gonzalez-Foerster and Pierre Huyghe, who all ing interesting drawings. The practice encom-
investigate the ordinary through this idea of how passes many positions from Richard Wright,
to produce reality. This also continues with a Katerina Seda, Trisha Donnelly, Susan Hefuna to
younger generation of artists like Tomas Keren Cytter. It seems almost like a resistance to
Saraceno. the internet. Then there are also practitioners
One can clearly connect Tavares and his like Tino Sehgal, whose exhibition is about to
experiments with the work of someone likeTomas open at the Guggenheim, who have a desire for
who, in the last ten years, has also worked in non-mediated experience. Finally, there are art-
some interesting ways with experiments in devel- ists like Simon Fujiwara and Christodoulos
oping parallel universes. Tomas was one of my Panayiotou who embrace the world as a stage. n

i hear these rumours that tavares may well be the first


artist to go into outer space!
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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 mooninterview karen wright | portraits anna wolf

The Cookshop, A popular restaurant in New city was on the verge of bankruptcy but Contini
Yorks Chelsea, is buzzing. I am here to talk to and scott Brown felt that nevertheless people
Anne pasternak, the president and creative could be getting something more from art at that
director of Creative Time. It is almost farcical difficult time. They saw the potential in making
how we are continually interrupted by people use of the vast number of empty buildings, to get
who know her. she assures me, with some embar- artists out of the studio and, in doing so, demys-
rassment, that she did not plot for two of the tify their practices by getting them to meet their
Creative Times trustees, philip Aarons and Liz public.
swig, to also be there at lunch. Aarons, Chair of pasternak points out that it is important to
the Board at artists books pioneers printed put the founding days of Creative Time into con-
Matter, is dining with the artist A. A. Bronson, text, reminding me that during the 1970s there
printed Matters Director, discussing the book were few galleries selling contemporary art. It
for Invocation of the Queer Spirits a Creative was a highly politically charged moment and art-
Time project. In addition to the trustee barrage, ists themselves were talking about dispersing
Walid Raad, an artist working with CreativeTime, work from the museums, she says. At the same
walks by on 10th Avenue and comes in to give time, in the spirit of collaboration, they were
pasternak a hug. Brett Littman, the director of forming artistic co-operatives. Creative Time
the Drawing Center, comes over to say hello. emerged from the spirit of the moment. It is
Not to be outdone, I hug Los Angeles painter important to state that this was not in response
Lari pitmann. to what was going on in the realms of public art
I mention these liaisons not just for their something that is still true, she explains, firmly.
coincidental value the Cookshop has, after all, public art is something else a subject we
become Chelseas canteen-central but to illus- return to later in our discussion.
trate the palpable warmth and high regard that I ask about Creative Times formative pro-
everyone displays to pasternak, as well as the jects and pasternak recalls an early and, in
informality of the scene. swig offers to de-lint retrospect, prophetic manifestation called Art on
pasternak for her photo shoot later, while I prof- the Beach on the site of the Battery park landfill.
fer an email address to Aarons for his forthcoming It was a collaboration between architects, art-
stay in Turin. At the same time, it is a poignant ists and performance, something which was not
moment, with the sadness of the recent earth- the norm in the 70s, she says.
quake in haiti hanging over our conversation, to Although it is not clear how historically
be discussing the balance maintained by Creative important these early Creative Time projects
Time between art and socio-political matters. were, pasternak points out that important policy
pasternak has been Director of Creative decisions were set down at this point, establish-
Time since 1994. previously, she had been at a ing a clear vision for the organization. stated
small gallery where she met her husband, the art- simply, it is that the artist matters in society and
ist Mike starn. she admits that she liked selling that social issues matter, she says. public
work but she enjoyed working with artists more. spaces are meant for artists. By introducing art-
When the job came up at Creative Time, it ists to public spaces, the consequences are good
seemed the perfect match for her, and she says both for the viewer and for the artist. For the art-
today that she is remarkably lucky to be in an ist, it pushes their practice forward, while the
organization that parallels her vision so closely. viewer learns something beyond the political
Creative Time was founded in adverse cir- statement. The final criterion for doing projects
cumstances in 1974 by two women, who at that is that artists are socially engaged a point we
time worked in New York City government. The return to several times.

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

It is clear that some projects are personal visit to an eerily quiet post-Katrina New Orleans,
favorites. She talks fondly about working with during which he saw the plight of the people as
Jenny Holzer on For the City in 2004, admitting they waited patiently for help to rebuild their city.
that it was a project with particular challenges
initially. Fund-raising was difficult at that time, AS WEll AS welcoming artist proposals,
Holzer was not seen as a hot artist of the moment: Pasternak has a knack for persuading reluctant
She was considered so 80s, says Pasternak, artists to make public projects. Before Holzer
incredulously. In addition, Holzers ideas were had taken art to the skies, Brazilian artist Vik
typically ambitious. She had initially wanted to Muniz, a long-term friend of Pasternaks had cre-
work with projections on blimps but it soon ated, as she puts it, a more lyrical project,
became clear that there were logistical problems Clouds in 2001. I had been in conversation with
relating to the legibility of the projected words. Vik for seven years, she says, and he kept say-
Worse than that, from a planning perspective, ing, My work is not about public projects. But
the blimps would not be available if there were Pasternak was convinced that his work chimed
large sporting events. In the end, it was decided well with the ethos of Creative Time. We were
that Holzer could do building projections but, to lunching, she laughs, and he said he wanted to
take the work into another dimension, Creative do something with clouds and he drew a cartoon
Time would hire planes used for trailing advertis- image of a cloud over Manhattan on a napkin and
ing banners and substitute Holzers slogans. 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.
Munizs 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 remem-
bers 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 catchers 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
Above: John Bennett, Gustavo Bonevardi, Julian Pasternak remembers that it was no coincidence and, similarly, he kept saying he was not a public
Laverdiere, Paul Myoda, Richard Nash Gould, and Paul that the project was timed for the week before the artist, when again, in a restaurant, he sketched
Bush/Kerry presidential election of 2004 Holzers an idea on a napkin, she says. The result was
Marantz, Tribute in Light, 2002
airborne phrases included ABUSE OF POWER Sleepwalkers (2007), a series of enormous synced
Opposite: Vik Muniz, Clouds, 2001 COMES AS NO SURPRISE, among others. video projections, which showed a number of
Photos Charlie Samuels; both images courtesy Creative Time

Pasternak wonders how different the individuals (two played by actors Tilda Swinton
response would have been if the planes had and Donald Sutherland) moving from from their
flown over somewhere like Nebraska rather than private worlds out into the metropolis. He
over art-saturated New York City. It became clear wanted Sleepwalkers to reflect humanity in a
to her that there was no reason that Creative shiny impersonal skyscraper, Pasternak explains.
Time could not help artists respond to things She set him the task of finding a site for the pro-
that happened outside New York. jection and he told her he had came across one
After the devastating events of Hurricane on 54th Street, wrapped in scaffolding.
Katrina, Pasternak says she was waiting for an The building Aitken had chosen turned out
artist to propose a project about the tragedy.That to be the unfamiliar back view of the Museum of
artist turned out to be Paul Chan, who suggested Modern Art. And so began a fruitful collabora-
the work Waiting for Godot (2007), comprising tion with MoMA, whose faades were the site of
four performances in New Orleans of Samuel several of the projections. Pasternak has had
Becketts play. Chans piece was prompted by a many partners on projects but she claims that

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By the last weekend of mike nelsons psychic vacuum, there
were up to 3,000 people standing in line to see the work

none were as supportive and generous than Magazine phoned her and asked for help, as they
MoMA: Glenn Lowry [Director of MoMA] was wanted an artists response to the event as a
immediately on board and he allowed us to lead cover. While she told them she thought it would
the project. be hard to get an artist to respond to the event
My recollection of seeing the work, sitting that quickly, she had been scheduled to talk to
on the front steps of a brownstone on a freezing two young artists, Julian LaVerdiere and paul
evening, remains strong it was, despite the Myoda, about a work they were planning to do
cold, a tremendously moving experience. It was with light a large biosphere that would use the
as if it was our fault that the projections hap- south tower as a platform which would have
pened during a terrific cold snap! pasternak been one of Creative Times most expensive and
laughs again. other than that, Sleepwalkers was ambitious projects to date.
universally well-received. The projects connection with the World
The sleekness of Aitkens films is in stark Trade Center encouraged her to suggest to the
contrast to another project which pasternak Times that they should call the two artists, and
remembers fondly. Mike Nelson was another LaVerdiere and Myodas drawing of a pillar of
personal favorite of mine, she says of the British light graced the cover of the magazine the follow-
artists Psychic Vacuum, a typically labyrinthine ing week. The response was overwhelming, with
installation full of enigmatic spaces and repur- many people writing in to Creative Time saying
posed objects in the old and then unused essex how important this image was to them, and how
street Market in New Yorks Lower east side. fitting a tribute it was. pasternak took note of the
Nelson himself came and spent three weeks in 16,000-odd letters, all of which asked if this plan
the city looking for the materials for the project could be made into a permanent work, and Tribute
with typical commitment and fastidiousness. It in Light was realized in early 2002. It was simple
was during the building boom and it would have in concept, with two beams of light (or beacons
been impossible to have a budget to buy vintage as the artists put it) shining up from the ground in
doors, so Mike went far out of the city to find Lower Manhattan into the night sky. Realized by
them, she recalls. Nelson was not well-known in a team consisting of the artists, architects John

Nelson: photo Charlie samuels; Aitken: photo Fred Charles; Chan: main image, photo Frank Aymami, inset, photo Donn Young; all images courtesy Creative Time
New York, and pasternak was concerned that he Bennett and Gustavo Bonevardi of pRoUN
might not get a big audience. Also, she was space studio, architect Richard Nash Gould, and
forced to give him a small budget, as money was lighting designer paul Marantz, Tribute in Light
hard to raise, but the bush telegraph of the art was a fitting testimony to the transformative
world helped to increase visitors to the project. quality of art and it continues to be shown on 9/11
By the last weekends of the project there were anniversaries. It's a privilege to work with projects
up to three thousand people standing patiently in that change lives, pasternak says, reflectively.
line to get into see the work, she says. This passion to effect social change runs
Creative Time has worked with some of the through Creative Times new collaboration with
great artists of the last three decades, but Not on our Watch, a charity formed by the actors
pasternak still has a list of artists who she would of Oceans Eleven who became aware of the
like to work with. she reviews this list a few times appalling atrocities in the sudanese region of
every year, often taking the artists out to lunch to Darfur while they were filming in 2001. Not on
discuss potential projects. our Watch attempts to use artists and cultural
I ask if there is anyone on the list who she figures to draw attention to human tragedies,
has a particularly burning ambition to work with. and thereby create an awareness on a different
Mike Nelson, A Psychic Vacuum, 2007
she sighs deeply. We still havent managed to level to that which can be achieved by politicians
hook in Francis Als he would be perfect, she and policy makers. In doing so, the organization
explains. Its not just that he is doing socially rel- attempts to provide humanitarian assistance
evant work he is doing important work! and, ultimately, to stop human rights atrocities.
I ask if there are projects that are firmly in An artist can change conversations, pasternak
the pipeline which have not been announced. says, it becomes a different kind of conversation.
I am thinking about projects with sophie Calle The idea is that artists go into refugee
and Laurie Anderson but both of these artists camps, in this case in Thailand, and propose
have a slow lead time, she says. And any regrets? ideas based on their experiences. The initiative
I am sad never to have worked with sol LeWitt. will culminate in a public project that hopes to
raise public awareness of the political situation
NoW IN A CoNTeMpLATIVe mood, pasternak in Thailand. It will be different from just a celeb-
describes the project she did in response to 9/11. rity visit, she says. It is a risky thing to be doing.
she recounts that she was standing outside the It is essential that the artists relationship with
CreativeTime office when she saw the first plane the people inside the camp is respectful.
on that terrible day. No one knew anything. We While pasternak is against the traditional
still thought they were terrible accidents. The ideas behind public art projects, typically those
towers? one minute they were there and then that place large commemorative sculptures in
there was just a puff of white smoke. In the after- public places, she admits that last years first
math, the art director of the New York Times edition of pLoT, a quadrennial public art event,

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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

was Creative Times deepest excursion into this was meant to begin early in 2010 with Creative
arena. entitled This World and Nearer Ones, the Times involvement. But they have already started
project took place on Governors Island. I had without us; they opened in september. I ask how
always been interested in the Mnster sculpture long Creative Time will be involved and she
projects in Germany but knew with all the admits that it is not clear. It is an ongoing project,
bureaucracy in NYC I could not hope to do a sim- I dont know how long it will take, she says. It
ilar thing, but with Governors Island there was comes out of artists desire to rework the tradi-
the possibility to do a Mnster-like project in tional arts college. Look at the Black Mountain
New York. she admits to being obsessed with project as well as others that were more short
the site for 12 years but had to wait first for the lived. It is an artist-to-artist education. We are
Coast Guard to leave the island. In the end there encouraging them to produce a textbook and
was not much time to install the works. maybe go on the road to educate in the schools.
one of the more problematic pieces in the
quadrennial was Mark Wallingers work, Ferry, ThIs Is NoT the only project which attempts to
which at first seemed very straightforward. do things differently to most the event-led project
Wallinger wanted to turn the ferry boat that car- producing organizations. Recently Creative Time
ries visitors to Governors Island into an artwork. received funding from the Rockefeller Foundation
his idea was in painting a ferry boat with two to facilitate artists doing research on their artis-
colors, each color labeled with the sign of a tic process.This is a manifestation of pasternaks
sheep or goat, a reference both to the movement desire to work in a global fashion as Creative
of Dutch immigrants to Governors Island in the Times artist list and their choice of destinations
early 17th century on boats called horse, Cow, are truly international. There are identifiable
and sheep, and also to the New Testament para- objectives that she hopes to accomplish through
ble of separating people into sheep and goats this work, she says, namely to get off the race-
according to their kindness. Typically learned, track of the art world and to allow that artist to
thought-provoking stuff from Wallinger, in other get out of the studio in order to pursue research
words. But the ferrys captain showed the idea to for their projects. There are already six artists
his wife, who recognized the biblical connota- involved with the scheme including Walid Raad,
tions, and was convinced that fanatics would emily Jacir, Maya Lin, k8 hardy, Judi Werthein
come after the boat for taking on the Bible. and sanford Biggers. pasternak is clear that
During meetings, the ferry boat owner pointed some concrete projects may emerge from this
out that it could be seen as if the captain was tak- collaboration but stresses that it is more impor-
Top: Mark Wallinger, Ferry, 2009 ing on the role of Jesus Christ. In addition, the tant that the research pushes the artists practice
Above: Jenny Holzer, For the City, 2005 red and green colors that Wallinger had chosen if there is no tangible work when the research
had maritime connotations (stop and go) and the ends, the partnership will not have failed.
Opposite: Anne Pasternak below Spencer Finchs
ferry owner pointed out that this could also be a other international projects in process at
The River That Flows Both Ways. The work was problem. Creative Time has to listen to peoples the moment include those by Danish-Icelandic
commissioned by Creative Time, Friends of the High concerns, insists pasternak, and in the end, artist Jakob Boeskov who has gone to Nigeria,
after a discussion with Mark, he agreed to change home to what is now the worlds second-largest
Line and the New York City Department of Parks &
the colors to black and white. film industry (after Bollywood), which is infor-
Recreation. It is located where the High Line meets the one of CreativeTimes consistent aims is to mally labeled Nollywood. Boeskov usually works
Wallinger: photo Michael Marcelle; holzer: photo Charlie samuels; both images courtesy Creative Time

Chelsea Market between 15th and 16th Streets draw attention to artists who might be acclaimed in video but will collaborate with Nigerian direc-
elsewhere but have a relatively low profile in the tor Teco Benson to make a 20-minute short film
states. pasternak says that she cannot under- that will be produced in Nollywood about a witch
stand why Wallinger, like Mike Nelson, still has doctor posing as a Danish NGo worker. The pro-
little visibility outside europe, with no New York ducer will own the film and it will be shown in
commercial gallery. she recalls, for instance, that New York City when the artist returns.
the artist hans haacke asked if he could meet politically, Creative Time has been enjoy-
Wallinger while he was installing, as he was a fan. ing a high profile under pasternak's leadership.
she is clear that the artists market value benefits she admits she was excited to be contacted by
from being involved in Creative Time projects the White house shortly after obama was sworn
and she is not ashamed of this. Artists have to in, to attend a high-level White house briefing
live too, she says. I am always aware of paying about arts policy.
the artists and trying to support their gallery. In Another recent collaboration exemplifies
order not to benefit herself, she does not collect. pasternaks desire to continually push Creative
I ask about the educational strand of Time out of its comfort zone and enter into other
CreativeTime and in particular the radical project worlds quite literally. she has been talking to
by the Bruce high Quality Foundation that they NAsA about doing projects in outer space and it
are supporting. she laughs. BhQF are a group of seems as if the conversation is moving in the
artists who met while studying at Cooper hewitt right direction. If anyone can push art beyond the
and who were taught by hans haacke, Walid third dimension, I feel it will be her. n
Raad and other great teachers. They have cre-
ated their own university, she says. she points Creative Time, 59 East 4th Street (6th Floor), New
out BhQFs eagerness to start the project it York, NY 10003. Tel. 212 206 6674
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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 19442000 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


worlds working photographers are emerging:
getting started (or restarted), getting noticed,
desperately treading water. Its not easy: only the
strong (and independently wealthy) survive. But if
the economy isnt encouraging and many galleries
are on their last nerves, theres 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. theyre 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 Ive seen recently has been in books,
including a number of increasingly sophisticated
ones coming out of independent publishers. Joshua
Deaners 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 2009s savviest, most
idiosyncratic titles and it won the top prize in the
competitions fine art division. Between Mariah
Robertsons energetic abstractions and Dietmar
Busses soulful portraits, theres 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 Joshuas self-published Blurb book,
I sell fish, promises various findings, images, formulas, memories, desires, poems, obsessions, + lies. And it doesnt
disappoint. opening with Joshuas 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. Joshuas
photographs are random and tangential in the currently popular mode; its 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
theres an element of chance in the work, and her willingness to let
accidents happen is exactly what weve 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 wont be duplicated.
think May Ray meets Kurt Schwitters over several rounds of absinthe.
Cheers! Untitled 18, 2009

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Area twelve, 2009

siMOn burcH, 45, born in Bangor, Northern Ireland, lives in Dublin. the landscape photographs that open Simons 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. theyre 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, Irelands 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
a mid-career artist than an emerging figure, he
Portrait of Dietmar Busse by Daniela Cuevas. Portrait of Stephen Irwin by Sarah Lyon

deserves a mention both because hes remained


largely under the radar and because his new
work finds him at a moment of vivid, creative re-
invention. Hes 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 oMalley) 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.
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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,
hes 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 periods 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
Irwins 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 youll see that nothings 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. yaminis most recent photographs abstract architecture even further, sketching in a space thats more cerebral
than physical one idea taking shape while another dissolves. these spaces may be imaginary, but you dont want to leave.
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object lesson: lot 128 text alexandra leive

LuSCiouS. DeCADeNT. SeDuCTiVe. Few pieces elicit more pleasure


than Marilyn Minters photographs. Glamorous, sexy, intoxicating and flat-
out cool, her work suggests a fantasy pieced from day-to-day reality.
Minters 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 occu-
pying 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.

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),
The complete decadence of Sparks is reminiscent of a slightly out-of-
focus make up ad or an image in a high-fashion magazine. it blurs the bound-

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.
aries between fine art and commercial art. Minter uses fashion as inspira-
tion and, unsurprisingly, the fashion world is inspired by Minter, often
commissioning her for actual photo shoots. Minters work explores and com-
ments on consumption, indulgence and glamour.The body parts in her paint-
ings 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 Minters work is fresh. Her photographs inform her painting
(she often uses several different photographs for one painting) yet while her
photos arent altered or manipulated, her paintings are the result of layer
upon layer of enamel paint, often smudged and blurred with her bare fingers.
Minters 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 Rays extreme close-up Andy Warhols color blocking in In 2006, Minters hyperrealist Minters darkly erotic works,
in Tears recalls a still from a silent his Marilyn series brought together photographs towered over like her film for Creative Time's
film. By placing glass beads on celebrity photography and pop art. Chelsea, NYC on large billboards. installation in Times Square, use
a mannequins face, the artist His extravagant color choices bring Blurring the line between fashion extreme close-up to focus on feet,
aestheticizes emotion through to mind both gaudy make-up and and commercial photography, these eyes and mouths the body-parts
artifice. industrial painting works displayed her fascination most associated with make-up
with grit coexisting with glamour. and fetish.

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news

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

Moscow The Garage Center for Contemporary Culture reopens with Futurologia: Contemporary Russian Art and the Heritage of the Avant-
Garde and Russian Utopias (March 4 May 25, 2010). While Futurologia reveals Malevichs influence on contemporary artists, Russian Utopias charts the
evolution of Utopia in works, such as Igor Makarevich and Elena Elaginas tribute to Tatlins monument, Mushrooms of Russian Avant-Garde (2008),
pictured, that form a bridge between the heroic past of Russian art and some of the nations boldest voices today.
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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. Ballards dark yet seductive world view informs


Feinkost gallerys Atrocity Exhibit (March 6 April 25, 2010), a group
show featuring the works of Annika Larsson, Arcangelo Sassolino, and

LoNDoN
Daniel Baker (whose Bouquet looking glass from 2007 is pictured above).
Pop art pioneer Richard Hamiltons Serpentine Gallery Working in a diverse range of media from painting to automated
retrospective Modern Moral Matters (March 3 April 25, 2010) brings us installations, the artists navigate the thin line between eroticism and
up-to-date with the development of his work. In works such as Swingeing violence, responding to the Crash authors fascination with the extremes
London 67(f), 196869 (above), Hamilton creates a dynamic balance of the human condition.
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 artists
trademark charcoal drawings, such as Drawing for Stereoscope, Untitled,
(199899) 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

New york
artists explorations of apartheids aftermath. The exhibit also includes
Kentridges drafts for his new set design for Shostakovich's opera The March promises to be an busy and exciting time in
Nose at New York's Metropolitan Opera, which is to be staged shortly New York with the Armory, Pulse and Volta art fairs opening almost
after the retrospectives opening. concurrently, and the Whitney Biennial (February 25 May 30, 2010),
curated by Francesco Bonami with Gary Carrion-Murayari. Although
Bonamis 2003 Venice Biennale was notoriously mammoth, his and
Carrion-Murayaris 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 miNter, m. 14
BurtyNsky, e. 40 muNiz, V. 6, 8, 10, 11, 12

Couturier, s. 34 NorfoLk, s. 35
CreWdsoN, g. 7
oLAf, e. 18
deLuise, r. 23, 24, 26, 27 oppeNHeim, L. 9
diergArteN, g. 32
dreBiN, d. 16, 17 pArkeHArrisoN, r. & s. 2, 3, 4, 5
poLidori, r. 36
grANNAN, k. 25 prior, N. 31

HAAs, A. 13 sArfAti, L. 15
HArris, N. 28, 29 sotH, A. 33

JiN, s. 38 WeNg, f. 37
Woo, A. 30
kim, J. 19, 20

52

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Cycle:
1

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 artists 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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Cycle: c0 10-02-04 21:30
2

2 ROBERT AND SHANA PARKEHARRISON b. 1968, b. 1964 The Sower, 2002. Photogravure. 4 ROBERT AND SHANA PARKEHARRISON b. 1968, b. 1964 Tethered Sky, 2005.
22 1/4 x 18 3/4 in. (56.5 x 47.6 cm). Initialed by both artists, titled, dated and numbered AP Photogravure. 22 3/4 x 18 3/8 in. (57.8 x 46.7 cm). Initialed by both artists, titled, dated
V/VII in pencil in the margin. One from an edition of 40 plus VII artists proofs. and numbered 14/40 in pencil in the margin.
Estimate $ 1, 8 0 0 - 2 , 2 0 0 Estimate $ 1, 8 0 0 - 2 , 2 0 0

3 ROBERT AND SHANA PARKEHARRISON b. 1968, b. 1964 Barn Season, 2003. Photogravure. 5 ROBERT AND SHANA PARKEHARRISON b. 1968, b. 1964 The Marks We Make, 2003.
18 5/8 x 21 5/8 in. (47.3 x 54.9 cm). Initialed by both artists, titled, dated and numbered Photogravure. 21 3/4 x 18 7/8 in. (55.2 x 47.9 cm). Initialed by both artists, titled, dated
34/40 in pencil in the margin. and numbered 34/40 in pencil in the margin.
Estimate $ 1, 8 0 0 - 2 , 2 0 0 Estimate $ 1, 8 0 0 - 2 , 2 0 0

54

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Cycle:
6

6 VIK MUNIZ b. 1961 Cloud from Pictures of Clouds, 2001. Gelatin silver print. 21 7/8 x 7 GREGORY CREWDSON b. 1962 Untitled from Beneath the Roses, 2003. Digital color
17 1/4 in. (55.6 x 43.8 cm). Signed, dated in ink, printed title, date and number on a gallery coupler print. 12 x 16 in. (30.5 x 40.6 cm). Signed, dated and numbered 2/5 in ink in
label affixed to the reverse of the frame. One from an edition of 10. the margin.
Estimate $ 5 , 0 0 0 -7, 0 0 0 Estimate $ 4 , 0 0 0 - 6 , 0 0 0

55

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Cycle: c0 10-02-05 07:43
8

8 Vik muNiz b. 1961 Alexander McQueen from Pictures of Wire, 2005. Gelatin silver print. 9 LisA oppeNHeim b. 1975 Untitled from Panorama, New York, 2002. Gelatin silver
22 x 17 5/8 in. (55.9 x 44.8 cm). Signed, dated in ink, printed title, date and number on a 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
gallery label affixed to the reverse of the flush-mount. One from an edition of 3. 26 3/8 in. (34 x 67 cm). Signed, dated and numbered 1/5 in pencil on the mount.
Estimate $ 7, 0 0 0 - 9 , 0 0 0 Estimate $ 2 , 5 0 0 - 3 , 5 0 0

56

36672_PHI_052-071.indd 56 10-02-04 21:32


10

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 2002 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

36672_PHI_052-071.indd 57 10-02-04 21:32


11 12

13

11 Vik muNiz b. 1961 Sunflowers [After Van Gogh] from Pictures of Color, 2002. Dye 13 ALeX HAAs b. 1963 Sanctum-Document #12, 2005. Fujicolor Crystal Archive print.
destruction print, printed 2004. 20 1/4 x 15 1/4 in. (51.4 x 38.7 cm). Signed, dated 2004 40 x 54 in. (101.6 x 137.2 cm). Signed, titled, dated and numbered 5/5 on a label
and numbered in ink on the verso. One from an edition of 40. LiTERATURE Celant, Vik accompanying the work. PROvENANCE Acquired directly from the artist
Muniz/ Ernesto Neto: XLIX Biennale di Venezia, n.p. Estimate $ 3 , 0 0 0 - 5 , 0 0 0
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 artists label affixed to the verso.
Estimate $ 4 , 0 0 0 - 6 , 0 0 0

58

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Cycle:
14

15

14 mAriLyN miNter Raspberry, 2005. Color coupler print. 26 x 40 in. (66 x 101.6 cm). 15 Lise sArfAti b. 1958 Sloane #30, 2003. Color coupler print. 14 7/8 x 9 7/8 in. (37.8 x
Signed in ink, printed title, date and number 3/5 on a gallery label accompanying the work. 25.1 cm). Signed, titled, dated and numbered 3/10 in ink on a label affixed to the reverse of
Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 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

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Cycle: c0 10-02-04 21:33
16

17

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

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Cycle:
18

18 erWiN oLAf b. 1959 Hope, 2005. Amsterdam: Self-published, 2006. Six Lambda Using the aesthetic of fashion photography to explore the ambiguities of social
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 interaction, Erwin Olafs Hope portfolio offers six tableaux that capture heightened
the verso; each signed, dated and numbered 2/15 in pencil on the overmat. Contained moments of stillness and reflection. With the title as a ray of insight into the artists intent,
in a decorative leatherette folio case with embossed credit, title and copyright symbol. these visually stunning scenarios force the viewer to question what preceded and what
LiTERATURE Aperture, Erwin Olaf, pp. 10-11, 20-21, 28-29, 30-31, 34-35 & 46-47 shall follow each scene, all whilst searching for the hope that is lingering within each
Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 one. The photographs included in this portfolio are some of Olafs most celebrated works
and demonstrate his continued interest in artfully articulating the moment between
action and reaction. (Foster, Aperture, Erwin Olaf, p. 103)

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

61

36672_PHI_052-071.indd 61
Cycle: c0 10-02-04 21:35
19

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 artists label accompanying the work.
Estimate $ 6 , 0 0 0 - 8 , 0 0 0

62

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Cycle:
20

21

22

20 kim JooN b. 1966 Birdland-Mini Cooper, 2008. Digital color coupler print. 47 1/8 x 22 NoBuyosHi ArAki Polaroid Diptych, n.d. Two Polaroids. Each 3 1/8 x 3 in.
47 1/8 in. (119.7 x 119.7 cm). Signed, titled and numbered 2/5 in ink on an artists label (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.
accompanying the work. Estimate $ 1, 2 0 0 - 1, 8 0 0
Estimate $ 6 , 0 0 0 - 8 , 0 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

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Cycle: c0 10-02-04 21:35
23

25

24

26 27

23 regiNA deLuise b. 1959 NudeLeaning Forward, Cortona, 2001. Platinum print. 26 regiNA deLuise b. 1959 Nude in Gown, 1997. Platinum print. 9 1/2 x
9 3/8 x 7 1/2 in. (23.8 x 19.1 cm). Signed and numbered 2/30 in pencil in the margin. 7 3/8 in. (24.1 x 18.7 cm). Signed in pencil in the margin.
Estimate $ 8 0 0 -1, 2 0 0 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. 27 regiNA deLuise b. 1959 Male Nude, c. 1990. Platinum print. 7 1/2 x
(23.8 x 19.1 cm). Signed and numbered 2/20 in pencil in the margin. 9 3/8 in. (19.1 x 23.8 cm). Signed in pencil in the margin.
Estimate $ 8 0 0 -1, 2 0 0 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

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Cycle:
28

29

28 NAomi HArris b. 1973 Broken Leg and Barbecue, Swingstock, Duxbury, MN, July from 29 NAomi HArris b. 1973 Thanksgiving Dinner, Big Lake, MN, November from America
America Swings, 2004. Dye destruction print, Diasec mounted. 53 x 40 in. (134.6 x 101.6 Swings, 2004. Dye destruction print, Diasec mounted. 40 x 53 in. (101.6 x 134.6 cm).
cm). Signed, titled, dated and numbered 1/3 in ink on the reverse of the frame. One from 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 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 Estimate $ 5 , 0 0 0 -7, 0 0 0

America Swings is Naomi Harris five-year exploration into the American subculture I love the obscure and realism. I adore seeing what goes on behind closed doors and love the
of swinging. With her camera in tow, Harris ingratiated herself into communities photographers who are able to get access to really tough situations.
throughout the country to document a lifestyle of complete sexual freedom. The resulting Naomi Harris, America Swings: Photographs by Naomi Harris, p. 14
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.

65

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Cycle: c0 10-02-04 21:37
30

31

32

30 ANN Woo b. 1975 Sunset, Blue; Sunset, Purple; Sunset, Pink; Sunset, Orange; Sunset, 32 gtz diergArteN b. 1972 Ravenoville LXII, 2000. Color coupler print, Diasec
Yellow; Sunset, Green; Sunset, Cyan from SunsetsThe Spectrum, 2007. Seven color mounted, printed 2004. 23 5/8 x 30 7/8 in. (60 x 78.4 cm). Signed, titled, dated and
coupler prints, flush-mounted. Each: 13 3/8 x 10 3/8 in. (34 x 26.4 cm). Signed in ink, numbered 1/5 in ink on the reverse of the flush-mount.
printed title, date and number 3/3 on a Certificate of Authenticity accompanying the work. 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

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Cycle:
33

33 ALeC sotH b. 1969 Patrick, Palm Sunday, Baton Rouge, Louisiana, 2002. Color coupler For nearly a century, the American social landscape has been widely explored, dissected
print, printed 2006. 49 1/2 x 39 1/2 in. (125.7 x 100.3 cm). Signed, titled, dated 2006 and and revealed, sometimes with a loving eye, sometimes with a critical eye, but rarely
numbered AP 1/2 in ink on a label affixed to the reverse of the aluminum flush-mount. with an objective eye, such as Alec Soths, that somehow balances both. Patrick, Palm
One from an edition of 5 plus 2 artists proofs. PROvENANCE Weinstein Gallery, Sunday, Baton Rouge, Louisiana is part of Soths five-year body of work, Sleeping by the
Minneapolis LiTERATURE Klochko, Picturing Eden, p. 77; Steidl, Sleeping by the Mississippi: Mississippi, in which the famed photographer formed an unassuming cross-section of
Photographs by Alec Soth, pl. 41 the demographic diversity running along the river. Layers of strata, rocks, soil and flora
Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 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 existenceand importance, in creating a revised perception of the kaleidoscopic
American panorama.

67

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Cycle: c0 10-02-04 21:38
34

35

34 stpHANe Couturier b. 1957 San Diego Olympic Parkway, 2001. Color coupler print. 35 simoN NorfoLk b. 1963 ROK Engine, 2008. Digital color coupler print, flush-mounted.
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 39 5/8 x 49 3/8 in. (100.6 x 125.4 cm). Signed, dated and numbered in ink on a Certificate
reverse of the flush-mount. PROvENANCE Acquired directly from the artist LiTERATURE of Authenticity accompanying the work. One from an edition of 7 plus 2 artists proofs.
Editions Ville Ouverte, Stphane Couturier Photographies, p. 3; Editions Adam Biro Paris, Stphane 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

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Cycle:
36

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

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Cycle: c0 10-02-04 21:39
37

38 39

37 WeNg feN b. 1961 Birds Eye View, 2005. Color coupler print. 49 3/8 x 61 1/2 in. 39 Wout Berger b. 1941 Ruigoord #1, 2003. Color coupler print. 21 3/8 x 27 1/4 in.
(125.4 x 156.2 cm). Signed, dated and numbered 4/8 in ink in the margin. (54.3 x 69.2 cm). Signed, titled, dated and numbered 5/12 in ink on labels affixed to the
Estimate $ 6 , 0 0 0 - 8 , 0 0 0 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 Im 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 Working in the tradition of landscape photography, Wout Bergers Ruigoord series depicts
in ink, printed title, annotation In 1984, our country was waging Severe Punishment, a plot of land near Amsterdam that was planted with seedlings to prevent erosion and
across the field of the entire state in Chinese and English in the margin. thus prepare the ground for future urban development. By reducing the landscape
Estimate $ 2 , 0 0 0 - 3 , 0 0 0 to the immediate foreground and focusing on the tiniest weeds and flowers, Bergers
photograph speaks of the environmental impact of urban sprawl and the new role of
Like many contemporary Chinese artists whose work is imbued with the cultural history nature, not as a rival of the city, but as a vehicle for its development.
of their nation, Jin Shans photographs from the series Im 27 Years Old, address the iconic
events of Chinas past through the veil of the artists personal history. Superimposing his This photograph is unique in this size. The other prints from this edition measure
own image in color atop anonymous black and white photographs, this one depicting the 40 x 50 in. (101.6 x 127 cm).
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.
70

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Cycle:
40

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

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Cycle: c0 10-02-04 21:40
NOW
saturDaY 6 marCH 2010 NEW YOrK

DESIGN
LOtS 41 - 61
ArAd, r. 55 noVembre, F. 59
Atelier VAn lieshout 46
AzAmbourg, F. 58 rosKin, A. 49
ruCKer, C. 44
bey, J. 47
brAdField, g. 61 sAChs, r. 53
serFAty, A. 42
Colombo, e. 56 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

72

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Cycle: c0 10-02-05 08:01
41

41 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: c0 10-02-05 08:01
42

43

42 AYALA SERFATY b. 1962 Tamino light sculpture, 2009. Glass rods, polymer, plastic, 43 JULIAN MAYOR b. 1976 General Dynamic chair, 2004. Lacquered fiberglass. 28 1/4 in.
steel. 7 x 16 x 14 in. (17.8 x 40.6 x 35.6 cm). Literature Meira Yagid-Haimovici, ed., Ayala (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

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Cycle: c1 10-02-08 21:55
44

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

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Cycle: c0 10-02-05 08:02
45

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

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Cycle: c0 10-02-05 12:48
46

47

46 Atelier VAn lieshout Prick Lamp (Black, Thick), 2007. Reinforced fiberglass, foam. 47 Jurgen bey b. 1965 Pair of Droog stools, 2009. Plywood, plastic laminate-covered
55 in. (139.7 cm) high. Produced by Atelier Van Lieshout, The Netherlands. Number 17 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
from the edition of 20. Underside with metal label signed with Atelier Van Lieshout 17 / Netherlands. One leg of each impressed with DROOG NY and another leg impressed
20 and impressed with AVL001241. LitEraturE Jennifer Allen, Aaron Betsky and Rudi with 24 02 09 (2).
Laermans, et al., Atelier Van Lieshout, Rotterdam, 2007, pp. 54-55, 280-281 and 290 for a similar Estimate $ 1, 0 0 0 -1, 5 0 0
example; Meghan Daily, In the Studio, Art + Auction, April 2008, p. 58 for a similar example;
Sophie Lovell, Limited Edition: Prototypes, One-Offs and Design Art Furniture, Basel, 2009, p. 171 Twenty examples of the present stools were produced to celebrate the opening of Droog
Estimate $ 6 , 0 0 0 - 8 , 0 0 0 New York, February 2009.

77

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Cycle: c0 10-02-05 08:03
48

49

48 KIKI SMITH b. 1954 Eye brooch, 2003. Silver. 2 5/8 x 5/8 in. (6.7 x 1.6 cm). 49 ALEX ROSKIN b. 1972 Pair of Skeleton stools, 2006. Rosewood, bronze (2). One: 16 1/4
Literature Shonquis Moreno, Jewelry in a Virtual World, American Craft, December/ 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

78

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Cycle: c0 10-02-05 13:00
50

51

50 Kelly mCCAllum b. 1979 Unique Victorian taxidermied bird sculpture, 2008. 51 Kelly mCCAllum b. 1979 Unique Victorian taxidermied bird sculpture, 2008.
Taxidermied Victorian bird, antique clock parts, antique pocket watch, wood. 6 in. (15.2 Taxidermied Victorian bird, 18 carat gold-plated metal maggots, wood. 7 in. (17.8 cm)
cm) high. Underside signed in pen with Jeune/Chardonneret. LitEraturE Francesca 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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Cycle: c0 10-02-05 08:03
Photo courtesy of Fernando Laszlo

52

53

52 CARLOS MOTTA b. 1952 Radar chair, 2008. Peroba Rosa wood, oxidized iron. 26 in. 53 ROLF SACHS b. 1955 St. Moritzer Schlitten, 2004. Ash wood, felt, leather, metal.
(66 cm) high. Manufactured by Carlos Motta Atelier, Brazil. exhibited Design Brasileiro 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.
Hoje: Fronteiras, Museum of Modern Art of So Paulo, April 4 - June 28, 2009 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

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54

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: c0 10-02-05 08:04
55

56

55 ron ArAd b. 1951 Pair of Hot Ingo earrings, 2003. Laser-sintered polyamide, 56 elenA Colombo b. 1962 Prototype Branch Trough fire feature, 2009. Welded
platinum. Each: 4 in. (10.2 cm) drop. From the edition of 100. Each impressed with Pt (2). stainless steel. 6 x 31 x 9 in. (15.2 x 78.7 x 22.9 cm). Produced by Colombo Construction
LitEraturE Karin Nelson, On Your Wall, Around Your Neck, The New York Times, December 14, Corp., USA. Together with lid (not pictured) and a certificate of authenticity.
2008, for a similar pair of earrings. Estimate $ 2 , 5 0 0 - 3 , 5 0 0
Estimate $ 5 , 0 0 0 -7, 0 0 0

82

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57

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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to top slightly

58 59

60

58 FrAnois AzAmbourg b. 1963 Gavrotte floor lamp, ca. 2008. Painted crumpled 60 Peter trAAg b. 1979 Sponge chair, 2004. Polyurethane, Tevira upholstery. 29 in.
pewter. 71 in. (180.3 cm) high. Manufactured by Cappellini, Italy. ExHibitED Salone di (73.7 cm) high. Manufactured by Edra, Italy. Underside molded with edra/SPONGE/
Mobili, Milan, 2008 design: Peter Traag. LitEraturE Tom Dixon, et al., eds., &Fork, London, 2007, p. 379
Estimate $ 2 , 0 0 0 - 3 , 0 0 0 Estimate $ 3 , 0 0 0 - 5 , 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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61

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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now
saturDaY 6 marCH 2010 NEW YOrK

EDITIonS
LoTS 62 - 114
Ballantyne, C. 78 havekoSt, e. 112 renn, r. 67
BoChner, M. 87 hirSt, D. 91, 101, 103 ruFF, t. 114
hFer, C. 111 ruSCha, e. 107
Cinelli, S. 110 ruyter, l. 79
Clayton BrotherS 70 JohnSon, l. 108
CloSe, C. 68 SaSnal, W. 72
kelly, e. 100 SiMMonS, l. 69
DaviS, t. 109 kiliMnik, k. 74 Struth, t. 113
Doig, P. 81, 82 koonS, J. 95
DuMaS, M. 66 tiMMe, J. 75
DzaMa, M. 83, 84, 85 laFont, S. 106
variouS artiStS 74
eggerer, t. 80 MCgee, B. 86
eiSenMan, n. 74 MCginneSS, r. 94 Wearing, g. 71
eitel, t. 104, 105 Minter, M. 73 Wiley, k. 92
MurakaMi, t. 93, 96, 97, 98 Wool, C. 89, 90
Fairey, S. 76
nara, y. 99 yuSkavage, l. 65
gallagher, e. 64
greene, r. 74 Peyton, e. 63
greenFielD-SanDerS, i. 62 PierSon, J. 88
Prieto, M. 102
Puryear, M. 77

86

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Cycle: c0 10-02-05 08:31
62

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: c0 10-02-05 08:32
63 64 65

66

67 68

63 ELIZABETH PEYTON b. 1965 Nick in L.A., 2002. Etching in sepia, on Somerset 66 MARLENE DUMAS b. 1953 United Europe, 2005. Digital pigment print in colors, on rag
paper. 10 x 8 1/2 in. (25.4 x 21.6 cm). Signed and numbered pp III/V in brown pencil (a paper. 10 3/4 x 9 1/4 in. (27.3 x 23.5 cm). Signed, titled, dated, annotated Not gonna tell you
printers proof, the edition was 20), published by Two Palms Press, New York, unframed. where I came from; nor where Im going to. and numbered 19/75 in pencil, framed.
Literature Guild Hall Museum p.28 (cover illustration) Estimate $ 1, 2 0 0 -1, 8 0 0
Estimate $ 1, 2 0 0 -1, 8 0 0
67 ROSANGELA RENN b. 1962 Red Series: Untitled, 2001. Screenprint in colors, with UV
64 ELLEN GALLAGHER b. 1965 Detective Training, 2004. Offset print with laser-cut holes, lamination. 68 x 46 3/4 in. (172.7 x 118.7 cm). Signed, dated and numbered 42/50 in pencil,
on Japanese paper. 5 x 4 in. (12.7 x 10.2 cm). Numbered 53/100 in blue ink on the reverse of unframed.
the frame, published by Two Palms Press, New York, framed. Estimate $ 1, 5 0 0 - 2 , 5 0 0
Estimate $ 7 0 0 -1, 0 0 0
68 CHUCK CLOSE b. 1940 Untitled (In Honor of Peter Hujar), from 1989 portfolio, 2000.
65 LISA YUSKAVAGE b. 1963 Grace, 2001. Etching, on Chine coll to Somerset paper. 2 7/8 Digital Iris print in colors. 12 x 20 in. (30.5 x 50.8 cm). Signed, dated and numbered 1/75 in
x 2 3/4 in. (7.3 x 7 cm). Signed, titled, dated and numbered 35/40 in pencil (there were also pencil (there were also 12 artists proofs), published by the Estate Project for Artists with
15 artists proofs in Roman numerals), published by Marianne Boesky Gallery, New York, AIDS and Alliance for the Arts, New York, unframed.
unframed. Estimate $ 1, 0 0 0 -1, 5 0 0
Estimate $ 6 0 0 - 9 0 0

88

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Cycle: c0 10-02-05 13:45
70 71

69

72 73 74

69 laurie SiMMonS b. 1949 Untitled (In Honor of Jimmy de Sana), from 1989 portfolio, 72 WilhelM SaSnal b. 1972 Raster Posters, 2003. Seven offset lithographs (several in
1997/2000. Crystal archive type chromogenic print, on Fugifilm Fugicolor crystal archive colors), one mounted to a blue leather covered folder (as issued). Various sizes. All loose
paper. 10 x 6 in. (25.4 x 15.2 cm). Signed, dated, annotated and numbered 1/75 in blue prints signed, dated and numbered 78/100 (two on the reverse), the mounted print signed,
ink on the reverse (there were also 12 artists proofs), published by the Estate Project for dated and numbered 2/70 in black ink on the outside of the folder, published by Raster,
Artists with AIDS and Alliance for the Arts, New York, unframed. Warsaw, all unframed.
Estimate $ 9 0 0 -1, 2 0 0 Estimate $ 1, 2 0 0 -1, 8 0 0

70 the Clayton BrotherS b. 1963, b. 1967 Wrong. Screenprint in colors, on Rives BFK 73 Marilyn Minter b. 1948 Supreme Skate Decks, 2008. The complete set of three
Archival paper. 6 x 4 1/2 in. (15.2 x 11.4 cm). Signed by both artists and numbered 8/10 in printed skate decks in colors. All: 31 3/8 x 8 in. (79.7 x 20.3 cm). Published by Supreme,
pencil (there were also 4 artists proofs), framed. New York, all shrink-wrapped.
Estimate $ 4 0 0 - 6 0 0
Estimate $ 8 0 0 -1, 2 0 0

71 gillian Wearing b. 1963 Sleeping Mask, 2004. Wax multiple painted in colors, 74 variouS artiStS Times of Day Collection, 1999. The complete set of three porcelain
reinforced by polymer resin (as issued). 8 1/4 x 5 1/4 in. (21 x 13.3 cm). Signed, dated and plates printed in colors. All: 10 1/2 in. (26.7 cm) diameter. All signed, dated and variously
numbered No. 41 in black ink on the underside (the edition was 60 and 20 artists proofs numbered from the editions of 150 in black marker on the reverse, published by Adora
in Roman numerals), published by Parkett Editions, Zurich and New York, contained Porcelain, New York.
in original custom plastic packaging and original Styrofoam lined cardboard box. Estimate $ 9 0 0 -1, 2 0 0
LitEraturE Edition for Parkett 70
Estimate $ 9 0 0 -1, 2 0 0 Including: Karen Kilimnik, Dawn; Robert Greene, Day; and Nicole Eisenman, Dusk.

89

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75

76

77

75 Jan tiMMe b. 1971 Close your Eyes, They Dont Need to See You Die, 2004. Lamp 76 SheParD Fairey b. 1970 Progress, 2008. Screenprint in colors, on wove paper with
comprising of two-way mirror, globe, light bulb and polished aluminum. 11 3/8 x 11 3/8 x flecked fibers. 34 1/4 x 22 3/8 in. (87 x 56.8 cm). Signed, dated and numbered 228/350 in
11 3/8 in. (28.9 x 28.9 x 28.9 cm). Numbered 3/5 (there was also 1 artists proof), published pencil, published by Obey Giant, Los Angeles, unframed.
by Galerie Nagel, Cologne. ExHibitED Institute of Contemporary Art Boston, Estimate $ 2 , 5 0 0 - 3 , 5 0 0
Momentum, May 26 - September 5, 2004
Estimate $ 1, 5 0 0 - 2 , 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 artists 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

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8

78 79

80 81

82

78 ChriS Ballantyne b. 1972 Untitled (Bridge), 2004. Two aquatints in colors, on one 81 Peter Doig b. 1959 Untitled, 2006. Lithograph in colors, on Somerset paper. 38 x 24
sheet of wove paper. 15 x 24 in. (38.1 x 61 cm). Signed, dated and numbered 6/30 in pencil, in. (96.5 x 61 cm). Signed, dated and numbered 5/20 in pencil (there were also 10 artists
published by Paulson Press, Berkeley (with their blindstamp), framed. proofs), published by Landfall Press, Santa Fe (with their copyright stamp on the reverse),
Estimate $ 1, 2 0 0 -1, 8 0 0 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 82 Peter Doig b. 1959 Canoe-Island, 2000. Screenprint in colors, on Somerset paper.
(there were also 10 artists proofs), published by Rogue Fine Art, Long Island City, New 28 7/8 x 39 3/8 in. (73.3 x 100 cm). Signed and numbered 157/300 in pencil on the reverse,
York, framed. published by Counter Editions, London, framed.
Estimate $ 1, 0 0 0 -1, 5 0 0 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
artists proofs, published by Kunstverien, Munich, both unframed.
Estimate $ 2 , 0 0 0 - 3 , 0 0 0

91

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83 84

85

83 MarCel DzaMa b. 1974 Ceremonies of the Horsemen, 2006. Lithograph in colors, on 85 MarCel DzaMa b. 1974 The Cabin of Count Dracula, 2005. The complete set of twenty
Rives BFK cream paper. 19 1/2 x 19 7/8 in. (49.5 x 50.5 cm). Signed, dated and numbered lithographs, on Arches Cover paper, plus colored vinyl record with printed sleeve. All
9/30 in pencil, published by Ikon, Birmingham, England, unframed. various sizes. All signed with initials and numbered VII/X in pencil, also signed and
Estimate $ 8 0 0 -1, 2 0 0 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,
84 MarCel DzaMa b. 1974 Lonesome Creatures of a Worried World, 2004. The complete California, all contained in original custom hand-made wood log cabin box, on a bed of
set of two etchings, one a Leporello, one a bonus print, both on Canson-gravure paper. faux beaver fur.
7 1/2 x 5 3/8 in. (19.1 x 13.7 cm). Both signed, with hand-drawn character and numbered Estimate $ 2 , 0 0 0 - 3 , 0 0 0
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 Xnolition 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: c0 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 coll 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 artists 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

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Cycle: c0 10-02-05 08:34
87 88

89 90

87 Mel BoChner b. 1940 Blah, Blah, Blah, 2009. Monoprint with engraving and 89 ChriStoPher Wool b. 1955 My House I, 2000. Screenprint in colors, on matt custom
embossment in colors, on handmade Twinrocker paper. 12 x 9 in. (30.5 x 22.9 cm). Signed, art paper. 39 x 29 in. (99.1 x 73.7 cm). Signed, dated and numbered 28/100 in pencil (the
annotated MB2470 and dated in pencil (annotation on the reverse), unframed. series consists of three color combinations, each with an edition of 100), published by
Estimate $ 1, 8 0 0 - 2 , 5 0 0 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 90 ChriStoPher Wool b. 1955 Supreme Skate Decks, 2008. The complete set of three
black ink on the reverse, published by the Irish Museum of Modern Art, Dublin, unframed. printed skate decks in colors. All: 31 3/8 x 8 in. (79.7 x 20.3 cm). Published by Supreme,
Estimate $ 6 0 0 - 9 0 0 New York, all shrink-wrapped.
Estimate $ 6 0 0 - 8 0 0

94

36672_PHI_086-101.indd 94
Cycle: c0 10-02-05 08:34
91

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: c0 10-02-05 08:35
92

94

93 95

92 kehinDe Wiley b. 1977 Passing/Posing, 2003. Pigment print in colors. 29 3/4 x 29 94 ryan MCginneSS b. 1971 FLY DVD, 2006. Acrylic stencil in colors, on corregated
3/4 in. (75.6 x 75.6 cm). Signed in black ink on a label affixed to the back of the frame, cardboard folder containing DVD. 11 3/4 x 8 3/4 in. (29.8 x 22.2 cm). Signed, dated and
numbered 12/35 (there were also 3 artists proofs), co-published by MS Editions and numbered No. 7 of 50 paintings in black ink on the reverse, framed.
Downtown Arts Projects, New York, framed in original gold frame selected by the artist. Estimate $ 1, 2 0 0 -1, 8 0 0
Estimate $ 2 , 0 0 0 - 3 , 0 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,
93 takaShi MurakaMi b. 1962 Monogram Multicoloreblack, 2007. Editioned canvas New York, all shrink-wrapped.
on chassis. 15 3/4 x 15 3/4 in. (40 x 40 cm). Signed and dated on the chassis in black ink, Estimate $ 1, 5 0 0 - 2 , 5 0 0
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

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Cycle: c0 10-02-05 08:35
96

97 98

99

96 takaShi MurakaMi b. 1962 Flower: The Creatures from Planet 66, 2004. Screenprint 98 takaShi MurakaMi b. 1962 Oval (Peter Norton Christmas Project 2000), 2000.
in colors. 7 1/8 x 27 1/2 in. (18.1 x 69.9 cm). Signed, dated and numbered 9/50 in pencil, Polychromed plastic multiple containing a mini CD. 10 1/2 x 7 x 7 1/4 in. (26.7 x 17.8 x
published by Kaikai Kiki, Tokyo, unframed. 18.4 cm). From the edition of 2,000, published by the Peter Norton Family Christmas
Estimate $ 3 , 0 0 0 - 5 , 0 0 0 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 99 yoShitoMo nara b. 1959 Cosmic Girls, 2008. The complete set of two offset
smooth wove paper. Diameter: 22 in. (55.9 cm). Signed with the artists swirl symbol, lithographs, on smooth wove paper. Both: 27 x 19 1/8 in. (68.6 x 48.6 cm). From the edition
numbered 66/250 in black ink on a label affixed to the reverse, published by Kaikai Kiki, of 500, published by Baltic Centre for Contemporary Art, Gateshead, United Kingdom,
Tokyo, contained in artists original circular frame. both unframed.
Estimate $ 3 , 0 0 0 - 4 , 0 0 0 Estimate $ 8 0 0 -1, 2 0 0

Artwork 2002 Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved.

97

36672_PHI_086-101.indd 97
Cycle: c0 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 25 102 MoniQue Prieto b. 1962 Four Stages, 2001. The complete set of four aquatints in
in. (82.6 x 63.5 cm). Signed and numbered 8/50 in pencil (there were also 8 artists proofs), colors, on Chine coll to wove paper. All: 10 x 10 in. (25.4 x 25.4 cm). All signed, dated,
published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. LitEraturE annotated A-D respectively, A, C and D numbered 7/25 and B numbered 8/25 in pencil,
Gemini G.E.L. 1439 all framed.
Estimate $ 3 , 0 0 0 - 4 , 0 0 0 Estimate $ 8 0 0 -1, 0 0 0

101 DaMien hirSt b. 1965 Supreme Skate Decks (Spot), 2009. The complete set of five 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, 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. New York.
Estimate $ 2 , 0 0 0 - 3 , 0 0 0 Estimate $ 1, 5 0 0 - 2 , 5 0 0

98

36672_PHI_086-101.indd 98
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104 105

104 tiM eitel b. 1971 Mondrian, 2002. Screenprint in colors. 34 3/8 x 23 5/8 in. (87.3 x 60 105 tiM eitel b. 1971 Assistentin, from 7 X Painting Portfolio, 2003. Screenprint in
cm). Signed, dated and numbered 17/25 in pencil, unframed. colors, on Fabriano paper. 19 3/4 x 14 7/8 in. (50.2 x 37.8 cm). Signed, dated and numbered
Estimate $ 2 , 5 0 0 - 3 , 5 0 0 XII/XV in pencil (an artists 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: c0 10-02-05 08:37
106 107

108

109 110

106 Suzanne laFont b. 1949 Sac main, 1994. Screenprint in colors. 12 x 18 1/8 in. (30.5 109 tiM DaviS b. 1969 10 cents, Still Good, 2003. C-print, on Kodak Professional
x 46 cm). Signed, titled, dated and numbered 7/50 in pencil on the reverse, framed. ENDURA paper. 15 1/4 x 19 1/2 in. (38.7 x 49.5 cm). Signed and numbered 30/50 in purple
Estimate $ 2 0 0 - 3 0 0 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, 110 StePhanie Cinelli b. 1984 You Are Important, 2003. Archival pigment print. 15 x
dated and numbered 31/230 in pencil (there were also 10 artists proofs), published by 15 in. (38.1 x 38.1 cm). Signed in black ink on a label affixed to the reverse of the frame,
Graphicstudio, University of South Florida, Tampa. numbered 5/20, published by 20 x 200, New York, framed.
Estimate $ 2 , 0 0 0 - 3 , 0 0 0 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: c0 10-02-05 08:37
111

112

113

114

111 CanDiDa hFer b. 1944 Trinity College Library Dublin 1, 2004. C-print, on matte photo 113 thoMaS Struth b. 1954 Museo del Prado Rm 12, Madrid, 2005/2009. C-print, on
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, Kodak Professional ENDURA paper. 8 1/2 x 11 in. (21.6 x 27.9 cm). Signed, titled and
numbered 25/100, published by the Irish Museum of Modern Art, Dublin, framed. numbered 88/100 in pencil on the reverse, published by Schirmer/Mosel and Museo del
Estimate $ 1, 5 0 0 - 2 , 5 0 0 Prado, Munich and Madrid, unframed, contained in original blue metallic covered folder
with accompanying illustrated book, inside original blue metallic covered slip case.
112 eBerharD havekoSt b. 1967 Robotron; and Kino, 2001 and 2002. Two offset Estimate $ 1, 0 0 0 -1, 5 0 0
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. 114 thoMaS ruFF b. 1958 Machine 1410, 2003/2005. Lamda C-print, on matte photo
Estimate $ 6 0 0 - 9 0 0 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: c0 10-02-05 08:38
NOW
saturDaY 6 marCH 2010 NEW YOrK

cONtempOrary art
LOts 115 - 287
Abetz/Drescher 240 eDer, m. 128 leo, b. 269 robertson, m. 225
AckermAnn, r. 127 eliAsson, o. 205 liDDell, s. 137 ruckhberle, c. 173
AckermAnn, t. 260 erlich, l. 132 lokiec, t. 263, 264 ruFF, t. 157
AkAmAtsu, k. / mArmit co. 285 estve, l. 196, 197 lorenzen, J. 238 ruppersberG, A. 253, 267
AlDrich, r. 192 louDerbAck, r. 168 rusconi, p. 131
Als, F. 121 FAhlstrom, b. 172 lozek, J. 164 ruyter, l. 184
AmorAles, c. 211, 212 FAirey, s. 275 lutz, c. 115
Appel, k. 242 FlAck, J. 244 sAlisbury, s. 180
ArAki, n. 216, 217 FuJitA, G. 190 mAnDers, m. 201 sAsnAl, w. 147
Arbito 280 mccArty, k. 159, 160 sAville, J. / luchForD, G. 213
Arienti, s. 179 Ghost 276 mccollum, A. 200 schArF, k. 265, 266, 268
Atherton, h. 139 Gillmore, G. 256 mcGinley, r. 130 scheibitz, t. 249
Attoe, D. 245 GoFFin, D. 282 mcGinness, r. 198, 199 schmiDberGer, c. 174, 176
GolDin, n. 214 mclAne, k. 252 schneiDer, G. 206
bAckhAus, J. 227 GrAuer, p. & Deutsch, D. 207 mcleAn, J. 258 schumAnn, c. 124, 203
bAxter, b. 161 Grill, h. 215 mcreynolDs, F. 247 sell, r. 235, 236
blobpus 284 Guenther, A. 154 meADows, J. 237 sew hoy, A. 270
bonvicini, m. 144 meckseper, J. 133, 135 shAw, D. 239
breitz, c. 156 hAberny, G. 262 meese, J. 148, 149 siGurDArson, m. 193
brown, c. 163 hArms, b. 259 meGerle, b. 246 snow, A. 155
brown, D. 243 hilDebrAnDt, G. 116 merrill, s. 281 stoner, t. 255
buJnowski, r. 146 hirst, D. 194 minter, m. 129 su, x. 234
burDin, A. 230, 231, 232, 233 homstveDt, h. 170, 171 miyAke, s. 188, 189 suGimoto, h. 208
bush, s. 178 monAhAn, m. 142
byrne, G. 222 ikeDA, k. / GArGAmel 286 moore, A. 226 thompson, c. 119, 120
morley, i. 248 tistol, o. 183
cAnADAy, s. 185 JohAnson, c. 123, 125, 272, 273, 274 mr. 187 t-kiD 278
cArneGie, G. 254 Joo, m. 138 muller, D. 117
collins, p. 223 munteAn & rosenblum 175 uekAwA, A. 186
conDo, G. 150 kAhrs, J. 143
cope 2 (FernAnDo cArlo) 277 kArubiAn, c. 169 os Gemeos 271 vAn Der heiDe, s. 165
corDovA, w. 118 kAtope 279 von bonin, c. 204
cotton, w. 251 kennon, b. 153 pArker, e. 126 von wulFFen, A. 141
crewDson, G. 219, 220 kilimnik, k. 162, 166 petermAn, s. 221
cui, x. 210 kles, h. 241 pFeiFFer, p. 158 yAnG, F. 209
koh, t. 152 pylypchuk, J. 122
DAvis, G. 250 kopp, D. 182 potter iii, e. 283 wAlker, k. 136
DAvis, J. 181 kowski, u. 261 powhiDA, w. 257 wellinG, J. 202
Di suvero, m. 195 kun, s. 177 wilson, l. 145
DiAz De vivAr, J. 167 QuinlAn, e. 134 wurm, e. 224
DibA, k. 228 lArsson, A. 218
DoDGe, t. 140 lee, D. 191 rAtcliFF, D. 151 zhAnG, h. 229
leeciFer 287

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115

115 Charles lutz b. 1982 Everything Youve 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 youve Ever Wanted on
a Silver Platter (Perfect Silver Liz Diptych) 2006-2007 and stamped twice with the artists 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

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116

117

116 GreGor Hildebrandt b. 1974 Blaff zur gesternte Kassettenschallplatte, 2007. 117 dave Muller b. 1964 The Kitchen Star (Spring 05 Colors), 2005. Acrylic
Cassette tape, case and label collage, masking tape, graphite and acrylic on paper. and watercolor on paper. 13 1/2 x 30 1/4 in. (34.3 x 76.8 cm). Signed, titled and dated
24 x 16 5/8 in. (61 x 42.2 cm). Titled and dated gesternte Kassettenschallplatte 2007 Dave Muller The Kitchen Star (Spring 05 Colors) 2005 on the reverse.
upper center; signed, titled and dated Gregor Hildebrandt Blaff zur gesternte Provenance The Kitchen, New York
Kassettenschallplatte 2007 on the reverse. Provenance Galerie Almine Rech, Paris Estimate $ 4 , 0 0 0 - 6 , 0 0 0
Estimate $ 2 , 0 0 0 - 3 , 0 0 0

104

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Cycle: c0 10-02-06 04:14
118

118 William Cordova b. 1972 Im 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 Im 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

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Cycle: c0 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). 121 FRAnCIs ALs b. 1959 Ghetto Collector, 2003. Tin, magnets, plastic string and
Signed, titled and dated Cheyney Thompson 1998 2004 on the overlap. 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 Als 03
Provenance Andrew Kreps Gallery, New York 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

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Cycle: c1 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 artists alter ego] 2006 on the reverse. Provenance Alison Jacques Gallery, London
Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0

107

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Cycle: c0 10-02-06 04:20
123

125

124

123 CHRIS JoHANSoN b. 1968 Contemporary Lifestyle Painting, 2005. Acrylic on panel. 125 CHRIS JoHANSoN b. 1968 No Humans I, 2005. Acrylic on wood. 27 3/4 x 29 in.
50 3/4 x 62 1/4 in. (128.9 x 158.1 cm). Signed, titled and dated CONTEMPORARY (70.5 x 73.7 cm). Signed and dated Chris Johanson 2005 on the strainer.
LANDSCAPE, C.Johanson, Portland, Basil, 2005 on the reverse. 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

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Cycle: c0 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

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Cycle: c0 10-02-06 04:21
127

128

127 Rita ackeRmann b. 1968 Cant You Play Some Better Songs?, 1995. Watercolor, 128 maRtin edeR b. 1968 Two works: Untitled (Woman) and Untitled (Cat), 2001; 2000.
graphite and pastel on paper. 18 x 23 3/4 in. (45.7 x 60.3 cm). Signed Rita Ackermann 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
lower right. Provenance Andrea Rosen Gallery, New York 21.6 cm). Signed and dated Martin Eder 2001 lower left and signed and dated M. Eder
Estimate $ 3 , 0 0 0 - 4 , 0 0 0 00 lower right.
Provenance Galerie Eigen + Art, Leipzig; Galerie Gebr. Lehmann, Dresden; Private Collection
Estimate $ 7, 0 0 0 - 9 , 0 0 0

110

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Cycle: c0 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

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Cycle: c0 10-02-06 10:42
130

131

130 ryAn mcGinley b. 1977 Laura (Thunderstorm), 2007. C-print mounted on aluminum. 131 pAul rusconi b. 1965 Untitled (Blue Kate), 2007. Digital screen inks on Plexiglas
16 1/2 x 25 in. (41.9 x 63.5 cm) paper size. Signed Ryan McGinley on a label adhered to with c-print mounted to Sintra in the artists wooden frame. 38 1/8 x 29 in. (96.8 x 73.7
the reverse of the backing board. This work is from an edition of three plus two artists cm). Artists blindstamp on metallic label adhered to the reverse. This work is unique.
proofs. PrOvENaNCE Ratio 3, San Francisco ExHibitED New York, Team Gallery, I Know PrOvENaNCE Gifted by the artist to the present owner
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
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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Cycle: c0 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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133

134

133 Josephine meckseper b. 1964 Untitled, 1998. Glitter on canvas. 10 x 8 in. 134 eileen QuinlAn b. 1972 Smoke & Mirrors #111, 2006. C-print. 40 x 30 in. (101.6 x
(25.4 x 20.3 cm). Initialed and dated JM 98 on the strainer. 76.2 cm). Signed and dated Eileen Quinlan 2006 on the reverse of the backing board.
PrOvENaNCE Acquired directly from the artist This work is from an edition of three. PrOvENaNCE Andrew Kreps Gallery, New York
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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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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136

138

137

136 kArA wAlker b. 1969 Hide, 1997. Watercolor and ink on paper. 20 x 15 in. (50.8 x 38.1 138 michAel Joo b. 1966 Shell #1, 2008. Epoxy resin with carbon fiber, wood and latex
cm). Signed, titled and dated K Walker Hide 1997 on the reverse. 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
PrOvENaNCE New York Academy Graduate School of Figurative Art, Take Home a Nude Benefit two artist proofs.
Auction, 1997 Estimate $ 7, 0 0 0 - 9 , 0 0 0
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

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Cycle: c0 10-02-06 03:30
139

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 Hope Atherton 2007 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

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Cycle: c0 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). 141 Amelie Von Wulffen b. 1966 Untitled (Green Landscape with Hole), 2003.
Signed, titled and dated Tomory Dodge Bunker 2006 on the reverse. 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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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 Blind Astronomy 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

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Cycle: c1 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: c0 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 Minimal Romantik exhibited at the Venice Biennial in 2005.

121

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145

146

145 lerone wilson b. 1968 Hold Stedfast, 2008. Encaustic on panel. 40 1/2 x 4 x 6 in. 146 rAFAl buJnowski b. 1974 Night Landscape, 2005. Turpentine on canvas in three
(102.9 x 10.2 x 15.2 cm). Signed, titled and dated LeRone Wilson Hold Stedfast 2008 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.
on the reverse. PrOvENaNCE Acquired directly from the artist Signed and dated Bujnowski 2005 on the reverse of each panel.
Estimate $ 5 , 0 0 0 -7, 0 0 0 PrOvENaNCE Raster Gallery, Warsaw
Estimate $ 6 , 0 0 0 - 8 , 0 0 0

122

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Cycle: c0 10-02-06 03:31
147

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: c0 10-02-06 03:31
148

149

148 JonAthAn meese b. 1970 Die Informantinnin Killtyrm, 2007. Oil, resin, cutout paper 149 JonAthAn meese b. 1970 Die 1. Informationsquelle Chefsache, 2007. Oil, resin,
collage and cotton pads on canvas. 15 3/4 x 11 7/8 in. (40 x 30.2 cm). Signed, titled and cutout paper collage and cotton pads on canvas. 15 3/4 x 11 7/8 in. (40 x 30.2 cm). Signed,
dated J Meese Die Informantinnin Killtyrm 07 on the reverse. titled and dated J Meese Die 1. Informationsquelle Chefsache 07 on the reverse.
PrOvENaNCE Contemporary Fine Arts, Berlin; Galerie Krinzinger, Vienna 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

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Cycle: c0 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

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Cycle: c0 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

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Cycle: c0 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: c0 10-02-06 03:31
153

154

153 briAn kennon b. 1972 Richard Hawkins Decapitated Head, Ben Green, 2007. Archival 154 AnDrew Guenther b. 1976 Dreamcatcher, 2004. Oil on canvas. 78 x 60 in. (198.1 x
inkjet print. 47 1/2 x 36 in. (120.7 x 91.4 cm) paper size. Signed twice, titled and dated Brian 152.4 cm). Signed, titled and dated Andrew Guenther Dreamcatcher 2004 on the overlap.
Kennon Richard Hawkins Decapitated Head, Ben Green 2007 and numbered of six on PrOvENaNCE Perry Rubenstein Gallery, New York
the reverse. This work is from an edition of six. PrOvENaNCE daniel hug, Los Angeles Estimate $ 4 , 0 0 0 - 6 , 0 0 0
Estimate $ 2 , 0 0 0 - 3 , 0 0 0

128

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Cycle: c0 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: c0 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 referencesWith 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 maintainThe most primal units of language are

regurgitated by the ambassadors of MTV, this being a medium which has succeededbeyond the wildest dreams of

the twentieth-century avant-gardein forging a language that is accessible to people from vastly different contexts.

Candice breitz in an interview with rosanne altstatt, Killing me softlyan 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 artists proof from an edition of eight artists proofs. PrOvENaNCE Art & Public, Geneva
Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0

130

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Cycle: c0 10-02-06 03:32
156

131

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Cycle: c0 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 artists proofs. Provenance Edition Schellmann, New York
Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0

132

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Cycle: c0 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

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Cycle: c0 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 55.9 161 BhaKti Baxter b. 1979 Untitled (Cindy with her eyes closed), 2004. Ink on mylar.
cm). Signed and dated K. McCarty 03 lower right. 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

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Cycle: c1 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 Lith 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: c0 10-02-06 03:33
163

164 165

163 CeCiLy Brown b. 1969 Untitled (Bunny Gangbang), 1996. Oil on canvas. 16 x 20 in. 165 Sara van der Heide b. 1977 Marie, 2002. Tempera on canvas. 77 x 77 in. (195.6
(40.6 x 50.8 cm). Signed and dated Cecily Brown 96 twice on the reverse and on the x 195.6 cm). Signed, titled and dated Sara v/d Heide Marie 12 2002 on the reverse.
stretcher bar. Provenance Private collection, New York Provenance CRG Gallery, New York
Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 Estimate $ 3 , 0 0 0 - 4 , 0 0 0

164 Jrg Lozek b. 1971 Jungling Ichelnd, 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 Jrg Lozek Jungling Ichelnd 2004
on the reverse. Provenance Sandroni Rey, Los Angeles
Estimate $ 4 , 0 0 0 - 6 , 0 0 0

136

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Cycle: c1 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

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Cycle: c1 10-02-08 22:08
167

168 169

167 Jesus DiAz De vivAr b. 1976 Tyson (God Is Watching You), 2008. Silkscreen on 169 chArles kArubiAn Hermitage Coll. 1625-1713 Carlo Moratta Pope Clement IX, 2007.
embroidered glitter on canvas. 63 x 43 1/8 in. (160 x 109.5 cm). Signed Jesus Diaz de Oil on canvas. 60 x 48 in. (152.4 x 121.9 cm). Signed and titled Charles Karubian
Vivar lower right with the artists logo lower left and again with artists thumbprint on the Hermitage Coll. 1625-1713 Carlo Moratta Pope Clement IX on the reverse.
reverse. This work is unique. PrOvENaNCE Private Collection ExHibitED Paris, A3 Arts, PrOvENaNCE Private Collection ExHibitED New York, Rental Gallery, Oliver Twist,
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

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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170

171

170 hvArD homstveDt b. 1976 New Skin, 2008. Oil, acrylic, adhesive and painted 171 hvArD homstveDt b. 1976 Feeling Man/Diamonds, 2005. Oil on linen. 84 1/4 x
appliqu on canvas. 14 1/8 x 11 1/4 in. (35.9 x 28.6 cm). Signed and dated Havard 72 1/2 in. (214 x 184.2 cm). Signed and dated Havard Homstvedt 05 on the reverse.
Homstvedt 08 on the reverse. PrOvENaNCE Galleri Riis, Oslo PrOvENaNCE Kantor / Feuer Gallery, Los Angeles
Estimate $ 2 , 0 0 0 - 3 , 0 0 0 Estimate $ 5 , 0 0 0 -7, 0 0 0

139

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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

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173

173 christoph ruckhberle b. 1972 Untitled, 2005. Oil on canvas. 74 7/8 x 110 1/4 in. (190.2 x 280 cm). Signed and dated RUCKHBERLE 2005
on the overlap. PrOvENaNCE Galerie Kleindienst, Leipzig ExHibitED Leipzig, galerieKleindienst, Christoph Ruckhberle, 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 175 MunTEan & ROSEnBluM b. 1962 Two works: Untitled (the Future is...) and Untitled (a
down on board. 12 x 8 in. (30.5 x 20.3 cm). Signed and dated Christoph Schmidberger commitment is...), 2002. Graphite and collaged paper cutouts on paper. 15 3/8 x 11 3/4 in.
2001 on the reverse. Provenance Galerie Six Friedrich Lisa Ungar, Berlin exhibited (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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176

176 CHRISTOPH SCHMIDBERGER b. 1974 I Am Open For Everything, Dont 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

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177

178

179

177 Shay Kun b. 1974 Wrong Way, 2009-2010. Oil and acrylic on canvas. 24 x 36 in. 179 Stefano arienti b. 1961 Untitled (Abete, Lago Rosso), 2002. Cut paper posters.
(61 x 91.4 cm). Signed and dated Shay Kun 2009-2010 on the reverse. 54 1/4 x 38 1/2 in. (137.8 x 97.8 cm). Provenance Studio Guenzani, Milan
Provenance Acquired directly from the artist Estimate $ 6 , 0 0 0 - 8 , 0 0 0
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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180

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

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181 182

183

181 Jay Davis b. 1975 Nothing Sacred Left, 2004. Acrylic on vinyl. 46 x 54 in. (116.8 x 183 Oleg TisTOl b. 1960 Ararat 9, 2006. Oil on canvas. 17 5/8 x 39 3/8 in. (44.8 x 100
137.2 cm). Provenance Mary Boone Gallery, New York cm). Initialed O. Tistol lower left and dated 2006 lower right; signed, titled and dated
Estimate $ 4 , 0 0 0 - 6 , 0 0 0
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. Experience of Comprehending Metaphysics, October 25 - November 20, 2008; Moscow Museum of
(45.7 x 61 cm). Signed and dated Dan Kopp 7/06 on the reverse. Modern Art, Khudfond, Oleg Tistol, November 6 - December 6, 2009
Provenance Acquired directly from the artist Estimate $ 5 , 0 0 0 -7, 0 0 0
Estimate $ 2 , 0 0 0 - 3 , 0 0 0

146

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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 Dorothe de Pauw, Brussels exhibited Brussels, Galerie Dorothe de Pauw, Lisa Ruyter, October 28 -
November 27, 1999
Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0

147

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185

186

185 Steve Canaday b. 1967 Hollywood Bags, 2002. Acrylic on canvas. 55 x 65 in. 186 aya Uekawa b. 1979 Study for Working Title: Middle Class Syndrome 6, 2006.
(139.7 x 165.1 cm). Provenance Black Dragon Society, Los Angeles Graphite on paper. 23 3/4 x 18 7/8 in. (60.3 x 47.9 cm).
Estimate $ 3 , 0 0 0 - 4 , 0 0 0 Provenance Kravets/Wehby Gallery, New York
Estimate $ 2 , 5 0 0 - 3 , 5 0 0

148

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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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188 189

190

188 SHInTaRO MIyaKE b. 1970 Miss Sweet, 2004. Colored pencil on paper. 42 x 17 in. 190 GaIJIn fuJITa b. 1972 Study for Slow and Easy, 2007. Spray paint, felt-tip pen and
(106.7 x 43.2 cm). Signed, titled and dated Shintaro Miyake 2004 Miss Sweet colored pencil on paper. 53 x 85 1/4 in. (134.6 x 216.5 cm).
[in Japanese] on the reverse. Provenance Galerie Krinzinger, Vienna Provenance LA Louvre Gallery, Venice
Estimate $ 5 , 0 0 0 -7, 0 0 0 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

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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

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192

193

192 RICHaRD alDRICH b. 1975 Untitled, 2006. Oil and wax on panel. 19 5/8 x 14 7/8 in. 193 MaGnuS SIGuRDaRSOn b. 1966 Komposition Tranquility IV from (Tranquility Series),
(49.8 x 37.8 cm). Provenance Yvon Lambert, New York 2008. Chromogenic print face-mounted to Plexiglas. 24 x 67 1/2 in. (61 x 171.5 cm). Signed
Estimate $ 4 , 0 0 0 - 6 , 0 0 0 and dated Magnus Sigurdarson 2010 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

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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 Damien
Hirst 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

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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

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196

197

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

155

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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

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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

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200

200 allan MccolluM b. 1944 The Shapes Project (2005): Monoprints, 2006, 2005. 144 monoprints from Vector files on acid-free paper in the artists
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

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159

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201 202

203

201 MaRk MandeRs b. 1968 Provisional Floor Plan Self Portrait as a Building, 2002. 203 chRistian schuMann b. 1970 Ablution, 2004. Acrylic on canvas. 60 1/4 x 84 in.
Graphite on paper. 19 5/8 x 25 1/2 in. (49.8 x 64.8 cm). Dated 7-5-2002 lower left and (153 x 213.4 cm). Signed, titled and dated Christian Schumann Ablution 2004 on the
signed M Manders 2002 on the reverse. Provenance Private Collection overlap. Provenance carlier | gebauer, Berlin
Estimate $ 4 , 0 0 0 - 6 , 0 0 0 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

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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 Cosima von
Bonin 1999 Cloth #5 on a label sewn to the reverse. Provenance Galerie Christian Nagel, Berlin
Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0

161

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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 eliassons

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

36672_PHI_142-195.indd 162 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

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206

207

206 gRegoR schneideR b. 1969 Totes Haus Ur Rheydt, 1999. 11 black and white 207 david deutsch and Phil gRaueR b. 1943, b. 1965 Four works: Nightsun I; Nightsun
photographs in the artists frames. 7 3/4 x 10 1/8 in. (19.7 x 25.7 cm) - 10 1/8 x 7 3/4 in. II; Nightsun III; Nightsun IV, 1999. Gelatin silver prints. Each 32 1/4 x 44 in. (81.9 x 111.8 cm)
(25.7 x 19.7 cm). Each are signed, titled, dated and numbered of three along the lower - 32 7/8 x 44 7/8 in. (83.5 x 114 cm) paper size. Each signed David Deutsch and numbered
margin of the matteboard and again on the reverse of the backing board. These works of five on the reverse. These works are each from an edition of five.
are each from an edition of three. Provenance Galerie Volker Diehl, Berlin Provenance Leo Koenig, Inc, New York; Private collection, Switzerland
Estimate $ 3 , 0 0 0 - 4 , 0 0 0 Estimate $ 3 , 0 0 0 - 4 , 0 0 0

164

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Cycle: C0 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 Sugimoto,
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

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209

210

209 yang fudong b. 1971 Two works: Honey 2 and Honey 4, 2003. C-prints. 27 1/2 x 210 cui XiuWen b. 1970 Angel No. 9, 2006. C-print in three parts. 74 1/2 x 40 3/8 in.
19 3/4 in. (69.9 x 50.2 cm) each. These works are each from an edition of 10. (189.2 x 102.6 cm) each. Signed, titled, dated Cui Xiuwen Angel No. 9 2006 and
Provenance Marian Goodman Gallery, New York LiteratUre M. M. McCoy, After the numbered of eight in English and Chinese on the reverse of each panel. This work is from
Markets Boom: A Case Study of the Haudenschild Collection, Yishu, December 2007 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,
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

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211

212

211 caRlos aMoRales b. 1970 Double Character Portrait, 2003. Digital c-print. 21 1/2 x 30 212 caRlos aMoRales b. 1970 Drawing design & Unfinished mask, 1999. Diptych: digital
1/4 in. (54.6 x 76.8 cm). Signed C. Amorales on a label adhered to the reverse. This work c-prints. Each 21 1/2 x 30 1/2 in. (54.6 x 77.5 cm) paper size. Unfinished mask signed
is from an edition of five. Provenance Annet Gelink Gallery, Amsterdam C. Amorales on a label adhered to the reverse. This work is from an edition of five.
Estimate $ 5 , 0 0 0 -7, 0 0 0 Provenance Annet Gelink Gallery, Amsterdam
Estimate $ 8 , 0 0 0 -1 2 , 0 0 0

167

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213

214 215

213 Jenny saville in collaBoRation With glenn luchfoRd b. 1970, 1968 Four 215 helMut gRill b. 1965 23.dec.2004 (AFTER ASTARTE), 2004. C-print. 47 1/2 x 70 1/4 in.
works: Closed Contact A-D, 2002. C-prints. 15 1/2 x 11 3/8 in. (39.4 x 28.9 cm) each. Signed (120.7 x 178.4 cm). This work is from an edition of five.
Glenn Luchford Saville, lettered A-D and numbered of 25 on the reverse. Each work Provenance Acquired directly from the artist exhibited Salzburg, Rudolf Budja Galerie/
is from an edition of 25 plus one artists proof. Provenance Gagosian Gallery, New York Artmosphere Graz, after astarte: beauty, war and love, March 15 - April 22, 2006 (another example
exhibited Rome, Museo dArte 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

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216 217

218

216 Nobuyoshi ArAki b. 1940 Untitled, 1990s. Dye destruction print. 23 7/8 x 19 7/8 in. 218 ANNikA LArssoN b. 1972 Untitled (polisi), 2002. Dye destruction print. 29 x 39 in.
(60.6 x 50.5 cm) paper size. Signed Nobuyoshi Araki on the reverse. (73.7 x 99.1 cm). Signed Annika Larsson on the reverse. This work is from an edition
Provenance White Cube, London of three. Provenance Andrhn-Schiptjenko, Stockholm
Estimate $ 2 , 5 0 0 - 3 , 5 0 0 Estimate $ 2 , 0 0 0 - 3 , 0 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: C0 10-02-06 11:17
219

220

219 GreGory Crewdson b. 1962 Two works: Production Still (Library Street #2) and 220 GreGory Crewdson b. 1962 Production Still (Brightview), 2003. Digital c-print.
Production Still (Brightview #2), 2003. Digital c-prints. Each 14 x 18 in. (35.6 x 45.7 cm) paper 14 x 18 in. (35.6 x 45.7 cm) paper size. Signed and dated Gregory Crewdson 2003 lower
size. Each signed and dated Gregory Crewdson 2003 and numbered of 20 lower right. right. This work is from an edition of 20. Provenance Luhring Augustine, New York
These works are from an edition of 20. Provenance Luhring Augustine, New York Estimate $ 3 , 0 0 0 - 4 , 0 0 0
Estimate $ 6 , 0 0 0 - 8 , 0 0 0

170

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221

222

221 Scott Peterman b. 1968 Bad Water Basin I, 2005. C-print. 40 x 76 in. (101.6 x 193 cm). 222 Gerard Byrne b. 1969 A country road, a tree, evening: Cruagh, on the road between
This work is from an edition of five. Provenance Silverstein Gallery, New York Kilakee and Tibradden, Dublin Mountains, 2006. C-print. 34 1/4 x 43 in. (87 x 109.2 cm). This
Estimate $ 4 , 0 0 0 - 6 , 0 0 0 work is from an edition of five. Provenance Lisson Gallery, London
Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0

171

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223

224

223 Phil Collins b. 1970 stankovec, 2003. Lightjet print on Fuji Crystal Archive paper 224 Erwin wurm b. 1954 Series CC: Graz Man with carpet, 2001, printed 2003. Color
reverse mounted on Diasec in two parts. 29 7/8 x 19 7/8 in. (75.9 x 50.5 cm) each. Signed coupler print. 39 x 46 3/4 in. (99.1 x 118.7 cm). Signed, titled, dated Erwin Wurm Series CC:
Phil Collins twice on labels adhered to the reverse of each panel. This work is from an Graz Man with carpet 2001/03 and numbered of five on a label adhered to the reverse of
edition of four plus one artists proof. Provenance Kerlin Gallery, Dublin the backing board. This work is from an edition of five. Provenance art:concept, Paris
Estimate $ 3 , 0 0 0 - 4 , 0 0 0 Estimate $ 3 , 0 0 0 - 5 , 0 0 0

172

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Cycle: C0 10-02-06 10:56
225

226 227

225 MaRiah RoBeRtson b. 1975 El Farolito, 24th and Mission, San Francisco, CA, 2007. 227 Jessica Backhaus b. 1970 Jesus and the Cherries, 2001. Chromogenic print.
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 20 x 24 in. (50.8 x 61 cm) paper size. Signed, titled and dated J. Backhaus Jesus and the
plus two artists proofs. Provenance Guild & Greyshkul, New York Cherries 2001 and numbered of 15 on the reverse of the backing board. This work is from
Estimate $ 2 , 0 0 0 - 3 , 0 0 0 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 Estimate $ 1, 0 0 0 -1, 5 0 0
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.
Provenance Yancey Richardson Gallery, New York
Estimate $ 3 , 0 0 0 - 4 , 0 0 0

173

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228 229

231

230

232 233

228 kaMRan diBa b. 1937 Fontana from Tehran Edition Series, 2009. Acrylic on canvas. 231 anthony BuRdin Untitled, 2004. Ball point pen and ink on paper. 9 x 12 in. (22.9 x
51 1/8 x 38 3/8 in. (130 x 97.5 cm). Signed and dated K. Diba 09 lower left. 30.5 cm). Provenance Maccarone, New York
Provenance Acquired directly from the artist Estimate $ 2 , 0 0 0 - 3 , 0 0 0
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
229 zhang hui b. 1969 Beijing Wawa (Bandage), 2006. Oil on canvas. 23 1/4 x 19 1/2 in. 30.5 cm). Provenance Maccarone, New York
(59.1 x 49.5 cm). Signed and dated ZHui 2006 lower left; signed twice, titled and dated Estimate $ 2 , 0 0 0 - 3 , 0 0 0
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
230 anthony BuRdin Untitled, 2004. Ball point pen and ink on paper. 12 x 9 in. (30.5 x Estimate $ 2 , 0 0 0 - 3 , 0 0 0
22.9 cm). Provenance Maccarone, New York
Estimate $ 2 , 0 0 0 - 3 , 0 0 0

174

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234

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

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Cycle: C1 10-02-08 21:08
235

236 237

235 Ray sell b. 1981 Big Bullet Rides, 2009. Collaged magazine cutouts, newsprint 237 Jason MeadoWs b. 1972 Expression, 2005. Acrylic, ink, watercolor and colored
and acrylic on canvas mounted in the artists frame. 13 x 17 in. (33 x 43.2 cm). Signed and pencil on paper. 25 1/2 x 19 5/8 in. (64.8 x 49.8 cm). Signed, titled and dated Jason
dated Ray Sell 11/09 on the reverse. Provenance Leo Kesting Gallery, New York Meadows, Expression 05 on the reverse. Provenance Private Collection
Estimate $ 1, 0 0 0 -1, 5 0 0 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 artists 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

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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). Lorenzens use of brand namesin these
three paintings, most notably Prince Cigarettes, Ritter Sport and Marlboroecho Andy Warhol. Much like with Warhol, despite the brands
internationally recognized names, the importance of Lorenzens 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: C0 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. 240 Abetz/Drescher (MAike Abetz AnD Oliver Drescher ) b. 1970, 1969
(65.7 x 101.6 cm). Signed, titled and dated D Shaw High Water 2005 on the reverse. Who Are You, 2003. Acrylic on canvas. 71 x 78 1/2 in. (180.3 x 199.4 cm). Signed, titled and
Provenance Kevin Bruk Gallery, Miami 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

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Cycle: C0 10-02-06 14:18
241

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

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Kevin appels new paintings depict a world so fractured that its 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. appels new paintings [] dive deeper into the potential for violenceboth natural

and otherwisethat defines a nation gripped by fear and driven by the desire to obliterate terrorism. []

the blunt-force trauma that appels 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-it-

alone 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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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 Kevin Appel Country Home 3 (Dreamer) 2006 on the reverse. Provenance Wilkinson Gallery, London
Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0

181

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Cycle: C0 10-02-06 08:07
243

244

245 246

243 delia BRoWn b. 1969 Untitled (Toilet), 2001. Watercolor and graphite on paper. 245 dan attoe b. 1975 Fire Hydrant, 2002. Oil on medium-density fiberboard. 5 x 7 in.
9 1/8 x 14 in. (23.2 x 35.6 cm). Signed and dated Delia Brown 2001 on the reverse. (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 246 BiRgit MegeRle b. 1975 Untitled, 2003. Oil on canvas. 23 3/4 x 31 1/2 in. (60.3 x 80 cm).
and dated Jon Flack Pan 2007 on the reverse. Signed and dated Birgit Megerle 2003 on the reverse. Provenance Private Collection
Provenance Raid FC Contemporary Art, Los Angeles exhibited Santa Monica, Mark Estimate $ 1, 0 0 0 -1, 5 0 0
Moore Gallery, Jon Flack, May 20 - July 1, 2006
Estimate $ 5 , 0 0 0 -7, 0 0 0

182

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Cycle: C0 10-02-06 08:08
247

248

249

247 faRis McReynolds b. 1977 Untitled (House), 2004. Oil on canvas. 30 x 36 in. 249 ivan MoRley b. 1966 From Don, George and Diane, 2003. Oil, gold and aluminum leaf
(76.2 x 91.4 cm). Signed, titled and dated Faris Untitled (House) 2004 on the overlap. on glass. 36 x 31 in. (91.4 x 78.7 cm). Signed twice, titled and dated Ivan Morley From Don,
Provenance Roberts & Tilton, Los Angeles George and Diane 2003 on the reverse. Provenance Patrick Painter, Inc., Santa Monica
Estimate $ 8 0 0 -1, 2 0 0 Estimate $ 8 , 0 0 0 -1 2 , 0 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

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Cycle: C0 10-02-06 08:08
250 251

252 253

254 255

250 geRald davis b. 1974 Salva Denorum Experience, 2003. Graphite on paper. 253 allen RuPPeRsBeRg b. 1944 Allan Kaprow / Arman / Raymond Hains / Ian Hamilton
17 7/8 x 23 3/4 in. (45.4 x 60.3 cm). Signed and dated Gerald Davis 2003 on the reverse. Finlay, 2006. Silkscreen print. 38 1/4 x 50 1/8 in. (97.2 x 127.3 cm). Signed and dated
Provenance Private Collection 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. 254 gillian caRnegie b. 1971 Mayqueen, 2003. Charcoal on paper. 23 1/4 x 23 1/4 in.
Provenance The Armitage Foundation Benefit, New York (59.1 x 59.1 cm). Provenance Cabinet, London
Estimate $ 1, 0 0 0 -1, 5 0 0 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. 255 tiM stoneR b. 1970 Untitled, 2001. Watercolor on paper. 11 1/4 x 15 in. (28.6 x 38.1
Graphite on paper. 15 1/4 x 11 3/8 in. (38.7 x 28.9 cm). Signed and dated Kelly McLane, cm). Initialed and dated TS 01 on the reverse. Provenance The approach, London
2005 L.A.R.P Almost Beautiful (what is that smell) on the reverse. Estimate $ 1, 5 0 0 - 2 , 0 0 0
Provenance CRG Gallery, New York
Estimate $ 1, 5 0 0 - 2 , 0 0 0

184

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Cycle: C0 10-02-06 08:09
256

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: C0 10-02-06 14:20
257 258

259 260

257 WilliaM PoWhida b. 1976 Untitled (Dana Schutz), 2005. Graphite and adhesive on 259 BendiX haRMs b. 1967 Quartertyp, 2002. Oil on linen. 55 x 49 1/4 in. (139.7 x 125.1 cm).
paper. 18 x 14 1/8 in. (45.7 x 35.9 cm) paper size. Provenance Momenta Art, New York Signed, titled and dated Bendix Harms Quartertyp 2002 on the reverse.
Estimate $ 1, 2 0 0 -1, 8 0 0 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 260 thoMas ackeRMann b. 1952 Moon Art Rat, 2008-09. Oil, ink and beeswax on
Estimate $ 5 0 0 -7 0 0 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: C0 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). 262 gReg haBeRny b. 1970 Destroy All Monsters, 2009. Pastel, felt-tip pen, acrylic
Signed, titled and dated Uwe Kowski Warte 2004 on the reverse. and ink on paper laid on wood in the artists frame. 42 5/8 x 52 1/2 in. (108.3 x 133.4 cm).
Provenance Gorney Braven + Lee, New York Signed, titled and dated twice Destroy All Monsters G. Haberny 2009 on the reverse.
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: C0 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

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Cycle: C0 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 Tim Lokiec MSB Mirror November 2005 on the reverse. Provenance Zach Feuer Gallery (LFL), New York
Estimate $ 4 , 0 0 0 - 6 , 0 0 0

189

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Cycle: C0 10-02-06 08:10
265

266

267

265 kenny schaRf b. 1958 Were Here!!!, 2001. Graphite on paper. 10 1/2 x 12 1/2 in. 267 allen RuPPeRsBeRg b. 1944 Alighiero e Boetti, 2006. Silkscreen print on Colby
(26.7 x 31.8 cm). Signed and dated K Scharf 01 on the reverse. 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

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Cycle: C0 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

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Cycle: C0 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 31 270 anna seW hoy b. 1976 Nugget, 2000. Childrens bicycle with decals and putty.
1/4 in. (56.5 x 79.4 cm) overall. Provenance Leo Kesting Gallery, New York 18 x 37 x 20 in. (45.7 x 94 x 50.8 cm). This work is unique.
Estimate $ 1, 8 0 0 - 2 , 5 0 0 Provenance Massimo Audiello, New York
Estimate $ 4 , 0 0 0 - 6 , 0 0 0

192

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Cycle: C0 10-02-06 08:11
271

272

274

273

271 os geMeos b. 1974 Untitled, 2003. Watercolor, ink and colored pencil on paper. 273 chRis Johanson b. 1968 This Is You, 2002. Acrylic, metal hooks, screws, plates and
7 1/4 x 13 3/8 in. (18.4 x 34 cm). Signed and dated Os Gemeos _ 03 on a label adhered 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.
to the reverse of the backing board. Provenance New Image Art Gallery, Los Angeles Provenance Roberts & Tilton, Los Angeles
Estimate $ 8 0 0 -1, 2 0 0 Estimate $ 4 , 0 0 0 - 6 , 0 0 0

272 chRis Johanson b. 1968 Romantic Landscape, 2002. Acrylic on birch panel. 274 chRis Johanson b. 1968 Untitled, 2006. Acrylic, ink, graphite and spray paint
48 x 54 in. (121.9 x 137.2 cm). Signed and dated Chris Johanson 2002 on the reverse. on paper. 22 x 30 in. (55.9 x 76.2 cm). Provenance Galerie Georg Kargl, Vienna
Provenance Roberts & Tilton, Los Angeles Estimate $ 2 , 0 0 0 - 3 , 0 0 0
Estimate $ 2 , 5 0 0 - 3 , 5 0 0

193

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Cycle: C0 10-02-06 08:11
275 276

277 278 279

275 shePaRd faiRey b. 1970 Obey 95 HPM, 2005. Screenprint on paper. 41 3/4 x 28 1/2 278 t-kid b. 1961 New York City Subway Map with Graffiti and Tag, 2010. Spray and
in. (106 x 72.4 cm). Signed, dated Shepard Fairey 05 and numbered of 10 along the lower metallic paint, ink and felt-tip pen on found paper. 32 1/2 x 22 3/4 in. (82.6 x 57.8 cm).
edge. This work is from a varied edition of 10. Provenance Acquired directly from the artist Signed and dated Terrible T Kid 10 center left.
Estimate $ 2 , 0 0 0 - 3 , 0 0 0 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. 279 katoPe b. 1976 Godbird in the Forest, 2009. Acrylic and sparkle decals on varnished
(44.1 x 28.9 cm). This work is unique. Provenance Acquired directly from the artist wood. 11 3/4 x 9 in. (29.8 x 22.9 cm). Signed and dated KaToPe 2009 on the strainer.
Estimate $ 5 0 0 -7 0 0 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

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Cycle: C0 10-02-06 08:12
280 281 282

283 284 285

286 287

280 aRBito b. 1975 The Seeker - Hi, 2009. Translucent resin and acrylic. 8 1/4 x 4 x 2 284 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).
3/4 (21 x 10.2 x 7 cm). Signed, titled and numbered Arbito Seeker 1/1 on the underside. Signed and dated Blobpus 2009.2.27 on the underside. This work is unique.
Provenance Acquired directly from the artist Provenance Acquired directly from the artist
Estimate $ 3 0 0 - 4 0 0 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. 285 ken akaMatsu/MaRMit co. Darkron, 2009. Acrylic on vinyl. 12 1/4 x 9 x 3 1/4 in.
(16.5 x 7.6 x 7.6 cm). This work is unique. Provenance Acquired directly from the artist (31.1 x 22.9 x 8.3 cm). Signed and dated K. Akamatsu 2009 on the reverse.
Estimate $ 2 0 0 - 3 0 0 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 3 286 kyoka ikeda/gaRgaMel co. b. 1977 Zagoran with Burlap Sack, 2009. Acrylic on vinyl
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 with screenprinted burlap sack and custom-made cardboard box. Figure: 9 1/4 x 5 x 3 3/4
and dated Daniel Goffin 2009 and numbered of two on the underside of the figures 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
except for the figure second from the right as illustrated, signed and dated Daniel Goffin on the underside. This work is from an edition of 30.
2009 on the underside. This work is from an edition of two. Provenance Acquired directly from the artist
Provenance Acquired directly from the artist Estimate $ 4 0 0 - 5 0 0
Estimate $ 1, 0 0 0 -1, 2 0 0
287 leecifeR b.1967 Two works: Capt. Dokuwashi and Red Doku Skull, 2009. Acrylic on
283 eMMett PotteR iii Two works: Simbio and Spaced Invaders, 2010. 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.
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) (24.1 x 17.1 x 11.7 cm). Signed and dated Lcfr 2009 lower right; signed and dated Lcfr
each. Each initialed EFP III on inset. These works are unique. 2009 on the underside. These works are unique.
Provenance Acquired directly from the artist Provenance Acquired directly from the artist
Estimate $ 4 5 0 - 5 5 0 Estimate $ 4 0 0 - 5 0 0

195

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Cycle: C0 10-02-06 08:13
NOW LOts 1 - 36

lot 1 DAVID lACHAPEllE lot 2 RoBERt AND sHANA lot 3 RoBERt AND sHANA lot 4 RoBERt AND sHANA lot 5 RoBERt AND sHANA lot 6 VIK MUNIZ
Est $7,000-9,000 PARKEHARRIsoN PARKEHARRIsoN PARKEHARRIsoN PARKEHARRIsoN Est $5,000-7,000
Est $1,800-2,200 Est $1,800-2,200 Est $1,800-2,200 Est $1,800-2,200

lot 7 GREGoRY CREWDsoN lot 8 VIK MUNIZ lot 9 lIsA oPPENHEIM lot 10 VIK MUNIZ lot 11 VIK MUNIZ lot 12 VIK MUNIZ
Est $ 4,000-6,000 Est $7,000-9,000 Est $2,500-3,500 Est $12,000-18,000 Est $5,000-7,000 Est $ 4,000-6,000

lot 13 AlE X HAAs lot 14 MARIlYN MINtER lot 15 lIsE sARFAtI lot 16 DAVID DREBIN lot 17 DAVID DREBIN lot 18 ERWIN olAF
Est $3,000-5,000 Est $10,000-15,000 Est $3,000-5,000 Est $3,000-4,000 Est $3,000-4,000 Est $10,000-15,000

lot 19 KIM JooN lot 20 KIM JooN lot 21 NoBUYosHI ARAKI lot 22 NoBUYosHI ARAKI lot 23 REGINA DElUIsE lot 24 REGINA DElUIsE
Est $6,000-8,000 Est $6,000-8,000 Est $1,200-1,800 Est $1,200- 1,800 Est $800-1,200 Est $800-1,200

lot 25 KAtY GRANNAN lot 26 REGINA DElUIsE lot 27 REGINA DElUIsE lot 28 NAoMI HARRIs lot 29 NAoMI HARRIs lot 30 ANN Woo
Est $2,500-3,500 Est $800-1,200 Est $800-1,200 Est $5,000-7,000 Est $5,000-7,000 Est $3,000-5,000

lot 31 NICHolAs PRIoR lot 32 GtZ DIERGARtEN lot 33 AlEC sotH lot 34 stPHANE CoUtURIER lot 35 sIMoN NoRFolK lot 36 RoBERt PolIDoRI
Est $2,000-3,000 Est $2,500-3,500 Est $10,000-15,000 Est $5,000-7,000 Est $7,000-9,000 Est $15,000-20,000

196

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Cycle: C0 10-02-06 09:21
NOW LOts 37 - 72

lot 37 WENG FEN lot 38 JIN sHAN lot 39 WoUt BERGER lot 40 EDWARD BURtYNsKY lot 41 EVA HIlD lot 42 AYAlA sERFAtY
Est $6,000-8,000 Est $2,000-3,000 Est $2,000-3,000 Est $5,000-7,000 Est $8,000-12,000 Est $ 4,000-6,000

lot 43 JUlIAN MAYoR lot 4 4 CHRIs RUCKER lot 45 JoHANNA GRAWUNDER lot 46 AtElIER VAN lIEsHoUt lot 47 JURGEN BEY lot 48 KIKI sMItH
Est $2,000-3,000 Est $2,500-3,500 Est $10,000-15,000 Est $6,000-8,000 Est $1,000-1,500 Est $1,000-1,500

lot 49 AlE X RosKIN lot 50 KEllY MCCAllUM lot 51 KEllY MCCAllUM lot 52 CARlos MottA lot 53 RolF sACHs lot 54 PHIlIPPE MoREl
Est $ 4,000-6,000 Est $2,500-3,500 Est $2,500-3,500 Est $10,000-15,000 Est $2,000-3,000 Est $12,000-18,000

lot 55 RoN ARAD lot 56 ElENA ColoMBo lot 57 JUlIAN MAYoR lot 58 FRANoIs AZAMBoURG lot 59 FABIo NoVEMBRE lot 60 PEtER tRAAG
Est $5,000-7,000 Est $2,500-3,500 Est $3,000-5,000 Est $2,000-3,000 Est $3,000-5,000 Est $3,000-5,000

lot 61 GEoFFREY BRADFIElD lot 62 IsCA GREENFIElD- lot 63 ElIZABEtH PEYtoN lot 64 EllEN GAllAGHER lot 65 lIsA YUsKAVAGE lot 66 MARlENE DUMAs
Est $8,000-10,000 sANDERs Est $1,200-1,800 Est $700-1,000 Est $600-900 Est $1,200-1,800
Est $8,000-12,000

lot 67 RosANGElA RENN lot 68 CHUCK ClosE lot 69 lAURIE sIMMoNs lot 70 tHE ClAYtoN lot 71 GIllIAN WEARING lot 72 WIlHElM sAsNAl
Est $1,500-2,500 Est $1,000-1,500 Est $900-1,200 BRotHERs Est $900-1,200 Est $1,200-1,800
Est $ 400-600

197

36672_PHI_196-203.indd 197
Cycle: C0 10-02-06 09:24
NOW LOts 73 - 108

lot 73 MARIlYN MINtER lot 74 VARIoUs ARtIsts lot 75 JAN tIMME lot 76 sHEPARD FAIREY lot 77 MARtIN PURYEAR lot 78 CHRIs BAllANtYNE
Est $800-1,200 Est $900-1,200 Est $1,500-2,500 Est $2,500-3,500 Est $3,500-4,500 Est $1,200-1,800

lot 79 lIsA RUYtER lot 80 tHoMAs EGGERER lot 81 PEtER DoIG lot 82 PEtER DoIG lot 83 MARCEl DZAMA lot 84 MARCEl DZAMA
Est $1,000-1,500 Est $2,000-3,000 Est $ 4,000-6,000 Est $1,500-2,500 Est $800-1,200 Est $2,000-3,000

lot 85 MARCEl DZAMA lot 86 BARRY MCGEE lot 87 MEl BoCHNER lot 88 JACK PIERsoN lot 89 CHRIstoPHER Wool lot 90 CHRIstoPHER Wool
Est $2,000-3,000 Est $8,000-12,000 Est $1,800-2,500 Est $600-900 Est $2,000-3,000 Est $600-800

lot 91 DAMIEN HIRst lot 92 KEHINDE WIlEY lot 93 tAKAsHI MURAKAMI lot 94 RYAN MCGINNEss lot 95 JEFF KooNs lot 96 tAKAsHI MURAKAMI
Est $8,000-12,000 Est $2,000-3,000 Est $6,000-9,000 Est $1,200-1,800 Est $1,500-2,500 Est $3,000-5,000

lot 97 tAKAsHI MURAKAMI lot 98 tAKAsHI MURAKAMI lot 99 YosHItoMo NARA lot 100 EllsWoRtH KEllY lot 101 DAMIEN HIRst lot 102 MoNIQUE PRIEto
Est $3,000-4,000 Est $1,500-2,500 Est $800-1,200 Est $3,000-4,000 Est $2,000-3,000 Est $800-1,000

lot 103 DAMIEN HIRst lot 104 tIM EItEl lot 105 tIM EItEl lot 106 sUZANNE lAFoNt lot 107 ED RUsCHA lot 108 lARRY JoHNsoN
Est $1,500-2,500 Est $2,500-3,500 Est $1,500-2,500 Est $200-300 Est $2,000-3,000 Est $600-900

198

36672_PHI_196-203.indd 198
Cycle: C0 10-02-06 09:28
NOW LOts 109 - 144

lot 109 tIm davIs lot 110 stephaNIe CINellI lot 111 CaNdIda hFer lot 112 eberhard havekost lot 113 thomas struth lot 114 thomas ruFF
est $ 400-600 est $500-700 est $1,500-2,500 est $600-900 est $1,000-1,500 est $1,000-1,500

lot 115 Charles lutz lot 116 GreGor hIldebraNdt lot 117 dave muller lot 118 WIllIam Cordova lot 119 CheYNeY thompsoN lot 120 CheYNeY thompsoN
est $6,000-8,000 est $2,000-3,000 est $ 4,000-6,000 est $8,000-12,000 est $ 4,000-6,000 est $ 4,000-6,000

lot 121 FraNCIs als lot 122 JoN pYlYpChuk lot 123 ChrIs JohaNsoN lot 124 ChrIstIaN sChumaNN lot 125 ChrIs JohaNsoN lot 126 erIk parker
est $2,000-3,000 est $10,000-15,000 est $6,000-8,000 est $5,000-7,000 est $5,000-7,000 est $10,000-15,000

lot 127 rIta aCkermaNN lot 128 martIN eder lot 129 marIlYN mINter lot 130 rYaN mCGINleY lot 131 paul rusCoNI lot 132 leaNdro erlICh
est $3,000-4,000 est $7,000-9,000 est $15,000-20,000 est $2,500-3,500 est $ 4,000-6,000 est $10,000-15,000

lot 133 JosephINe lot 134 eIleeN QuINlaN lot 135 JosephINe lot 136 kara Walker lot 137 sIobhaN lIddell lot 138 mIChael Joo
meCkseper est $5,000-7,000 meCkseper est $8,000-10,000 est $2,000-3,000 est $7,000-9,000
est $3,000-4,000 est $8,000-12,000

lot 139 hope athertoN lot 140 tomorY dodGe lot 141 amelIe voN WulFFeN lot 142 mattheW moNahaN lot 143 JohaNNes kahrs lot 14 4 moNICa boNvICINI
est $15,000-20,000 est $8,000-12,000 est $7,000-9,000 est $18,000-25,000 est $1,000-1,500 est $15,000-20,000

199

36672_PHI_196-203.indd 199
Cycle: C1 10-02-08 21:18
NOW LOts 145 - 180

lot 145 lERonE wilson lot 146 Rafal Bujnowski lot 147 wilHElm sasnal lot 148 jonatHan mEEsE lot 149 jonatHan mEEsE lot 150 GEoRGE Condo
Est $5,000-7,000 Est $6,000-8,000 Est $30,000-40,000 Est $6,000-8,000 Est $6,000-8,000 Est $12,000-18,000

lot 151 david RatCliff lot 152 tEREnCE koH lot 153 BRian kEnnon lot 154 andREw GuEntHER lot 155 aGatHE snow lot 156 CandiCE BREitz
Est $6,000-8,000 Est $8,000-12,000 Est $2,000-3,000 Est $ 4,000-6,000 Est $5,000-7,000 Est $30,000-40,000

lot 157 tHomas Ruff lot 158 Paul PfEiffER lot 159 kim mCCaRty lot 160 kim mCCaRty lot 161 BHakti BaxtER lot 162 kaREn kilimnik
Est $25,000-35,000 Est $30,000-40,000 Est $5,000-7,000 Est $5,000-7,000 Est $3,000-4,000 Est $20,000-30,000

lot 163 CECily BRown lot 164 jRG lozEk lot 165 saRa van dER HEidE lot 166 kaREn kilimnik lot 167 jEsus diaz dE vivaR lot 168 RiCHaRd loudERBaCk
Est $15,000-20,000 Est $ 4,000-6,000 Est $3,000-4,000 Est $30,000-40,000 Est $ 4,000-6,000 Est $1,000-1,500

lot 169 CHaRlEs kaRuBian lot 170 HvaRd HomstvEdt lot 171 HvaRd HomstvEdt lot 172 BRian faHlstRom lot 173 CHRistoPH lot 174 CHRistoPH
Est $3,000-4,000 Est $2,000-3,000 Est $5,000-7,000 Est $15,000-20,000 RuCkHBERlE sCHmidBERGER
Est $15,000-20,000 Est $3,000-4,000

lot 175 muntEan & lot 176 CHRistoPH lot 177 sHay kun lot 178 stEPHEn BusH lot 179 stEfano aRiEnti lot 180 sam salisBuRy
RosEnBlum sCHmidBERGER Est $6,000-8,000 Est $12,000-18,000 Est $6,000-8,000 Est $10,000-15,000
Est $6,000-8,000 Est $10,000-15,000

200

36672_PHI_196-203.indd 200
Cycle: C1 10-02-08 21:34
NOW LOts 181 - 216

lot 181 JaY davis lot 182 dan koPP lot 183 olEg tistol lot 184 lisa ruYtEr lot 185 stEvE CanadaY lot 186 aYa uEkaWa
Est $ 4,000-6,000 Est $2,000-3,000 Est $5,000-7,000 Est $15,000-20,000 Est $3,000-4,000 Est $2,500-3,500

lot 187 Mr. lot 188 shintaro MiYakE lot 189 shintaro MiYakE lot 191 gaiJin FuJita lot 191 lEE dongi lot 192 riChard aldriCh
Est $7,000-9,000 Est $5,000-7,000 Est $5,000-7,000 Est $10,000-15,000 Est $15,000-20,000 Est $ 4,000-6,000

lot 193 Magnus sigurdarson lot 194 daMiEn hirst lot 195 Mark di suvEro lot 196 lionEl EstvE lot 197 lionEl EstvE lot 198 rYan MCginnEss
Est $2,500-3,500 Est $6,000-8,000 Est $3,000-4,000 Est $ 4,000-6,000 Est $ 4,000-6,000 Est $6,000-8,000

lot 199 rYan MCginnEss lot 200 allan MCColluM lot 201 Mark MandErs lot 202 JaMEs WElling lot 203 Christian sChuMann lot 204 CosiMa von Bonin
Est $6,000-8,000 Est $10,000-15,000 Est $ 4,000-6,000 Est $7,000-9,000 Est $15,000-20,000 Est $20,000-30,000

lot 205 olaFur Eliasson lot 206 grEgor sChnEidEr lot 207 david dEutsCh and lot 208 hiroshi sugiMoto lot 209 Yang Fudong lot 210 Cui XiuWEn
Est $30,000-40,000 Est $3,000-4,000 Phil grauEr Est $10,000-15,000 Est $5,000-7,000 Est $12,000-18,000
Est $3,000-4,000

lot 211 Carlos aMoralEs lot 212 Carlos aMoralEs lot 213 JEnnY savillE in lot 214 nan goldin lot 215 hElMut grill lot 216 noBuYoshi araki
Est $5,000-7,000 Est $8,000-12,000 CollaBoration With glEnn Est $2,500-3,500 Est $5,000-7,000 Est $2,500-3,500
luChFord
Est $10,000-15,000

201

36672_PHI_196-203.indd 201
Cycle: C0 10-02-06 16:26
NOW LOts 217 - 252

lot 217 nobuyoshi araki lot 218 annika larsson lot 219 GreGory Crewdson lot 220 GreGory Crewdson lot 221 sCott PeterMan lot 222 Gerard byrne
est $2,500-3,500 est $2,000-3,000 est $6,000-8,000 est $3,000-4,000 est $ 4,000-6,000 est $10,000-15,000

lot 223 Phil Collins lot 224 erwin wurM lot 225 Mariah robertson lot 226 andrew Moore lot 227 JessiCa baCkhaus lot 228 kaMran diba
est $3,000-4,000 est $3,000-5,000 est $2,000-3,000 est $3,000-4,000 est $1,000-1,500 est $5,000-7,000

lot 229 zhanG hui lot 230 anthony burdin lot 231 anthony burdin lot 232 anthony burdin lot 233 anthony burdin lot 234 su XinPinG
est $3,500-4,500 est $2,000-3,000 est $2,000-3,000 est $2,000-3,000 est $2,000-3,000 est $50,000-70,000

lot 235 ray sell lot 236 ray sell lot 237 Jason Meadows lot 238 Jens lorenzen lot 239 david shaw lot 240 abetz/dresCher
est $1,000-1,500 est $1,000-1,500 est $3,000-4,000 est $15,000-20,000 est $3,000-4,000 (Maike abetz and oliver
dresCher )
est $5,000-7,000

lot 241 henninG kles lot 242 kevin aPPel lot 243 delia brown lot 24 4 Jon FlaCk lot 245 dan attoe lot 246 birGit MeGerle
est $20,000-30,000 est $10,000-15,000 est $3,000-4,000 est $5,000-7,000 est $2,500-3,500 est $1,000-1,500

lot 247 Faris MCreynolds lot 248 thoMas sCheibitz lot 249 ivan Morley lot 250 Gerald davis lot 251 will Cotton lot 252 kelly MClane
est $800-1,200 est $1,000-1,500 est $8,000-12,000 est $2,000-3,000 est $1,000-1,500 est $1,500-2,000

202

36672_PHI_196-203.indd 202
Cycle: C1 10-02-08 21:41
NOW LOts 253 - 287

lot 253 allen ruppersberG lot 254 GIllIan CarneGIe lot 255 tIM stoner lot 256 GraHaM GIllMore lot 257 WIllIaM poWHIDa lot 258 Jason MClean
est $ 4,000-6,000 est $2,000-3,000 est $1,500-2,000 est $8,000-12,000 est $1,200-1,800 est $500-700

lot 259 benDIx HarMs lot 260 tHoMas aCKerMann lot 261 uWe KoWsKI lot 262 GreG Haberny lot 263 tIM loKIeC lot 264 tIM loKIeC
est $8,000-10,000 est $3,000-4,000 est $8,000-12,000 est $6,000-8,000 est $2,000-3,000 est $ 4,000-6,000

lot 265 Kenny sCHarf lot 266 Kenny sCHarf lot 267 allen ruppersberG lot 268 Kenny sCHarf lot 269 brIan leo lot 270 anna seW Hoy
est $3,000-4,000 est $5,000-7,000 est $8,000-12,000 est $15,000-20,000 est $1,800-2,500 est $ 4,000-6,000

lot 271 os GeMeos lot 272 CHrIs JoHanson lot 273 CHrIs JoHanson lot 274 CHrIs JoHanson lot 275 sHeparD faIrey lot 276 GHost
est $800-1,200 est $2,500-3,500 est $ 4,000-6,000 est $2,000-3,000 est $2,000-3,000 est $500-700

lot 277 Cope 2 (fernanDo lot 278 t-KID lot 279 Katope lot 280 arbIto lot 281 steve MerrIll lot 282 DanIel GoffIn
Carlo) est $300-400 est $500-700 est $300-400 est $200-300 est $1,000-1,200
est $300-400

lot 283 eMMett potter III lot 284 blobpus lot 285 Ken aKaMatsu/ lot 286 KyoKa IKeDa/ lot 287 leeCIfer
est $ 450-550 est $300-400 MarMIt Co. GarGaMel Co. est $ 400-500
est $ 400-600 est $ 400-500

203

36672_PHI_196-203.indd 203
Cycle: C0 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
govern the auction. Bidders are strongly encouraged to read them as they outline the legal
Unless indicated by a
, all lots in this catalogue are offered subject to a reserve. A reserve
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.
acts as agent for the seller.
2 BIDDING IN THE SALE
BUYERS PREMIUM
Phillips de Pury & Company charges the successful bidder a commission, or buyers premium, Bidding At Auction
on the hammer price of each lot sold. The buyers 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 buyers 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 buyers 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 buyers 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 auctioneers 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 propertys 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 auctioneers 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 auctioneers 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 4 MARCH 2010 7pm
Viewing 27 February 4 March

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: c1 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 buyers 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 buyers 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 buyers 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 buyers 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
36672_PHI_204-217.indd 207
20 march 2010
LONDON

10-02-08 22:26
CONDITIONS OF SALE

The Conditions of Sale and Authorship Warranty set forth below govern the relationship (c) Telephone bidders are required to submit bids on the Telephone Bid Form, a copy of which
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
Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless
(a) Unless otherwise indicated by the symbol
each lot is offered subject to a reserve, which
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.
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 (c) The auctioneer will commence and advance the bidding at levels and in increments he or
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 auctioneers reasonable discretion, the highest bidder accepted by the
the nature and value of the lot and the bidders 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.

(c) Prospective buyers acknowledge that many lots are of an age and type which means that (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 buyers premium
and any applicable sales tax (the Purchase Price). The buyers 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 (c) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately
(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 bidders 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 buyers premium and any applicable sales or (ii) Personal checks and bankers 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 bankers 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 bankers 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 bankers 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 DARCANGELO 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

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(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 buyers 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 buyers 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 buyers (c) In the event the buyer is in default of payment to any of our affiliated companies, the buyer
unconditional obligation to pay the Purchase Price. also irrevocably authorizes Phillips de Pury & Company to pledge the buyers 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 buyers 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 sellers 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 & Companys 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 buyers 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 buyers responsibility to comply with these laws and to obtain any necessary
(c) As a courtesy to clients, Phillips de Pury & Company will, without charge, wrap purchased export, import and endangered species licenses or permits. Failure to obtain a license or
lots for hand carry only. We will, at the buyers 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 buyers 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 buyers 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 clients 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 & Companys 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 & Companys premises or elsewhere at
the buyers sole risk and expense at the same rates as set forth in Paragraph 8 (a) above; (ii) (c) All warranties other than the Authorship Warranty, express or implied, including any
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 buyers 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 buyers 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 vendors 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 & Companys 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 buyers premium for that lot, the buyer will remain liable for the injury caused by our negligent acts or omissions.

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PHOTOGRAPHS
AUCTION 16 APRIL 2010 10am & 2pm NEW YORK
Viewing 9 15 April

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

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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 buyers successors, assigns and representatives. provide to us at the buyers 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 (c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim
(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
(c) All bidders and sellers irrevocably consent to service of process or any other documents in 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.

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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

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phillips de pury & company

chairman Directors advisory Board

Simon de Pury Aileen Agopian Maria Bell


Finn Dombernowsky Janna Bullock
Patty Hambrecht Lisa Eisner
chief Executive officer Charlie Horne Lapo Elkann
Thierry Nataf Ben Elliot
Bernd Runge
Alexander Payne Lady Elena Foster
Rodman Primack H.I.H. Francesca von Habsburg
Olivier Vrankrenne Marc Jacobs
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 Olivier Vrankenne, International Senior Specialist +32 486 43 43 44

Buenos aires Brooke de Ocampo, International Specialist, Contemporary Art +44 777 551 7060

Geneva Katie Kennedy Perez, Specialist, Contemporary Art +41 22 906 8000

los angeles Maya McLaughlin, International Specialist, Contemporary Art +1 323 791 1771

london Leonie Moschner, International Senior Specialist +44 7815 050 461

milan Laura Garbarino, International Specialist, Contemporary Art +39 339 478 9671

moscow Svetlana Marich, Specialist, Contemporary Art +7 495 225 88 22

paris Edouard de Moussac, International Specialist, Contemporary Art +33 6 64 23 27 81


Johanna Frydman, Specialist, Design +33 142 78 67 77

shanghai/Beijing Jeremy Wingfield, International Specialist, Contemporary Art +852 6895 1805

hong Kong/singapore Chin-Chin Yap, International Specialist, Contemporary Art +1 212 940 1250

Zurich/israel 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 Fraumnsterstrasse 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

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CONTEMPORARY ART
AUCTIONS NEW YORK
PART I 13 MAY 2010 7pm PART II 14 MAY 2010 10am & 2pm
Viewing 7 13 May

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

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SPECIALISTS AND DEPARTMENTS

CONTEMPORARY ART MODERN AND CONTEMPORARY EDITIONS

Michael McGinnis, Senior Director +1 212 940 1254 New York

and worldwide Head, Contemporary Art Cary Leibowitz, worldwide Co-Director +1 212 940 1222
kelly Troester, worldwide Co-Director +1 212 940 1221

LoNDoN Jannah Greenblatt +1 212 940 1332

Peter Sumner, Head of Sales, London +44 20 7318 4063 Joy Deibert +1 212 940 1333

Henry Allsopp +44 20 7318 4060

Laetitia Catoir +44 20 7318 4064 PHOTOGRAPHS


Judith Hess +44 20 7318 4705 LoNDoN

Leonie Moschner +44 20 7318 4074 Lou Proud +44 20 7318 4018

Ivgenia Naiman +44 20 7318 4071 Sebastien Montabonel +44 20 7318 4025

Alexandra Bibby +44 20 7318 4087


Sarah Buchwald +44 20 7318 4085
emma Lewis +44 20 7318 4092
Catherine Higgs +44 20 7318 4089

raphael Lepine +44 20 7318 4078


New York
Siobhan oConnor +44 20 7318 4093 Vanessa kramer, New York Director +1 212 940 1243
Tanya Tikhnenko +44 20 7318 4065
Shlomi rabi +1 212 940 1246
Phillippa willison +44 20 7318 4070
Caroline Shea +1 212 940 1247
Sarah krueger +1 212 940 1245
New York
Carol ehlers, Consultant +1 212 940 1245
Aileen Agopian, New York Director +1 212 940 1255

roxana Bruno +1 212 940 1229

Timothy Malyk +1 212 940 1258 JEWELRY


Sarah Mudge +1 212 940 1259 Nazgol Jahan, worldwide Director +1 212 940 1283

Jean-Michel Placent +1 212 940 1263

rodman Primack +1 212 940 1256 New York


Carmela Manoli +1 212 940 1302
Maria Bueno +1 212 940 1261
Heather Zises +1 212 940 1290
Sara Davidson +1 212 940 1262

Alexandra Leive +1 212 940 1252 emily Bangert +1 212 940 1365

Peter Flores +1 212 940 1223


GeNeVA
(Uli) Zhiheng Huang +1 212 940 1288
Carolin Bulgari +41 22 906 80 00

DESIGN LoNDoN
Alexander Payne, worldwide Director +44 20 7318 4052 Lane McLean +44 20 7318 4032

LoNDoN

Domenico raimondo +44 20 7318 4016 THEME SALES


LoNDoN
ellen Stelter +44 20 7318 4021
Tobias Sirtl, London Manager +44 20 7318 4095
Ben williams +44 20 7318 4027

Marcus McDonald +44 20 7318 4014 Arianna Jacobs +44 20 7318 4054
George oDell +44 20 7318 4040
Marine Hartogs +44 20 7318 4021

New York
New York Corey Barr, New York Manager +1 212 940 1234

Alex Heminway, New York Director +1 212 940 1269 Anne Huntington +1 212 940 1210
Stephanie Max +1 212 940 1301
Tara Dewitt +1 212 940 1265

Meaghan roddy +1 212 940 1266

Marcus Tremonto +1 212 940 1268


PRIvATE SALES
Alexandra Gilbert +1 212 940 1268 New York
Andrea Hill +1 212 940 1238

PArIS BerLIN
Johanna Frydman +33 1 42 78 67 77 Christina Scheublein +49 30 886 250 57

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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 ODell, 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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w w w. p h i l l i p s d e p u ry.c o m

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