Amanda Lo Iacono
\n全球董事總經理及紐約拍賣主管暨晚間拍賣主管
\n+1 212 940 1278
\naloiacono@phillips.com
\n
\nCarolyn Mayer
\n紐約晚間拍賣副主管暨副專家
\n+1 212 940 1206
\nCMayer@phillips.com

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"[The still life paintings] are very meditative and pleasant to make. I can make them alone. I set them up in my apartment, and I light them, and it’s dark and very comfortable...I’d say these are my favorites. I’m very attached and fond of them."
\n—Anna Weyant

\n\n

Painted in 2021, Buffet II is a seductive example of Anna Weyant’s acclaimed still lifes. Presenting a basket of grapes, a glass of wine, fresh market produce, and eggs on a buffet table that spans beyond the picture plane, the artist draws the viewer into an eerie scene that teeters between striking realism and suggestions of the uncanny—a hallmark of her oeuvre. Offering a contemporary twist on the paintings of Dutch Golden Age masters, the present work showcases the artist’s signature use of dramatic chiaroscuro and scrupulous brushwork in rendering compositions that are at once elegant and unnerving. Buffet II captures the artist’s penchant for “filter[ing] her influences through mental and visual sieves to create charming canvases ripe with dark humor.”ⁱ

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\"\" — René Magritte, *Souvenir de voyage,* 1951. The Menil Collection, Houston. Artwork: © 2022 C. Herscovici / Artists Rights Society (ARS), New York

\n\n

"I have always loved the line in the children’s book Madeline when Miss Clavel says, ‘Something isn’t right.’"
\n—Anna Weyant

\n\n

Drawing upon centuries of Western painting from the Dutch Golden Age to modern Surrealism, Weyant is best known for her meticulously rendered still lifes and figurative paintings of women imbued with psychological decadence. In Buffet II, Weyant situates herself within the lineage of her still life predecessors such as Gerrit van Honthorst, Pieter Claesz, and Jean-Baptiste-Siméon Chardin while conjuring the Surrealist sensibility of René Magritte. Exemplifying the signature sepia tone of her compositions, the present work reveals the artist’s aim to avoid the “distraction of color,” focusing on refined handling through a traditional painterly language. This materializes the sense of the uncanny purely through her representational choices, as Magritte did, allowing the viewer to engage with the narrative elements that appear conventional at first glance but reveal their disconcerting nature upon closer observation. Here, a single grape holds up the tablecloth, revealing what appears to be a mattress rather than a dining table, as red liquid eerily streams down the composition to fill a wine glass, its source placed out of the picture plane.

\n\n

\"\" — Pieter Claesz, *Still Life,* ca. 1625. The Art Institute of Chicago. Image: Art Institute of Chicago, Simeon B. Williams Fund, 1935.300

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"Somewhat concealed and certainly not forced. It's the ‘wrongness’ of the details and/or the overall setup that creates [Weyant’s] tragicomic narratives."
\n—Sasha Bogojev

\n\n

Weyant’s painterly style ultimately reveals her fascination with tragicomedy that permeates her practice. When asked about this quality that defines her work, Weyant expressed, “Humor can be a way to control discomfort. Mark Twain said something about humor being ‘tragedy plus time.’ If there’s humor in my work, it probably goes hand in hand with some sort of weird misery.”ⁱⁱ In the present work, lighthearted humor is found in the “peek-a-boo” unveil by the single grape and the anthropomorphic envelopes, mitigating the ominous reverb of the red liquid that suggests a violent ending of a horror story and the leek shaped like a pistol. Through this lens, Weyant masterfully translates the theme of vanitas or memento mori—again harkening back to her Dutch still-life predecessors—in Buffet II through her singular sensibility of weaving the sinister with the charming, menacing with the enchanting, dark with the light. Encapsulating the “harsh elegance” of the emerging artist’s alluring oeuvre, the present work embodies Rae Niwa’s words. “[Weyant’s paintings are] laden with a weight that is not to be played with or mistaken as passing novelty...Somewhere between the gentle repose of still lifes adorned with revolvers and irreverent symbols, the viewer is seized and seduced into a world of twisted intrigue...a mystery just out of reach.”ⁱⁱⁱ

\n\n

$\"\"$

\n\n

\nⁱ Paul Laster, “Anna Weyant Embraces Dark Humor Through Realist Painting,” Art & Object, April 16, 2021, online.
\nⁱⁱ Anna Weyant, quoted in ibid.
\nⁱⁱⁱ Rae Niwa, “Anna Weyant: That Sliver is Painful,” Flaunt Magazine, March 4, 2022.

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拍賣 2022年5月18日東部夏令時間下午7:00
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紐約公園大道432號 10022（地圖）
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預展 4月30日至5月18日
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CECILY BROWN Angie, 2005

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ANNA WEYANT Buffet II, 2021

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ROBIN F. WILLIAMS Nude Waiting It Out, 2017

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HILARY PECIS Adrianne's Bookshelf, 2020

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ANDY WARHOL Multicolored Retrospective (Reversal Series), 1979

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WAYNE THIEBAUD Berry Cake, 2017-2018

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ROBERT DELAUNAY L'Équipe de Cardiff, 1922-1923

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JEAN-MICHEL BASQUIAT Untitled, 1982

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Yves Klein, Monochrome bleu sans titre (IKB 267), 1957. 20th Century & Contemporary Art New York, Evening Sale.

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Despite Piero Manzoni’s famous statement that "Infinity is strictly monochromatic, or better still, colorless," artists have long been fascinated by the power of color and have oriented their practices around it in revealing ways. Color is the quiet force which guides human life; it is implicated in science, physiology, psychology, philosophy, and art. From how we describe ourselves and each other to our surroundings to our disposition, color is attributed — feeling blue, tickled pink, yellow bellied, seeing red, green with envy. Colors are ascribed to everything from race to gender to politics; it has an unavoidable yet essential role in how mankind experiences the world. The power of color is in its ability to operate at once as a sensation and a cultural perception; to be its own language yet remain unspoken; and to be both physical and allusive. In the words of French Cubist Fernand Léger, "Man needs color to live; it's just as necessary an element as fire and water."

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One day in 1947 while on a beach in Nice, Yves Klein, Claude Pascal, and Arman claimed the earth’s elements for themselves. Pascal seized the air; Arman claimed the land; and Klein took the infinite blue sky for himself. In a grand symbolic gesture of ownership, Klein reached out, and famously signed his name across the azure sky to stake his claim. Together with other Modernists, Klein pursued total transcendence through his art. By the early 1950s, he had determined that the only answer to his questions was color, leading him to boldly proclaim: "Colors alone inhabit space, whereas line only travels through it and furrows it. The line travels through infinity, where color is infinity. Through color, I experience total identification with space; I am truly free." Klein’s earliest monochromatic experimentations were executed in an array of colors — yellow, pink, violet, red, green, white, and green, but by 1955, he realized that only one would satisfy him: blue.

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Blue has no dimensions, it is beyond dimensions, whereas the other colors are not [...] All colors arouse specific associative ideas, psychologically material or tangible, while blue suggests at most the sea and sky, and they, after all, are in actual, visible nature, what is most abstract.
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-Yves Klein
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However, the perfect blue did not yet exist; nothing satisfied the color his imagination had mixed. To give life to this dream, Klein enlisted the help of the renowned Parisian colorist Édouard Adam — the famed tripatouiller of Montparnasse. His solution? Mixing ultramarine pigment with the synthetic resin Rhodopas M, thus creating an absolute blue whose saturation would stand the test of time. Klein trademarked this discovery, coining it International Klein Blue (IKB). Art history’s affinity for blue is well documented; Giotto used it in Assisi (it left Klein awestruck), Pablo Picasso notoriously had a Blue Period a half century before, and even Joan Miró referred to it as "la couleur de mes rêves" (the color of my dreams). Unlike Picasso’s ability to "to give form to a sigh" with his use of empty, tragic, melancholy blues wrought with the emotional turmoil of his youth, Klein’s color was ecstatic, intense, and lustrous. The pigment premiered at Galleria Apollinaire in Milan during Klein’s January 1957 exhibition, which featured eleven 30¾ x 22 in. (78 x 56 cm) canvases covered in IKB. To further unlock the chromatic power of his perfect hue, Klein primed the canvases with casein before applying the pigment with a lambskin roller. Immersing oneself in a Klein is both breathtaking and all-consuming as it creates an optical vibration which unsettles the retina, thus inducing an out-of-body experience, leading observers to feel untethered to the world around them. In Monochrome bleu sans titre (IKB 267), this is achieved through the ebb and flow Klein created with the softly raised ridges and the smoother recessions to create a fluorescent blue sea, manifesting the dynamic incandescence that this color could achieve through his painterly experimentations with surface texture. Upon seeing Klein’s blue works, his Spatialist contemporary, Lucio Fontana, even remarked that "Klein is the one who understands the problem of space with his blue dimension [...] He is really abstract, one of the artists who have done something important."

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Choosing blue allowed Klein to free himself from the prison of the picture plane. During a 1959 lecture at the Sorbonne in Paris, Klein declared: "The painting of the future will be a colorist of a kind never seen before, and that will occur in the next generation. And without doubt it is through color that I have little by little become acquainted with the Immaterial." Through IKB, Klein created a physical visualization of the French philosopher Gaston Bachelard’s poetic phrase, "First there is nothing, next there is a depth of nothingness, then a profundity of blue;" the poignancy of these works for the artist were immortalized in the dedication to his friend Charles Wilp on Relief Éponge bleu sans titre (RE 49).

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Mark Rothko, Untitled, 1959. 20th Century & Contemporary Art New York, Evening Sale.
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A collector once visited Mark Rothko’s studio desperately trying to acquire a canvas from him and asked, "Mr. Rothko, I want a happy painting, a red and yellow and orange painting, not a sad painting," to which the artist countered with a laugh, "Red, yellow, orange — aren’t those the colors of an inferno?" The intensity of the scorching red field radiating between a glowing orange band and lustrous yellow passage in the present work, Untitled, conjures Rothko’s statement that he "wanted a presence, so when you turned your back to the painting, you would feel that presence the way you feel the sun on your back." Red was the paramount color of Rothko’s painting. As Diane Waldman observed: "No other color appears so insistently in his oeuvre […] It dominates Rothko's work of the fifties and sixties and, in fact, was the color of his last painting. Red is so potent optically that it overwhelms or obliterates other hues unless it is diluted or controlled by juxtaposing it […] Perhaps Rothko was so drawn to red because of its powerful and basic associations: it is identified with the elements and ritual — with fire and with blood — and thus with life, death and the spirit." Red’s extraordinary power lies not only with its ability to recall these elemental identities, but also because it has diverse and contradictory meanings including the "various phases of life, such as love, happiness, physical strength, wine, passion, power, excitement, anger, turmoil, tragedy, cruelty, revenge, war, sin, and shame. These are all different, yet in certain respects they are the same. Red may be the color of the revolutionist’s flag, streets may run red with the blood of rioters, yet red may be used in a church ritual for Pentecost as a symbol of sacrifice. Whether blood is spilled upon the battlefield in an approved cause or whether it drips from the assassin’s dagger, blood still runs red […] Love gently warms the blood. The delicacy or strength of a shade of red will suggest the type of love."

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He’ll create a painting that looks like it’s a step from the abyss, and yet he’ll nearly always give you something that creates light.
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– Christopher Rothko
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With translucent layers of red, yellow, and orange, Rothko unravels the drama at the core of his painting. "Standing that close to a Rothko, security alarms notwithstanding, means that you are engulfed by, swamped by, his huge fields of rich color. This might or might not have the desired effect. Many people are put off by this sort of grandiosity. Being put off by Rothko was, in fact, a starting point for many innovative ideas in modern art," reflects the art historian Ben Street. "But, regardless of one’s response, it remains of use in our thinking about color in art, because Rothko evidently recognized that color alone, without it needing to be translated into language or used to describe the visual world, might be able to speak to a spectator directly, in an immediate way, that cuts across levels of expertise, prior knowledge or experience. The hundreds of people who visit rooms of Rothko paintings in museums across the world and remain there, transfixed, moved, or overwhelmed, are testament enough to the artist’s understanding of how color speaks."

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Yayoi Kusama, Untitled (Nets), 1959. 20th Century & Contemporary Art New York, Evening Sale.

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One of the most complicated colors — Isaac Newton falsely described it as mixture of all the colors — white is achromatic and loaded with symbolic meaning. Deemed the purest and most perfect color, from blank pages to white walls, in culture we constantly seek out white in its cleanest, most ultra-bright state to eliminate the imperfections of the world. In the 18^th century, Johann Winckelmann declared "the whiter the body is, the more beautiful it is" in reference to ancient Greek sculpture, despite having been ornately painted originally. Winckelmann’s statement contributed to a false definition of classical beauty and an overall collective blindness in Western culture, which led restorers at the British Museum in the 1930s to polish The Parthenon Sculptures, "the most treasured sculptures from the Acropolis, until they were as white and shiny as pearls" to maximize their greatest beauty.

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Often associated with purity, clarity, fresh starts, and white lies, this color has fascinated artists of the 20^th century from Kazimir Malevich to Robert Ryman to Piero Manzoni to Agnes Martin — who spent their careers painting with white. Following the creation of his radical Suprematist masterpiece, Suprematist Composition: White on White, 1918 Malevich euphorically wrote, "I have overcome the lining of the colored sky…The white free abyss, infinity is before you."

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Everything — myself, others, the entire universe — would be obliterated by white nets of nothingness connecting astronomical accumulations of dots … and the spell of the dots and the mesh enfolded me in a magical curtain of mysterious, invisible power.
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- Yayoi Kusama
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At a distance Yayoi Kusama’s Untitled (Nets) appears to read as a monochrome, but upon close inspection it reveals a delicate latticed network of small arcs and loops across an obscured pale grey surface. Pulsating before the viewer’s eye, the nets extend beyond the canvas’ surface expanding indefinitely. In her early Infinity Net paintings from the 1950s and 1960s, Kusama compulsively painted for hours on end, often without eating or sleeping, determined to give visualizations to the hallucinations she experienced from childhood. The visual impact of this most coveted early series of Infinity Nets resulted in many of her fellow Minimalists to acquire them for their personal collections; her close friend, the artist Donald Judd even commented, "There is a remarkable variety of configuration and expression from point to point across the surface."

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Unlike Newton who stated "whiteness is the usual color of light," Kusama used her white Infinity Nets as visualizations of her psychological turmoil, at the precise moment when her visual field would be obscured with nets and dots, covering her surroundings obscuring what lies beyond. Kusama and her white nets made their New York debut with five mural-sized examples in October 1959 at Brata Gallery. Attracting immediate attention from critics, the Infinity Nets marked a departure from the Abstract Expressionists’ gestural brushwork and instead utilized feverish brushwork and obsessive repetition to create a work which was once meditative and demonstrated the artist’s utmost patience.

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Discover More from 20th Century & Contemporary Art >

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Auction Debut

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Dominican-born, New Jersey-based painter Bony Ramirez takes an outsized approach to his distinctive practice. Entirely self-taught, the artist paints large, multimodal works featuring towering, distorted figures with imaginative use of color, physicality, and presence in the style of Italian Mannerist paintings. His characters reflect the artist’s heritage, and often repurpose traditional modes of representation for contemporary Caribbean life and the latent colonialist history that undergirds the psychology of the islands.Ramirez has exhibited with the group show Shattered Glass, curated by Melahn Frierson and AJ Girard, Jeffrey Deitch, as well as two recent solo shows, Noblesse Oblige at Bradley Ertaskiran, Montreal, Canada, and MUSA X PARADISIACA at Thierry Goldberg Gallery, New York.

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Chloe Wise, Making inoffensive magic in your house, 2018. 20th Century & Contemporary Art New York, Afternoon Sale.

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Chloe Wise

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Chloe Wise engages with the subjects that define the contemporary era with a mix of acrimony and humor that can only emerge from our hyper-indulgent, terminally connected landscape. Beneath the social-friendly presentation, however, Wise examines questions around consumption, both physical – as her breakthrough Bread Bags series demonstrated – and as mediated through various gazes, from screens to intrapersonal experiences. This all adds up to an imagined, or constructed notion of the self for Wise, whose ability to weave narratives between art, fashion, culture, and food emphasizes the female body at the center of her focus. Born in Montreal and based in New York, the artist's recent solo shows include Thank You For The Nice Fire at Almine Rech Gallery, New York, and And Everything Was True at HEART, Herning Museum of Contemporary Art, Denmark.

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Mark Rothko, Untitled, 1959. 20th Century & Contemporary Art New York, Evening Sale. \n

Yayoi Kusama, Untitled (Nets), 1959. 20th Century & Contemporary Art New York, Evening Sale.

Dan Levy at the 2021 Met Gala. Photo: REUTERS / Alamy Stock Photo.

The artist with the present work at his 1990 retrospective in Normal, Illinois.

David Wojnarowicz, Fuck You Faggot Fucker, 1984 (detail). 20th Century & Contemporary Art New York, Evening Sale.

David Wojnarowicz, Fuck You Faggot Fucker, 1984 (detail). 20th Century & Contemporary Art New York, Evening Sale.

Justin Caguiat

Ludovic Nkoth, Beauty, 2019. 20th Century & Contemporary Art New York, Afternoon Sale.

Ludovic Nkoth

Dominique Fung, Greenly, 2019. 20th Century & Contemporary Art New York, Afternoon Sale.

Dominique Fung

Cornelius Annor, Asempa Aba Fie (Good News in the House), 2021. 20th Century & Contemporary Art New York, Afternoon Sale.

Cornelius Annor

Anthony Cudahy, the gate, 2018. 20th Century & Contemporary Art New York, Afternoon Sale.

Anthony Cudahy

Bony Ramirez, Las Perlas Traen Lágrimas, 2020. 20th Century & Contemporary Art New York, Afternoon Sale.

Bony Ramirez

Chloe Wise, Making inoffensive magic in your house, 2018. 20th Century & Contemporary Art New York, Afternoon Sale.

Chloe Wise

Mark Rothko, Untitled, 1959. 20th Century & Contemporary Art New York, Evening Sale.
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Anna Weyant

《自助餐 II》

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Anna Weyant