Please note that this lot is the property of a private individual.
Phillips believes that this lot was manufactured or created in mainland China and if imported to the USA may be subject to an import tariff. For more information, see paragraph 14 of the Conditions of Sale in our auction sale catalogue or contact one of our specialists.
康乃狄克州, The Aldrich 當代藝術博物館,〈KAWS: Companion (Passing Through)〉, 2011年1月30日 - 6月5日 (同系列他版作品)
亞特蘭大, High 藝術博物館,〈KAWS: Downtime〉, 2012年2月18日 - 5月20日 (同系列他版作品)
柏林, me柏林收藏家室,〈ART & TOYS: Collection Selim Varol〉, 2012年5月26日 - 9月16日 (同系列他版作品)
多倫多, Design Exchange,〈This is Not a Toy: Designer Toys as Contemporary Culture〉, 2014年2月7日 - 5月25日 (同系列他版作品)
台北, 白石畫廊,〈KAWS: Gallery Collection〉, 2018年4月21日 - 5月20日 (同系列他版作品)
Monica Ramirez-Montagut著，〈KAWS 1993-2010〉，紐約，2010年，第233頁 （同系列作品圖版）
American • 1974
To understand the work of KAWS is to understand his roots in the skateboard and graffiti crews of New York City. Brian Donnelly chose KAWS as his moniker to tag city streets beginning in the 1990s, and quickly became a celebrated standout in the scene. Having swapped spray paint for explorations in fine art spanning sculpture, painting and collage, KAWS has maintained a fascination with classic cartoons, including Garfield, SpongeBob SquarePants and The Simpsons, and reconfigured familiar subjects into a world of fantasy.
Perhaps he is most known for his larger-than-life fiberglass sculptures that supplant the body of Mickey Mouse onto KAWS' own imagined creatures, often with 'x'-ed out eyes or ultra-animated features. However, KAWS also works frequently in neon and vivid paint, adding animation and depth to contemporary paintings filled with approachable imagination. There is mass appeal to KAWS, who exhibits globally and most frequently in Asia, Europe and the United States.
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