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"There’s just so much detail that fizzles out when you’re seeing a photo of [the painting]. I wanted to make something that couldn’t really be encapsulated by an image."
—Lauren QuinTeeming with chromatic and compositional force, Lauren Quin’s Second Palm Third Stem, 2020, reverbs before the viewer’s eyes. The work presents bold tubular forms overlaid with complex line drawings in a hyper-saturated palette of pinks, oranges, and mint-green hues. Since her first solo shows last summer at Loyal Gallery, Stockholm and Friends Indeed, San Francisco at the age of 28, Quin’s works have been acquired by institutions such as the Institute of Contemporary Art, Miami, Walker Art Center, Minneapolis, High Museum of Art, Atlanta, and the X Museum, Beijing, testifying to her remarkably rapid ascension on the international art scene.
Fernand Léger, The Stove (Le poêle), 1918. Solomon R. Guggenheim Museum, New York. Image: The Solomon R. Guggenheim Foundation / Art Resource, NY, Artwork: © 2022 Artists Rights Society (ARS), New York / ADAGP, Paris "I looked at Léger’s paintings as antithetical to mine in the way that they were organized, and I wanted to make something with that organizational tool."
—Lauren QuinFollowing her graduation from the School of the Art Institute of Chicago in 2015, Quin developed her striking visual lexicon during her 2017 residency at the Skowhegan School of Painting and Sculpture in Maine and her MFA at the Yale School of Art, which she earned 2019. “I had never experienced pitch black as I did walking at night through the deep woods of Maine during my residency there. Your sense of depth is completely removed,” she recalled. “I kept feeling like things were flying at me and I was being pushed through a tube.”i Aiming to materialize this sensation in her compositions, Quin eventually found her device in the volumetric tube during her MFA, after encountering the work of Fernand Léger. Now a primary feature of her acclaimed compositions, Quin’s tubular forms in Second Palm Third Stem take the viewer on a visual rollercoaster, guiding the eye through a psychedelic field. “It’s like the painting falls off the edges, and I keep moving into the center. That’s how I know that a painting is finished—when I reach that point where you feel everything is flying at you and you’re just moving through it.”ii
Albert Oehlen, U.D.O. 14, 2001-2005. Galería Juana de Aizpuru, Madrid. Image: Album / Art Resource, New York, Artwork: © Albert Oehlen / Artists Rights Society, New York The intricate surface of Second Palm Third Stem is the result of Quin’s highly complex process. The artist begins her paintings by rendering the large tunneling forms, superimposing them with line drawings, often of biological motifs which emphasize the arterial connotations of her tubes. Once the material layers are built, Quin carves into the surface with tools ranging from her fingers to a spoon or butter knife. Finalizing the composition with a monotype technique, she presses the canvas against ink-covered glass. The finished painting exudes a rippling effect that she aptly likens to a moiré pattern, as the tension engendered by the overlapping imagery creates an arresting visual reverberation which emanates from the canvas.
Wassily Kandinsky, Black Lines, 1913. Solomon R. Guggenheim Museum, New York. Image: The Solomon R. Guggenheim Museum/New York, NY/USA, Artwork: © 2022 Artists Rights Society (ARS), New York/ADAGP While the gradient effect and synthetic-like hues of the present work evoke a digital aesthetic reminiscent of Albert Oehlen’s computer paintings, Second Palm Third Stem reveals Quin’s insistence on an allusion to nature that conjures the likes of Christina Quarles’ surreal bodies. The present work’s title and corporeal motifs suggest a nod to the organic realm, just as her analogue methods ultimately assert the painterliness of her compositions. It is in this way that Quin creates her own dialogue with the medium of painting, drawing from and subverting the influence of an increasingly digital world through her own sensibility. “And in our changing world,” as Cooper Johnson expressed, “Quin’s vision of biologically-imbibed and digitally-conscious abstraction gives hope for what painting can offer.”iii
Collector’s Digest
• Lauren Quin made her auction debut with Phillips in London this March, when Airsickness achieved £441,000 ($587,451), soaring over 14 times the low estimate.
i Lauren Quin, quoted in Stephanie Eckhardt, “In the Studio With Lauren Quin, the Painter Doing Abstraction Her Own Way,” W Magazine, July 8, 2021, online.
ii Ibid.
iii Cooper Johnson, “Lauren Quin ‘Clutches,’” Artillery Magazine, August 19, 2020, online.Provenance
Harkawik, Los Angeles
Acquired from the above by the present ownerArtist Biography
Lauren Quin
Lauren Quin (b. 1992) lives and works in Los Angeles, California. She holds an MFA from the Yale School of Art, New Haven, CT and a BFA from the School of the Art Institute of Chicago, Chicago, IL. She forms her canvases by painting repeated, intercepted, and reconnected shapes and colors. She is most known for the “tube” shape throughout her compositions. Her work has been the subject of solo exhibitions including her first US museum show My Hellmouth, Nerman Museum of Art, Overland Park, KS (2023); Sagittal Fours, Pond Society, Shanghai, China (2022); Pulse Train Howl, Blum & Poe, Los Angeles, CA (2022), and group exhibitions such as Fire Figure Fantasy: Selections from ICA Miami’s Collection, Institute of Contemporary Art, Miami, FL (2022); and On Boxing, Blum & Poe, Los Angeles, CA (2021).
Her work is held in numerous public collections including the Columbus Museum of Art, Columbus, OH; Dallas Museum of Art, Dallas, TX; Fine Arts Museums of San Francisco, CA; High Museum of Art, Atlanta, GA; Institute of Contemporary Art, Miami, FL; Long Museum, Shanghai, China; Museum of Contemporary Art, Los Angeles, CA; Museum of Fine Arts, Boston, MA; Nerman Museum of Contemporary Art, Overland Park, KS; Pérez Art Museum, Miami, FL; Phoenix Art Museum, Phoenix, AZ; Smart Museum, Chicago, IL; Walker Art Center, Minneapolis, MN and Yuz Museum, Shanghai, China.
Property from a Distinguished Private Collection
35
Second Palm Third Stem
signed "LQuin" on the reverse
oil on canvas
72 x 72 in. (182.9 x 182.9 cm)
Painted in 2020.
Estimate
$40,000 - 60,000
Sold for $302,400
Amanda Lo Iacono
Global Managing Director and Specialist, Head of Evening Sale, New York
+1 212 940 1278
ALoiacono@phillips.com
Carolyn Mayer
Associate Specialist, Associate Head of Evening Sale, New York
+1 212 940 1206
CMayer@phillips.com
20th Century & Contemporary Art Evening Sale
New York Auction 18 May 2022
1
Anna Weyant
Buffet II
Estimate $100,000 - 150,000
Sold for $730,800
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2
Robin F. Williams
Nude Waiting It Out
Estimate $150,000 - 200,000
Sold for $327,600
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3
María Berrío
Burrow of the Yellow
Estimate $400,000 - 600,000
Sold for $998,000
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4
Hilary Pecis
Adrianne's Bookshelf
Estimate $300,000 - 500,000
Sold for $630,000
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5
Lisa Yuskavage
Northview (Impressionist Jacket)
Estimate $700,000 - 1,000,000
Sold for $1,106,900
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6
Mark Rothko
Untitled
Estimate $6,000,000 - 8,000,000
Sold for $8,435,000
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7
Yves Klein
Monochrome bleu sans titre (IKB 267)
Estimate $2,000,000 - 3,000,000
Sold for $2,752,500
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8
Shara Hughes
The Not Dark Dark Spots
Estimate $300,000 - 500,000
Sold for $1,603,000
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9
Helen Frankenthaler
Blue Dance
Estimate $1,800,000 - 2,500,000
Sold for $2,208,000
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10
Alexander Calder
39=50
Estimate $10,500,000 - 14,500,000
Sold for $15,648,500
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11
Yayoi Kusama
Untitled (Nets)
Estimate $5,000,000 - 7,000,000
Sold for $10,496,000
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12
Jean-Michel Basquiat
Untitled
Estimate On Request
Sold for $85,000,000
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13
Andy Warhol
Multicolored Retrospective (Reversal Series)
Estimate $3,500,000 - 4,500,000
Sold for $3,748,750
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14
Pablo Picasso
Figures et plante
Estimate $4,000,000 - 6,000,000
Sold for $10,267,000
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15
Yves Klein
Relief Éponge bleu sans titre (RE 49)
Estimate $14,000,000 - 18,000,000
Sold for $19,999,500
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16
Carmen Herrera
Basque
Estimate $600,000 - 800,000
Sold for $1,603,000
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17
Amy Sherald
She was learning to love moments, to love moments for themselves
Estimate $1,200,000 - 1,800,000
Sold for $1,482,000
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18
Emmanuel Taku
The Three Damsels
Estimate $50,000 - 70,000
Sold for $252,000
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19
Roy Lichtenstein
Nude
Estimate $8,000,000 - 12,000,000
Sold for $10,267,000
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20
Issy Wood
Actual car 2
Estimate $150,000 - 200,000
Sold for $478,800
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21
Wayne Thiebaud
Berry Cake
Estimate $1,500,000 - 2,000,000
Sold for $2,813,000
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22
Andy Warhol
Flowers
Estimate $8,000,000 - 12,000,000
Sold for $9,351,000
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23
Reggie Burrows Hodges
Intersection of Color: Suite
Estimate $200,000 - 300,000
Sold for $730,800
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24
Robert Delaunay
L'Équipe de Cardiff
Estimate $700,000 - 1,000,000
Sold for $877,000
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25
Justin Caguiat
Doll 3 Eros
Estimate $380,000 - 450,000
Sold for $504,000
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26
Andy Warhol
The Star (Greta Garbo as Mata Hari)
Estimate $7,000,000 - 10,000,000
Sold for $9,580,000
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27
Cecily Brown
Angie
Estimate $4,500,000 - 6,500,000
Sold for $5,959,000
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28
Hans Hofmann
In Upper Regions
Estimate $1,500,000 - 2,000,000
Sold for $2,571,000
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29
Cy Twombly
Untitled
Estimate $7,000,000 - 10,000,000
Sold for $8,206,000
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30
Matthew Wong
Day 1
Estimate $2,000,000 - 3,000,000
Sold for $3,176,000
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31
This lot is no longer available.
32
Rafa Macarrón
La Perrera
Estimate $80,000 - 120,000
Sold for $378,000
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33
David Wojnarowicz
Fuck You Faggot Fucker
Estimate $800,000 - 1,200,000
Sold for $937,500
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34
Dondi White
Rebel Rocking the Blind Light
Estimate $100,000 - 150,000
Sold for $151,200
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35
Lauren Quin
Second Palm Third Stem
Estimate $40,000 - 60,000
Sold for $302,400
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36
Andy Warhol
Three works: (i-iii) Campbell's Tomato Juice Box
Estimate $700,000 - 900,000
Sold for $1,058,500
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37
Dana Schutz
Sneeze 2
Estimate $80,000 - 120,000
Sold for $277,200
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