6Ο︎
Nate Lowman
Untitled Marilyn #13
估價
£400,000–600,000‡︎
成交價
£530,500
oil and alkyd on canvas
152 x 101.9 cm. (59 7/8 x 40 1/8 in.)
Signed and dated 'Nate Lowman 2012' on the overlap.
完整圖錄內容
A leading light in the clan of young Down Town, New York artists informally referred to as ‘The Bowery School’ and numbering the artists Dan Colen, Ryan McGinley and the Late Dash Snow, Nate Lowman burst onto the art scene in the early 2000s . Throughout the course of his highly publicized career he has rigorously mined the breadth of 20th century phenomena, examining contemporary culture in both its high and low forms. Air fresheners, historic moments, gunsand religious emblems have all been subjects of interest in his oeuvre. Frequently employing strategies of collage and appropriation, the artist manipulates visual elements so that they take on, new meaning and signifcance, making for resoundingly current and witty works.
In Untitled (Marilyn), which forms part of the artist’s ‘Trash Landing’ series, Lowman draws directly from the pool of Marilyn Monroe iconography, recasting the fgure in a new and highly idiosyncratic way. Alluding to Willem de Kooning’s and Andy Warhol’s iconic depictions of the flm star, Lowman creates a clear parallel between his works and that of the great Modern artists, provocatively placing himself besides these canonical fgures of American art history.
Keen to provide his series of Marylin paintings, which vary in size with an unsettling and sinister dimension, in his 2011 exhibition at the Gavin Brown and Maccarone gallery in New York, the artist placed these works into serialisation, so that they came to imply a sense of calculation and neurosis. As the artist himself explains: "I like the psychosis of it (...) I imagine it’s why serial killers get a weird joy out of killing the same way every time. I just do it until I’m done with it”.
Employing vibrant, pastel colours, Lowman juxtaposes the violent edge to his works with a light heated and kitsch element. Bright and playful, his palette recalls the colours of sweet packets, drawing a clear tie to contemporary subculture, further stressed by the grafti-like nature in which he has treated the non-screened elements of the composition. Blending high and low, Trash Landing Marilyn #12 thus combines multiple languages, that of graffiti, DIY culture (in the Xerox quality of the screenprint), Abstract Expressionism, and sof, kitschy 1980s hues, to arrive at an utterly unique recombination all his own.
In Untitled (Marilyn), which forms part of the artist’s ‘Trash Landing’ series, Lowman draws directly from the pool of Marilyn Monroe iconography, recasting the fgure in a new and highly idiosyncratic way. Alluding to Willem de Kooning’s and Andy Warhol’s iconic depictions of the flm star, Lowman creates a clear parallel between his works and that of the great Modern artists, provocatively placing himself besides these canonical fgures of American art history.
Keen to provide his series of Marylin paintings, which vary in size with an unsettling and sinister dimension, in his 2011 exhibition at the Gavin Brown and Maccarone gallery in New York, the artist placed these works into serialisation, so that they came to imply a sense of calculation and neurosis. As the artist himself explains: "I like the psychosis of it (...) I imagine it’s why serial killers get a weird joy out of killing the same way every time. I just do it until I’m done with it”.
Employing vibrant, pastel colours, Lowman juxtaposes the violent edge to his works with a light heated and kitsch element. Bright and playful, his palette recalls the colours of sweet packets, drawing a clear tie to contemporary subculture, further stressed by the grafti-like nature in which he has treated the non-screened elements of the composition. Blending high and low, Trash Landing Marilyn #12 thus combines multiple languages, that of graffiti, DIY culture (in the Xerox quality of the screenprint), Abstract Expressionism, and sof, kitschy 1980s hues, to arrive at an utterly unique recombination all his own.