Showing posts with label Andy Warhol. Show all posts
Showing posts with label Andy Warhol. Show all posts

11/09/25

Warhol/Cutrone @ Galerie Gmurzynska, Zurich - Exhibition curated by James Hedges

Warhol/Cutrone
Galerie Gmurzynska, Zurich 
Through September 30, 2025

Warhol/Cutrone, an exhibition at Galerie Gmurzynska in Zurich, curated by James Hedges, juxtaposes Andy Warhol and Ronnie Cutrone, including paintings, drawings, and unique polaroids.
“Ronnie Cutrone was a painter and illustrator known for his Post-Pop imagery featuring cartoon characters like Woody the Woodpecker, Bart Simpson, and Bugs Bunny. Cutrone’s life and career make us remember New York at its creative apex. Reminiscing of another era, Cutrone said, “New York was elegant and sleazy. Now it’s a shopping mall for dot-commers. We need our crime rate back. I want my muggers and hookers back.” - James Hedges 
Andy Warhol and his right-hand man Ronnie Cutrone were the perceived masters of Manhattan in the 1970s and 1980s.

Working in synergistic fashion with Andy Warhol, Ronnie Cutrone helped execute some of the artist’s most iconic silkscreens. The duo’s collaborations countenance: Hand Tinted Flowers (ca. 1972), Invisible Sculpture (1972-83), Drag Queens/Ladies and Gentlemen (1974-75), Oxidation (Piss Paintings) (mid-late 1970s), Sex Parts/Torso (mid-1970s), Hammer & Sickle (1976-1977), Skulls (1976-77), Gems (1978), Shadow Paintings (1979), and Butcher Knives, Guns, Dollar Signs (1982).

With Andy Warhol one special focus of this exhibition is on his unique polaroids. Many of Warhol’s polaroid photographs have never been exhibited before and feature stars such as Grace Jones, Joseph Beuys, Keith Haring, Lou Reed and Candy Darling. Cutrone’s three-dimensional photographs of the Factory, shown publicly as well for the first time ever, give a historic and unprecedented peek into Warhol’s circle.

While with Ronnie Cutrone the focus of this exhibition is on his cartoon-infused painting, sculpture and drawings which shocked the New York scene in the 1980s. These works garnered him major solo shows in the inaugural Post-Pop wave, whilst igniting debates over the sanctity of the American symbols such as the flag and Mickey Mouse. After 1983, when Ronnie Cutrone left Warhol’s Factory, he perused his independent art career which reached great heights, including highly lauded museum exhibitions at the Whitney, the Museum of Modern Art, and the L.A. County Museum of Art, amongst many others.
“One thing I picked up from Andy: say loud and clear because if the WHOLE world gets it, the art world will get it too.” - Ronnie Cutrone 
Artist Ronnie Cutrone

Ronnie Cutrone (10 July, 1948 - 21 July, 2013) worked as Andy Warhol’s preeminent assistant from 1972 to 1982, though his collaborations with Warhol well preceded this. Ronnie Cutrone met Andy Warhol when he was only sixteen years old. Ronnie Cutrone, in 1966, joined the ranks of The Velvet Underground, formed by Lou Reed, John Cale, and Warhol, as a performer/dancer. Three years later, Ronnie Cutrone began writing as a columnist for Warhol’s Interview magazine, lauded for dovetailing reviews on avant-garde art exhibitions and features on celebrities, nightlife fixtures, and even politicians like Nancy Regan.

In 1972, Cutrone’s took up the mantle as Warhol’s apprentice, a post he maintained for the next decade. This was the zenith of Warhol’s international fame, and the Pop Art bastion took Ronnie Cutrone under his wing, entrusting Cutrone to, unlike Warhol’s other assistants, “work on the one thing he cared about the most, which was his art”. Although Ronnie Cutrone was, by this point, already burgeoning as a nascent artist of his own right—having assisted with programming John Giorno’s “Dial-A-Poem” at MoMA in the 1970 “Information” exhibition curated by Kynaston McShine.

Ronnie Cutrone’s responsibilities varied, ranging from conceptualizing Warhol’s subjects, mixing palettes, photographing live models and executing the silkscreen. Indeed, as the two artists ‘artistic relationship matured, the lines of influence became bi-directional. As philosopher, critic, and Warhol expert Arthur Danto observed in his biography, Andy Warhol (2009), “Cutrone played an important role in the later phase of Andy’s artistic career”.

During Cutrone’s time at Warhol’s Factory, he rubbed shoulders with Lou Reed, Jim Morrison, Jimi Hendrix, Mick Jagger, Grace Jones, Lucio Amelio, Jean-Michel Basquiat, Fred Hughes, VictorHugo, Paul Morrisey, Gerard Malanga, Anjelica Huston, Debbie Harry, Salvador Dali and Alice Cooper, amongst others. After long days and nights of helping Warhol at the Factory, Ronnie Cutrone would frequent artist hubs like Max’s Kansas City, drinking “all night with bob Rauschenberg, Larry Rivers, Malcolm Morlye and Robert Smithson” or unwinding at the Mudd Club.

GALERIE GMURZYNSKA
Paradeplatz 2, Zurich

Warhol/Cutrone @ Galerie Gmurzynska, Zurich, June 14 – September 30, 2025

23/08/25

Warhol, Pollock and other American spaces @ Thyssen-Bornemisza Museum, Madrid

Warhol, Pollock and other American spaces
Thyssen-Bornemisza Museum, Madrid
21 October 2025 - 25 January 2026

Robert Rauschenberg
Robert Rauschenberg
Express, 1963
Oil, silkscreen ink and collage on canvas,
184.2 x 305.2 cm
Museo Nacional Thyssen-Bernemisza

Audrey Flack
Audrey Flack
Abstract Expressionist Landscape (with Clouds), 1951
Oil on canvas, 74.93 x 101.6 cm
Museo FAMM, Mougins (The Levett Collection)
Photo: Fraser Marr

Cy Twombly
Cy Twombly
Detail of Pan, Bassano in Teverina, 1980
Color dry-print, 38.1 x 30.5 cm
Collection of Larry Gagosian
© Fondazione Nicola Del Roscio
Photo: Rob McKeever
Courtesy Gagosian

Andy Warhol's fascination with Jackson Pollock is well known; his obsession with having one of his works in his extensive art collection, as well as the relationship between his famous car crash series and the notorious accident that ended Pollock's life one night in August 1956.

The Museo Nacional Thyssen-Bornemisza is organising an exhibition which brings together the work of these two key names of 20th-century art, shown alongside that of other artists who were reconsidering issues relating to the new spatial strategies at this same time. Other artists include, among others, Audrey Flack, Robert Rauschenberg, Marisol Escobar, Cy Twombly...

Andy Warhol and Jackson Pollock are two extraordinarily complex figures, seemingly very different but in fact united, like an entire generation of artists, by their interest in change in the pictorial tradition, spatial issues and a fascination with large formats. 

MUSEO NACIONAL THYSSEN-BORNEMISZA
Paseo del Prado, 8. 28014, Madrid

21/04/25

De Maria, Fontana, Judd, Manzoni, Merz, Picasso, Rauschenberg, Serra, Warhol @ Gagosian, Paris

De Maria, Fontana, Judd, Manzoni, Merz, Picasso, Rauschenberg, Serra, Warhol
Gagosian, Paris
2 avril - 31 mai 2025

Please scroll down for the English version

Tout acte de destruction est aussi un acte de création. Détruire, c’est ouvrir un espace, dégager un chemin pour quelque chose de nouveau.
Gilles Deleuze, Différence et répétition, 1968
Cette exposition collective présente une conversation entre des artistes d’après-guerre ayant questionné les conventions de la forme, du matériau et de la perception, et souligne l’évolution de leurs pratiques. L’installation rassemble des œuvres majeures de Walter De Maria, Lucio Fontana, Donald Judd, Piero Manzoni, Mario Merz, Pablo Picasso, Robert Rauschenberg, Richard Serra et Andy Warhol.

Ces œuvres révèlent la façon dont la répétition dans l’art peut redéfinir les possibilités perceptuelles et formelles, en examinant la manière dont les artistes ont utilisé la sérialité, la variation et l’accumulation pour déstabiliser les schémas conventionnels de la vue et de la pensée. La déclaration de Picasso, « Dans mon cas, une image est la somme de destructions », résonne avec la pensée de Deleuze. Parallèlement aux recherches du philosophe sur la différenciation et l’itération, Serra affirme que « la répétition est le rituel de l’obsession ».

Le passage de Picasso à la sculpture, les structures modulaires et sérielles de Judd, l’insistance de Serra sur le processus de création et son exploration incessante de la matérialité, ainsi que les œuvres et sculptures à caractère durable de De Maria démontrent que la répétition n’est jamais statique, mais qu’elle est au contraire une force de renouvellement. Les œuvres de Fontana, Concetto spaziale, sont percées, ouvrant le plan de l’image à un espace infini, tandis que la série Achrome de Manzoni renonce à la couleur, à la représentation et à l’allusion pour mettre l’accent sur la présence matérielle. Dans leur art, Rauschenberg et Merz reconfigurent radicalement les objets quotidiens, tandis que la multiplication des images de Warhol déplace leurs significations reçues en faveur de nouvelles interprétations. Ensemble, ces oeuvres offrent une réflexion opportune sur la nature cyclique de l’innovation artistique et sur les relations changeantes entre le passé et le présent.
_____
Every act of destruction is also an act of creation. To destroy is to open up a space, to clear a path for something new.
Gilles Deleuze, Difference and Repetition, 1968
This group exhibition presents a conversation between postwar artists who challenged the conventions of form, material, and perception, highlighting the evolution of their practices. On view through May 31, the installation gathers defining works by Walter De Maria, Lucio Fontana, Donald Judd, Piero Manzoni, Mario Merz, Pablo Picasso, Robert Rauschenberg, Richard Serra, and Andy Warhol.

These works reveal how repetition in art can redefine perceptual and formal possibilities, examining how artists have employed seriality, variation, and accumulation to destabilize conventional patterns of sight and thought. Picasso’s declaration “In my case, a picture is a sum of destructions” resonates with the thinking of Gilles Deleuze. Parallelling the philosopher’s inquiries into differentiation and iteration is Serra’s credo that “Repetition is the ritual of obsession.”

Picasso’s turn to sculpture, Judd’s modular and serial structures, Serra’s insistence on process and his relentless exploration of materiality, and De Maria’s durational works and sculptures demonstrate that repetition is never static, but rather a force of renewal. Fontana’s Concetto spaziale works are pierced, opening the picture plane up to infinite space, while Manzoni’s Achrome series negates color, representation, and allusion to emphasize material presence. Rauschenberg and Merz radically reconfigure everyday objects in their art, whereas Warhol’s multiplication of images displaces their received meanings in favor of new interpretations. Together they offer a timely reflection on the cyclical nature of artistic innovation and the shifting relationships between past and present.

GAGOSIAN, PARIS
4 rue de Ponthieu, 75008 Paris

12/03/25

Andy Warhol @ Taglialatella Galleries, NYC + Toronto - "Andy Warhol: Factory Made" Exhibition

Andy Warhol: Factory Made
Taglialatella Galleries, New York
March 6 – 20, 2025
Taglialatella Galleries, Toronto
April 10  May 1, 2025

Taglialatella Galleries presents Andy Warhol: Factory Made, in New York and Toronto, an exhibition of artwork representing three decades of iconic artwork from America’s most bought and sold artist in history, Andy Warhol.

Perhaps no formal introduction is needed for Andy Warhol, known by most for his pop art style and his ability to transform numerous everyday objects and recognizable faces into his muses. His subjects ranged from household products like Brillo boxes and Campbell’s Soup cans to musicians, athletes, politicians, and other influential pop culture and historical figures. In a studio he called “The Factory”, Andy Warhol mastered the ability to walk this fine line between artistic creation and manufactured aesthetics with a commercial and business-like attitude toward the works he produced.

Between 1963 and his untimely death in 1987, Andy Warhol moved his physical studio space several times, but The Factory continued to pump out a body of work unparalleled both then and since. It is estimated that Warhol created over 10,000 paintings, and his catalog raisonné of prints cites 413 published works in varying sized limited editions, totaling six figures of artwork produced in that 25-year span. In retrospect, this unprecedented style of creation is even more impressive since Warhol’s work was made before digital printing and computer-generation existed. As Warhol curated exhibitions and collaborated with fashion designers throughout the 80’s, he also produced countless hours of artistic films and shot hundreds of thousands of photographs.

With Andy Warhol: Factory Made, Taglialatella features the most iconic and sought-after of Warhol’s editions from The Factory’s three decades. Guests have the opportunity to view and purchase some of his most commercially traded and valuable works from this legendary period. For those more interested in the man himself, visitors can also view relics of Warhol’s eccentric style, including his iconic silver wig and a pair of his sunglasses.

TAGLIATELLA GALLERIES, NEW YORK
229 Tenth Avenue, New York, NY 10011

TAGLIATELLA GALLERIES, TORONTO
99 Yorkville Avenue, Toronto, ON M5R 1C1

13/01/25

Phillips Evening & Day Editions Auction, London - Artists & Artworks Highlights

Phillips Evening & Day Editions Auction, London
Auction viewing: 17 January - 23 January 2025
Auction: 23 - 24 January 2025

Mel Bochner
Amazing, 2012
Estimate: £30,000 - 50,000
Photo © Phillips

Cy Twombly
Roman Notes II, from Roman Notes (B. 22), 1970
Estimate: £30,000 - 50,000
Photo © Phillips

KAWS
UPS AND DOWNS, 2013
Estimate: £30,000 - 50,000
Photo © Phillips

Phillips announces highlights from the Evening & Day Editions Auction, taking place in London on 23 and 24 January. Featuring over 240 works spanning the early 20th century to today, the sale brings together renowned printmakers and contemporary artists, including Banksy, Jasper Johns, and Jonas Wood. Additional highlights include works by Andy Warhol, including a dedicated section inspired by newspapers, alongside pieces by Gerhard Richter, Cy Twombly, KAWS, Yoshitomo Nara, David Hockney, and a selection of editions from The Herbig Collection. The full sale catalogue is now live online, with the public exhibition on view at 30 Berkeley Square from 17 January.
Rebecca Tooby-Desmond, Specialist, Head of Sale, Editions, and Auctioneer, said, “We are excited to kick off the new auction season with a dynamic and diverse offering of works spanning the Modern, Post-War, and Contemporary eras. From the surreal to the sublime, our auctions showcase innovation in edition making, from the ephemeral, avant-garde world of Marcel Broodthaers, through Pop portraits, to the enigmatic, graphic abstraction of Jasper Johns, Cy Twombly and Jonas Wood. Our sale brings together over 240 exceptional lots and we look forward to welcoming collectors and art enthusiasts to our Berkeley Square galleries for the public preview, opening on 17 January.”
Leading the sale is Banksy’s Flower Thrower Triptych (Grey) (2019) [estimate: £100,000–150,000], one of the artist’s most iconic and socially charged images. Depicting a masked figure hurling a bouquet of flowers like a Molotov cocktail, the work juxtaposes themes of resistance and hope, becoming a global symbol of peace. First created as Love is in the Air for Banksy’s 2002 Los Angeles exhibition, the motif gained further significance when stencilled onto Jerusalem’s West Bank Wall in 2003, underscoring its enduring resonance as a timeless call for peace.

Jasper Johns
Corpse and Mirror (U.L.A.E. 169), 1976 
Estimate: £60,000 - 80,000
Photo © Phillips

Jasper Johns’ Corpse and Mirror (1976) is a striking exploration of order and ambiguity, transforming the crosshatch motif into a mesmerising composition. Inspired by a fleeting glimpse of slanted lines on a passing car, Johns executed the work using 36 screens, layering wax-infused ink to create luminous depth and tactility. Produced in collaboration with Simca Print Artists, the screenprint exemplifies Johns’ seamless dialogue between painting and printmaking, inviting viewers into a meditative study of repetition, variation, and perception.

Jonas Wood
Four Majors, 2018
Estimate: £40,000 - 60,000
Photo © Phillips

Jonas Wood’s Four Majors (2018), is a vibrant quartet of screenprints reimagining iconic tennis courts in Melbourne, Paris, London, and New York. Rendered in bold, flat colours with simplified geometric forms, the works blur the line between reality and abstraction, transforming physical spaces into playful, imagined compositions.

Gerhard Richter
Goldberg-Variationen (Goldberg Variations), 
from Hommage à Cladders (B. 60), 1984
Estimate: £40,000 - 60,000
Photo © Phillips

Gerhard Richter’s Goldberg-Variationen (Goldberg Variations) (1984) transforms a phonograph record of Glenn Gould’s 1982 The Goldberg Variations into a vibrant abstract composition, testament to Richter’s fascination with materiality and music. Swathes of cobalt blue and bright yellow paint merge and contrast, with glimpses of the record’s black surface emerging beneath.

Additional highlights include pieces by Cy Twombly, Mel Bochner, KAWS, Ed Ruscha, Yoshitomo Nara, and David Hockney, alongside further works by Banksy.

Yoshitomo Nara
Hand Searching, 2017
Estimate: £25,000 - 35,000
Photo © Phillips

David Hockney
4th February 2021, Flowers in a White Vase with Chair, 2021
Estimate: £25,000 - 35,000
Photo © Phillips

Ed Ruscha
History Kids, from Mountain Prints, 2013
Estimate: £25,000 - 35,000
Photo © Phillips

The sale features 19 works by Andy Warhol, including Saint Apollonia. Inspired by a 15th-century painting attributed to Piero della Francesca, Warhol’s depiction retains much of the original’s detail, including the cracked tempera and gold leaf, while transforming the religious icon into a Pop aesthetic exploration of commodification and originality. Part of his broader engagement with Renaissance art in the 1980s, Saint Apollonia aligns with Warhol’s Details of Renaissance Paintings series, where he likened the cultural prominence of classical masterpieces to modern celebrity. Further Warhol highlights include his celebrated depictions of advertisements.

Andy Warhol
Saint Apollonia (F. & S. 330-333), 1984
Estimate: £25,000-35,000
Photo © Phillips

Andy Warhol
Steaks 99¢ (F. & S. IIIA.68), circa 1986
Estimate: £10,000 – 15,000
Photo © Phillips

Andy Warhol
New York Post (Judge Blasts Lynch) (F. & S. IIIA.46), circa 1983
Estimate: £8,000 – 12,000
Photo © Phillips

After debuting works by Marcel Broodthaers from the Herbig Collection in the fall 2024 Modern & Contemporary Art sales, Phillips is pleased to offer further works from this esteemed collection, including Citron - Citroen Réclame pour la Mer du Nord and Les animaux de la ferme (Farm Animals).

Marcel Broodthaers
Citron - Citroen Réclame pour la Mer du Nord 
(Lemon - Citroen Ad for the North Sea) (V. 19), 1984
Estimate: £5,000 – 7,000
Photo © Phillips

Marcel Broodthaers
Les animaux de la ferme (Farm Animals) (V. 22), 1974
Estimate: £4,000 – 6,000
Photo © Phillips

PHILLIPS LONDON
30 Berkeley Square, London W1J 6EX

02/06/24

Phillips' Editions, Photographs & Design Hong Kong Auction - Highlights

Editions, Photographs, and Design Auction  
Phillips Hong Kong  
Auction: 14 June 2024
Exhibition: 5 - 14 June 2024

Keith Haring
Keith Haring
Dog (L. pp. 48-49), 1986-87 
Estimate: HK$500,000 - 700,000/ US$64,100-89,700
Photo courtesy of Phillips

Andy Warhol
Andy Warhol
Shoes (F. & S. II.257), 1980
Estimate: HK$500,000 - 700,000/ US$64,100-89,700
Photo courtesy of Phillips

Damien Hirst
Damien Hirst
The Virtues (H9), 2021 
Estimate: HK$600,000-800,000/ US$76,900-103,000
Photo courtesy of Phillips

Phillips presents a new cross-category auction, Editions, Photographs, and Design, which will take place live in Hong Kong on 14 June. The inaugural sale will feature over 100 lots, ranging from an extensive selection of Editions by sought-after artists alongside emerging names; stand-out works by some of the world’s most celebrated visual artists and photographers, including the Asia auction debut of Steven Klein’s unique Polaroid works; and a diverse array of Design works spanning the 20th and 21st Centuries, including works from notable makers such as Thomas Heatherwick, Sofu Teshigahara, Studio Drift, among others. Ahead of the auction, the sale will be on view at Phillips’ Asia headquarters in Hong Kong’s West Kowloon Cultural District from 5 to14 June.
Nick Wilson, Head of Editions, Photographs and Design, Phillips Asia, said, “Phillips has a strong track record of selling these categories in our global auctions, we are excited to present them together in a dedicated sale, allowing us to not only meet buyer demand for broader collecting opportunities but also to formally offer sales across the full spectrum of Phillips' categories in Asia for the first time. As a good place to start for collecting fine art, Editions (prints and multiples) are typically more affordable than unique paintings and sculpture, but usually require highly complicated techniques with a master printer to create an edition. Photographs is also one of the more accessible types of work to add to an art collection. The most appealing attraction behind photography collecting is that it’s an approachable medium that people can immediately relate to whether it be a landscape, cityscape, portrait,or any other theme they gravitate to. Iconic Photographs and Editions by some of the world’s most sought-after artists continue to increase in popularity around the world. Our Design category has been very well received by collectors in Asia, in which the Design session featured in the 20th Century & Contemporary Art & Design Day Sale in Hong Kong from 2016 to 2022 always achieved a high sell through rate. We are delighted to present such a strong selection of works by a wide range of creators in the inaugural sale this summer and look forward to welcoming everyone through our galleries when the exhibition opens to the public on 5 June.”
HIGHLIGHTS FROM EDITIONS

Leading the Editions section is Keith Haring’s 'Dog' (L. pp. 48-49) from 1986-87, featuring his celebrated barking dog motif which originated in the artist’s New York subway drawings of the early 1980s. Another standout highlight by Pop Art pioneers is Andy Warhol’s iconic Shoes (F. & S. II.257), from 1980 with diamond dust, which epitomizes his fascination with glamour and celebrity. Also on offer is Damien Hirst’s complete set of The Virtues (H9), which is inspired by Bushidō, the Japanese samurai code of ethics.

Yoshitomo Nara
Yoshitomo Nara
Walk On (M. & S. E-2010-012), 2010
Estimate: HK$300,000-500,000/ US$38,500-64,100
Photo courtesy of Phillips

Yayoi Kusama
Yayoi Kusama
Pumpkin (White Y) (K. 150), 1992
Estimate: HK$300,000 - 500,000/ US$38,500-64,100
Photo courtesy of Phillips

Jonas Wood
Jonas Wood
Fish Pot; Matisse Pot 4; and Snoopy Pot, 2019-2020
Estimate: HK$400,000-600,000/ US$51,300-76,900
Photo courtesy of Phillips

Further sale highlights include Yoshitomo Nara’s Walk On (M. & S. E-2010-012), a Ukiyo-e woodcut which depicts Nara’s iconic little girl with almond shaped eyes and a menacing smile set in a hard straight line. Yayoi Kusama’s Pumpkin (White Y) (K. 150) brings together three of Kusama’s most recognisable motifs: a pumpkin, dots, and infinity nets. Additional works on offer include Jonas Wood’s Fish Pot; Matisse Pot 4; and Snoopy Pot. Jonas Wood’s incorporation of ceramic vessels into his body of work stems from his collaborative working relationship with his wife, the ceramic artist Shio Kusaka.

HIGHLIGHTS FROM PHOTOGRAPHS

Phillips is pleased to present ULTIMATE STEVEN KLEIN for the Photographs section. Steven Klein is one of the most innovative and provocative artists in photography and film. A highly sought-after figure, he has landed coveted covers of magazines such as Vogue and W with his riveting body of work being featured globally and has shot high-profile advertising campaigns for the likes of Alexander McQueen, Tom Ford and Dior. This exclusive curation of 18 unique Polaroids from the celebrated photographer’s archive was personally chosen by Steven Klein and marks the first time his works are being offered in Asia. Showcasing Klein’s distinctive approach to photography as a means of storytelling, this exceptional grouping offers a window into the intimate relationship between photographer and subject. Taken between 1999 and 2015, the Polaroids feature striking portraits of icons in fashion, music, and film, including Angelina Jolie, Brad Pitt, Britney Spears, David Bowie, Madonna, Kate Moss, Naomi Campbell and Claudia Schiffer, among others.

Steven Klein
Steven Klein
Kate Moss, New York City, 8 May 2003 
Estimate: HK$50,000-70,000/ US$6,400-9,000
Photo courtesy of Phillips

Steven Klein
Steven Klein 
Justin Bieber, Los Angeles, 4 June 2015 
Estimate: HK$20,000-30,000/ US$2,600-3,800
Photo courtesy of Phillips

Steven Klein
Steven Klein 
Madonna, Los Angeles from Confessions 
on a Dance Floor, 11 August 2005 
Estimate: HK$50,000-70,000/ US$6,400-9,000
Photo courtesy of Phillips

Other notable highlights include Francis Giacobetti’s 1988 Zebra #17, which demonstrates the artist’s unorthodox approach to technique, light and shadow and expresses the full beauty of the human body. Moreover, a print from Tim Parchikov’s Burning News, shows a person clutching a burning newspaper in the snow, which explores how humans react when the flow of information reaches a critical point.

Francis Giacobetti
Francis Giacobetti
Zebra #17, 1988
Estimate: HK$150,000 – 200,000/ US$19,200-25,600
Photo courtesy of Phillips

Tim Parchikov
Tim Parchikov
Burning News, 2011
Estimate: HK$100,000 – 150,000/ US$12,800- 19,200
Photo courtesy of Phillips

HIGHLIGHTS FROM DESIGN 

The Design section will showcase a diverse range of works spanning the 20th and 21st Centuries, led by Sofu Teshigahara’s Six-panel folding screen. With forms and lines inspired by the dynamism of nature, the present work immediately strikes for its calligraphic, gestural and sculptural brushstrokes, reminiscent of traditional Chinese landscape as well as calligraphy. Further highlights include a seating structure made from a single piece of aluminium titled “Extrusion” bench by the multi-award-winning British architect Thomas Heatherwick, who designed Hong Kong’s Pacific Place; Studio Drift’s 'Fragile Future 3.12' explores the unexpected connection between nature and technology, and Alvar Aalto’s Early “Paimio” armchair, model no 41, whose work brought a refreshing breath of humanism to modern design.

Sofu Teshigahara
Sofu Teshigahara
Six-panel folding screen, circa 1970
Estimate: HK$250,000 – 350,000/ US$32,100-44,900
Photo courtesy of Phillips

Thomas Heatherwick
Thomas Heatherwick
‘Extrusion’ bench, 2011
Estimate: HK$250,000 – 350,000/ US$32,100-44,900
Photo courtesy of Phillips

Studio Drift
Studio Drift
'Fragile Future 3.12', 2017
Estimate: HK$150,000 – 250,000/ US$19,200-32,100
Photo courtesy of Phillips

Alvar Aalto
Alvar Aalto
Early ‘Paimio’ armchair, model no 41, circa 1933
Estimate: HK$80,000 – 120,000/ US$10,300-15,400
Photo courtesy of Phillips

PHILLIPS' Editions, Photographs and Design Hong Kong Auction 
Auction: 14 June 2024, 2pm HKT
Public Exhibition: 5 - 14 June, 11am – 7pm HKT
Location: G/F, WKCDA Tower, West Kowloon Cultural District, No. 8 Austin Road West, Kowloon, Hong Kong

PHILLIPS

30/04/24

Andy Warhol & Keith Haring Exhibition @ Museum Brandhorst, Munich - "Andy Warhol & Keith Haring. Party of Life"

Andy Warhol & Keith Haring 
Party of Life
Museum Brandhorst, Munich
28 June 2024 - 26 January 2025

Andy Warhol & Keith Haring. Party of Life
Museum Brandhorst
28 June 2024 - 26 January 2025
Design: Parat.cc

Nan Goldin: Photograph of Keith Haring & Andy Warhol
Nan Goldin 
Keith Haring & Andy Warhol at Palladium, 1985
© Nan Goldin, Courtesy Nan Goldin, New York

Andy Warhol & Keith Haring
Andy Warhol and Keith Haring
, Undated
Polaroid, 10.8 x 8.35 cm
© Collection: Keith Haring Foundation, New York, NY

They were pop stars, social butterflies and (self-)marketing geniuses: Andy Warhol and Keith Haring were not only two of the most famous artists of the second half of the 20th century. They also revolutionized established ideas about art and its distribution. Andy Warhol’s pop paintings and Keith Haring’s dancing figures are part of our collective visual memory and are still omnipresent to this day in the areas of advertising, fashion, music and film. Despite the large age gap and their different styles, the two artists were friends and companions. In New York's art and clubbing scene, they met and influenced each other—and many others besides.

With “Andy Warhol & Keith Haring. Party of Life,” Museum Brandhorst presents the world’s first comprehensive institutional exhibition dedicated to the two artists. The title of the show is borrowed from the motto of Keith Haring’s birthday celebrations: “Party of Life” tells of the cosmos of the 1980s, of MTV, discos, voguing, hip-hop, New Wave and graffiti. Within this context, the exhibition traces the two artists’ friendship. It reveals parallels in their artistic identity, their openness to cooperations and community projects, and their inclusive attitude: Art and its messages should reach as many people as possible.

Keith Haring, Andy Mouse
Keith Haring
Andy Mouse, 1985
Acrylic and oil on canvas, 122,4 x 122,4 cm
Rogath Family Collection, courtesy of Prince & Wooster
© The Keith Haring Foundation

The exhibition shows over 120 works by Andy Warhol and Keith Haring, collaborations between the two as well as works realized together with artists, performers, authors or music and fashion icons of the time. Alongside key works, it focuses on film and photography, archival material as well as posters, records and everyday objects designed by the artists. “Party of Life” will open up new perspectives on both artists at Museum Brandhorst, which houses the largest Andy Warhol collection outside the United States with more than 120 works, as well as a growing body of Keith Haring works.

Curated by Franziska Linhardt in collaboration with Arthur Fink

MUSEUM BRANDHORST
Theresienstrasse 35A, 80333 München

11/11/21

Draw Like a Machine: Pop Art, 1952-1975 @ The Menil Collection, Houston

Draw Like a Machine: Pop Art, 1952-1975
The Menil Collection, Houston 
October 29, 2021 - March 13, 2022

Roy Lichtenstein
Roy Lichtenstein 
Steak, 1963 
Graphite and crayon on paper 
16 1/8 × 24 1/2 in. (40.9 × 62.2 cm).
The Menil Collection, Houston 
Purchased with funds provided by an anonymous donor
© Estate of Roy Lichtenstein. Photo: Paul Hester

The Menil Collection presents Draw Like a Machine: Pop Art, 1952–1975. The exhibition features over thirty drawings that upend the traditionally assumed connection that drawing has to the hand of the artist. Featuring works primarily sourced from the Menil’s permanent collection, along with select loans from local Houston collections, Draw Like a Machine is on view at the Menil Drawing Institute.

The exhibition focuses on drawings made during a time when gestural and expressionistic mark-making was considered increasingly outmoded, and artists were actively experimenting with images and processes borrowed from advertising and mass media. The resulting artworks bridge the seeming contradiction between the manual and the mechanical.

Highlights of the exhibition include Andy Warhol’s series of six drawings of Gene Swenson completed in 1962, the year before Swenson’s iconic ARTnews interview with Warhol, which centered on the broad inquiry, “What is Pop Art?” In response to the question, Andy Warhol declared his intention to “be a machine” and “machine-like” in his art practice, a quote that inspired the current exhibition’s title. Warhol sought to create works that intentionally resembled printed reproductions using a blotted line technique that combined drawing and printmaking strategies. The exhibition also includes a number of Andy Warhol’s drawings from the 1950s, highlighting a range of techniques he employed.

Rebecca Rabinow, director of the Menil Collection, said: “Draw Like a Machine highlights a strength of the museum’s collection, including more than a dozen important drawings originally collected by John and Dominique de Menil. We are grateful to a handful of enthusiastic local collectors who have allowed us to borrow their works to add to this focused presentation.”

Draw Like a Machine spotlights a generation of artists in the United States who bridged fine art and industrial design, including Roy Lichtenstein, James Rosenquist, and Idelle Weber. Certain works in the exhibition foreground the alluring visual advertising strategies developed by leading marketing firms to direct and encourage consumer spending in the postwar era, with strong examples by Tom Wesselmann and Marjorie Strider. In California, artists such as Ed Kienholz blurred the lines of art and commerce even further.

Kelly Montana, Assistant Curator, Menil Drawing Institute, said: “Informed by an era in which art was increasingly integrated into popular culture, artists exploited graphic strategies harnessed by the working creatives of the day such as admen, illustrators, and sign painters to critique and subvert the prestige of drawing.”

Draw Like a Machine: Pop Art, 1952-1975 is curated by Kelly Montana, Assistant Curator, Menil Drawing Institute.

THE MENIL COLLECTION, HOUSTON
Menil Drawing Institute
1533 Sul Ross Street, Houston, Texas 77006

06/11/21

Flowers in Art @ ARKEN Museum of Modern Art, Ishoj

FLOWERS IN ART 
ARKEN Museum of Modern Art, Ishøj
Through 9 January 2022

A major exhibition at ARKEN tells the story of humankind’s fascination with the world of flowers. It examines how flowers in art reflect changing worldviews, outlooks on nature and social conditions – from the sensuous flower paintings of the nineteenth century to the eco-critical currents of contemporary art.

Marc Quinn
Marc Quinn 
Bhasat Wilap at Assi Ghat, 2010 
ARKEN Museum of Modern Art 
Photo: Anders Sune Berg

Andy Warhol
Andy Warhol  
Flowers, 1970 
Louisiana Museum of Modern Art, Humlebæk 
Photo: Poul Buchard / Brøndum & Co.

J.J. Jensen
J.L. Jensen  
Still Life with Flowers in an Antique Vase on a Marble Tabletop, 1834 Thorvaldsens Museum 
Photo: Thorvaldsens Museum

Flowers: we decorate our homes with them, use them as messengers to convey our innermost feelings and find healing in their scents and vitality. Flowers have always fascinated us and found their way into art. The exhibition Flowers in Art at ARKEN examines the many and varied relationships between flower and humankind expressed in art, as represented here by works by fifty-two international and Danish artists.
Says curator Dea Antonsen: ‘Flowers have been a central motif throughout art history, but in these climate-critical times the flower motif takes on new and poignant relevance as we have to rethink our relationship with nature. The exhibition brings together iconic, historical works and cutting-edge contemporary art, prompting new perspectives to emerge on how we humans “consume” flowers, stage ourselves by means of flowers and shape the world through our relationships with flowers’.
Tony Matelli
Tony Matelli
Arrangement, 2013
Courtesy the artist and Andréhn-Schiptjenko, Stockholm, Paris

Petrit Halilaj & Alvaro Urbano
Petrit Halilaj & Alvaro Urbano
7th of April 2020 (Quince), 2020
Courtesy the artists, ChertLüdde, kamel mennour and Travesia Cuatro

Kapwani Kiwanga
Kapwani Kiwanga  
The Marias, 2020 
Courtesy Centre d’art contemporaine d’Ivry – le Crédac, 
the artist and Galerie Tanja Wagner, Berlin. 
Photo: Marc Domage

As a motif in art, the flower has had several heydays. One of these was the nineteenth century’s soulful depictions of the beauty and vitality of flowers, which were part of an overall quest to understand the essence of nature and how the world worked. Flower motifs appear in new ways in art today, a time when scientists issue dire warnings about biodiversity crises and young people take to the streets for the sake of the climate. The romantic notion of unspoiled nature has been lost, and contemporary artists rethink the relationship between flower and humankind in works full of finely attuned sensibilities, humour and critique.


Alhed Larsen
Alhed Larsen
Rhododendron, n.d. 
The Johannes Larsen Museum 
Photo: Jens Frederiksen

Hilma af Klint
Hilma af Klint
On the Viewing of Flowers and Trees, 1922
The Hilma af Klint Foundation
Photo: Moderna Museet, Stockholm, Sweden

Nathalie Djurberg & Hans Berg
Nathalie Djurberg & Hans Berg
The Clearing (Yellow, Purple and Rosehip Flower), 2015 (detail)
Courtesy the artists and Lisson Gallery
Photo: Jack Hems

The exhibition is in itself a diverse bouquet of sensory experiences, presenting many and varied works that depict flowers in such diverse media as painting, sculpture, photography, film and installation art. Bringing together illustrious artists of the past such as Odilon Redon, Claude Monet, J.L. Jensen and Hilma af Klint with modern and contemporary artists that include Marc Quinn, Andy Warhol, Melanie Bonajo, Tony Matelli and Petrit Halilaj & Alvaro Urbano, Kapwani Kiwanga, Nathalie Djurberg & Hans Berg, the exhibition forges new connections between the historical roots of the flower motif and the critical agendas of contemporary art.

The exhibition is accompanied by a lavishly illustrated catalogue in Danish and English with contributions from, among others, Danish curator Dea Antonsen, American historian of science Lorraine Daston, Polish philosopher Monika Bakke, Danish art historian Rasmus Kjærboe and Austrian literary scholar Isabel Kranz.

ARKEN MUSEUM OF MODERN ART
Skovvej 100, 2635 Ishøj

09/12/20

Andy Warhol Now @ Museum Ludwig, Cologne

Andy Warhol Now
Museum Ludwig, Cologne
12 December 2020 - 18 April 2021

Andy Warhol is indisputably the best-known representative of Pop Art. His iconic subjects such as Marilyn, the Campell’s soup can, and Coca-Cola bottles are part of the collective memory. Thirty years after his last retrospective in Cologne, Andy Warhol Now presents Andy Warhol as an artist whose innovative work can be rediscovered, especially for a young generation in the age of migration and social diversity.

Andy Warhol (*1928 in Pittsburgh – †1987 in New York) captivated and polarized people with his personality, and his art shaped an entire era. His multifaceted work redefined the boundaries of painting, sculpture, film, and music. Even more than his deliberate flirtations with the world of commerce and celebrities, from today’s perspective his advocacy of alternative ways of life makes him an exceptional artist who can still reveal new interpretations and insights.

As a young man from a religious, working-class milieu, Andy Warhol carved his own path into the artworld, which was still dominated by Abstract Expressionism. In his early work, personal, often homoerotic drawings stood alongside commissions as a successful advertising illustrator, while his unmistakable screen prints made him the epitome of the new Pop Art movement. His explorations of advertising, fashion, music, film, and television attest to Warhol’s lifelong fascination with pop culture. But just as his celebrity portraits and Coca-Cola bottles held a mirror up to American society, Andy Warhol stands for a diverse, queer counterculture that found its expression not least in his New York studio, the Factory.

This major exhibition follows this path with over 100 artworks in a variety of media and illuminates Andy Warhol’s expanded artistic practice against the backdrop of pressing social issues. Famous key works such as the Elvis Presley series and colorful variations of an electric chair are represented as well as less well-known aspects, which allow for a current view of this artist of the century in a time of political and cultural upheavals. For instance, it illuminates the influence of Andy Warhol’s immigrant background as the son of Rusyn immigrants in Pittsburgh, which is reflected in a complex processing of religious themes and subjects, among other things. Many works, such as the magnificent series Ladies and Gentlemen, show Andy Warhol as a queer artist who postulated openness and diversity as fundamental and vital factors of a diverse society. In this way, in his work Andy Warhol continually and expertly negotiates topics that remain highly relevant today.

The exhibition is organised by Museum Ludwig and Tate Modern, London in collaboration with the Art Gallery of Ontario, Toronto and Aspen Art Museum, Colorado.

Curated by Yilmaz Dziewior, Director, Stephan Diederich, Curator, Collection of Twentieth-Century Art, Museum Ludwig, Gregor Muir, Director of Collection, International Art and Fiontán Moran, Assistant Curator, Tate Modern.

Andy Warhol Now
ANDY WARHOL NOW
Verlag der Buchhandlung Walther König
Museum Ludwig, Cologne

A catalogue has been published in German and English, edited by Gregor Muir and Yilmaz Dziewior, with texts by Kenneth Brummel, Diedrich Diederichsen, Stephan Diederich, Yilmaz Dziewior, Olivia Laing, Fiontán Moran, Gregoir Muir, Charlie Porter, and Martine Syms. London/Cologne 2020/2021, 224 pages. 200 color illustrations, 21,9 x 28,9 cm, Verlag der Buchhandlung Walther König. 

MUSEUM LUDWIG
Heinrich-Böll-Platz, 50667 Köln