PHILLIPS ANNOUNCES HIGHLIGHTS FROM ITS NEW YORK CONTEMPORARY ART DAY SALE

FEATURING WORKS BY DOUG AITKEN, BANKSY, MICHAËL BORREMANS, GEORGE CONDO, WILLEM de KOONING, MARK GROTJAHN, ROBERT INDIANA, TAKASHI MURAKAMI, , RICHARD PETTIBONE, MICHELANGELO PISTOLETTO, JULIAN SCHNABEL AND ELAINE STURTEVANT

GEORGE CONDO AUCTION: 12 November 2013, 11AM Last Days of Enron, 2004 Estimate $350,000- VIEWING: 2-11 November 2013 450,000 Monday – Saturday 10AM-6PM, Sunday 12PM-6PM LOCATION: 450 Park Avenue, New York, NY 10022

FOR IMMEDIATE RELEASE

NEW YORK – 25 OCTOBER 2013 – Phillips is pleased to announce highlights from its New York

Contemporary Art Day Sale, featuring 205 lots with a pre-sale low estimate of $10.5m / €7.6/ £6.5m BANKSY and a pre-sale high estimate of $14.9m / €10.8m/ £9.2m. Laugh Now, 2002 Estimate $300,000- “We look forward to offering a strong selection of the season’s most important established and 400,000 emerging contemporary artists. This sale continues our tradition of presenting the best works by artists whose markets are active and full of potential.” Amanda Stoffel, Head of Contemporary Art Day Sale, New York.

Highlights from the Day Sale include:

GEORGE CONDO Last Days of Enron, 2004 Estimate $350,000-450,000 Occupying the position of preeminent painter and provocateur, George Condo has upheld the torch of American figure for nearly three decades. With influences ranging from masters of the renaissance period to Picasso and Willem de Kooning, Condo’s practice has long emphasized the greater tradition of portraiture as much it presents us with the opportunity to glimpse psychological fragmentation. The present lot, The Last Days of Enron, 2004, depicts the fall of a business empire, the ROBERT INDIANA sudden collapse of a façade that has since become an example of greed and corruption—an era of Five from the series excess. Never before has Condo’s use of the grotesque seemed as appropriate as in the present Numbers One through context. Drawing from the sixteenth and seventeenth century, Condo samples from Titian and Zero, 1980-2001 Sebastiano Ricci’s Bacchanal by taking on a similar composition and loading the scene with Estimate $200,000 - 300,000 psychotic absurdity. Condo’s figures bask in their own self-indulgence, suggesting the timelessness of Bacchanal paintings and the timeliness of Condo’s approach.

BANKSY Laugh Now, 2002 Estimate $300,000-400,000 For the past two decades Banksy’s work has drawn a litany of both praise and controversy, and nowhere is his simultaneous appeal and notoriety more present than in Laugh Now, 2002. Comprised of his signature means of urban expression—namely board spray-painted with his own stencil designs—the present lot perfectly encapsulates Banksy’s modus operandi while conjuring the dark thematic elements that underlie such a comic piece. Ten monkeys stand side-by-side, full frontal and unashamed to display their sandwich-board messages. Though four figures bear no words at all, six communicate a very specific memo: “Laugh now, but one day we’ll be in charge.” The spare black spray paint upon the bleached white board lends the normally mischievous primates a sinister air, their MICHELANGELO expressions eliminated in a hyper-saturation of darkness. Even as Banksy’s exhibition spaces shift PISTOLETTO from urban alleyways to galleries he continues to paint fascinating commentary on the current state of Gambe - Uomo e Donna contemporary art. 2007 Estimate $250,000- 350,000 PHILLIPS 450 PARK AVENUE, NEW YORK, NY 10022

MICHELANGELO PISTOLETTO Gambe - Uomo e Donna, 2007 Estimate $250,000-350,000 Michelangelo Pistoletto is one of the most important and innovative artists to have emerged out of post- war . He acquired international recognition in the 1960s as one of the leading figures of , an Italian movement whose process-oriented works incorporate everyday, earthy materials. Since then, the artist has participated in twelve Venice Biennales (receiving the Biennale’s lifetime achievement award in 2003), four Documentas in Kassel, and numerous exhibitions at major museums all over the world. Gambe - Uomo e Donna, 2007, is a clear continuation of the iconic Mirror Paintings series in which Pistoletto places a nearly photographic, life-sized painted image over a reflective steel plate. As a result, the viewer is reflected by the work or, rather, incorporated into the work’s imaginary world. Gambe - Uomo e Donna, 2007, points to both the past and the future of art, while incorporating the present through its play with its immediate surroundings. JULIAN SCHNABEL Sharon Stone, 2000 ROBERT INDIANA Estimate $200,000- Five from the series Numbers One through Zero, 1980-2001 300,000 Estimate $200,000 - 300,000 FIVE, from the series NUMBERS, unites form and content in an alluring and accessible style that epitomizes the work of Robert Indiana. The monumental scale, simple typographic form, and allegorical color palette along with the personal and collective history of the number itself contribute to an immediately recognizable . The symbolic, formal, and allegorical aspect of the numbers elevates Five from a simple numeral to a captivating and powerful work, indicative of transition and new beginnings. Indiana’s massive have become, and will forever remain an indelible component of American post-war aesthetics. MICHAËL BORREMANS Torso, 2009 JULIAN SCHNABEL Sharon Stone, 2000 Estimate $200,000- Estimate $200,000-300,000 300,000 Julian Schnabel debuted his broken-plate paintings at Mary Boone Gallery in 1979 after spending time in Barcelona, experiencing the rich surrealist architecture of Antonio Gaudí. The Neo-Expressionist chaotic works from this series are comprised of Bondo, an adhesive putty, and heavy rough porcelain shards that generate a very rugged textured canvas. Schnabel pushed the boundaries of painting by utilizing very unsympathetic materials – tile and crockery - more normally associated with sculpture and craft. The sitter, actress Sharon Stone, is surrounded by a kaleidoscope of lush reds and dangerously rough edges rendering a physical manifestation of her ferocious character.

MICHAËL BORREMANS Torso, 2009 BRUCE NAUMAN The Negative Shape of Estimate $200,000-300,000 the Right Half of my Body Belgian painter Michaël Borremans’s rise to prominence has come as a result of excellent painterly Carved into a Living execution. In keeping with a long tradition of northern European realists, the present lot, Torso, 2009, is Tree, 1966-67 composed of a singularly styled brushstroke that results in a mesmerizing effect when viewed at a Estimate $100,000 - distance. Borremans’ choice of subject matter, death, falls in line with several European masters. 150,000 Death, as a theme, frequently arises in his work and conjures up Velázquez, Jacques-Louis David, and even Édouard Manet. Like Manet, Borremans hovers above his fallen figure, hiding the anguish of the deceased, and leaving the observer with a stinging sense of accountability.

BRUCE NAUMAN The Negative Shape of the Right Half of my Body Carved into a Living Tree, 1966-67 Estimate $100,000 - 150,000 Few contemporary artists have made such a diverse mark upon the art world as Bruce Nauman. The present lot, The Negative Shape of the Right Half of my Body Carved into a Living Tree, 1966-67, highlight many of Nauman’s personal fascinations, which are as extensive as they are dissonant. Originally a mathematician, a sense of Nauman’s perfectionism is present in his superb draftsmanship of The Negative Shape. Almost resembling a schematic for its real-world execution, the painting is at once unrelentingly charming and comically curious. MARK GROTJAHN Untitled (2 Wings), 2004 MARK GROTJAHN Untitled (2 Wings), 2004 Estimate $200,000- Estimate $200,000-300,000 300,000

This drawing, a delicate balance of lines and colors, is a breathtaking example of Mark Grotjahn’s most challenging experiments with geometric abstraction. By using his signature butterfly motif and playing with eye-catching contrasts of vibrant hues, Grotjahn updates the Renaissance inventions of one point and two-point perspective. Two wing-like planes of color expand from the central axis of the work out towards the edges of the piece, thus creating a visual dynamism reminiscent of Op Art and of Russian Suprematism. The beauty of this drawing lies in the transparency and logic of its forms. Grotjahn’s openness to chance and overall handmade aesthetic subverts the hard-edge precision usually associated with high modernism’s abstract forms. ELAINE STURTEVANT Study for Stella Getty ELAINE STURTEVANT Tomb (2nd Version), 1989 Study for Stella Getty Tomb (2nd Version), 1989 Estimate $80,000 - Estimate $80,000 - 120,000 120,000 Since the 1960s, American artist Elaine Sturtevant has repeatedly appropriated the iconic works of other celebrated artists, infiltrating and pillaging their oeuvres for her own purposes. In this piece, Sturtevant replicates one of Frank Stella’s most famous black paintings, thus revealing to what extent Stella’s own aesthetic was based on repetition. Sturtevant’s meticulously reproduced artworks should not be read as forgeries, homages, or parodies. Instead, her art is a thorough investigation into a society permeated by simulacra. Sturtevant seeks to highlight the futility of genuine and original DOUG AITKEN expression in a global culture that thrives on recycling old ideas and styles. 1968 (black), 2011 Estimate $180,000- DOUG AITKEN 1968 (black), 2011 250,000

Estimate $180,000-250,000 Coined “The Year that Shaped a Generation” by Time magazine, 1968 was a year of profound political, social, and economic transformation – one that signified a loss of innocence from the collective consciousness of a nation, and the world. Both political commentary and personal souvenir, Doug Aitken’s 1968 serves as a memorial and admonition of the cultural turmoil witnessed in the year of his birth and symbolizes the formative nature of this revolutionary year in the creation of contemporary America.

TAKASHI MURAKAMI Mushroom Dob (I-Dob), 1999 Estimate $150,000-200,000 Takashi Murakami, a giant of Contemporary Art, has been featured in some of the world’s most TAKASHI MURAKAMI Mushroom Dob (I-Dob) important museums (the Museum of Modern Art, New York, the Brooklyn Museum of Art, the 1999 Guggenheim, Bilbao, etc.). He has also successfully infiltrated the spheres of popular culture and high Estimate $150,000- fashion in a bold and unstinting way that outdoes even Andy Warhol’s most intrepid forays into mass 200,000 consumerism. Murakami’s Superflat aesthetic and mantra, a style that combines the flatness of traditional Japanese painting’s picture plane with the two dimensionality of American , has paved the way to this notoriety. The bright psychedelic colors, crisp lines, cutesy characters, and uninterrupted flatness of Mushroom Dob (I-Dob), 1999, make this work a stellar example of all that best characterizes Murakami’s Superflat style.

DOUG AITKEN Rise, 1998-2001 DOUG AITKEN Estimate $120,000-180,000 Rise, 1998-2001 Aitken explores the convergence of installation and photography in Rise, 1998-2001. Aitken’s Estimate $120,000- fabricated scenery has a cinematic quality, appearing almost other-worldly in its juxtaposition of the 180,000 glowing night sky and darkness. Aitken situates the current lot within its urban context through placing an emphasis on the mechanical. He evokes the mood of the city by assimilating his photography into urban vernacular using the lightbox to represent glowing signage, bright city lights, and advertising. Through this interplay of form and function, the city is literally and metaphorically illuminated.

RICHARD PETTIBONE Andy Warhol, ‘Lavender Disaster’, 1963, 1996 Estimate $80,000-120,000 Richard Pettibone found his calling in “conceptual pop” or the appropriation of iconic Pop Art. In keeping with his fascinating appropriation techniques, the present lot blurs the line between artistic representation and artistic appropriation. ‘Lavender Disaster’, 1963, is a representation of Warhol’s masterpiece, yet, conceptually, it is his own work—a study in artistic appropriation. By putting parentheses around Warhol’s work, Pettibone reigns in the unbridled dominance of Warhol’s renown, while simultaneously rendering Warhol’s appropriation of Pop Culture imagery a form of the past. In RICHARD PETTIBONE addition, Pettibone pays tribute to the iconicity of Warhol’s work’s by declaring it a popular image. Andy Warhol, ‘Lavender Disaster’, 1963, 1996 Estimate $80,000-120,000 TRACEY EMIN Loving, 2013 Estimate $20,000-30,000 Tracey Emin’s sumptuous handwriting neon in coral pink will be offered in the sale to benefit The Museum of Contemporary Art North Miami. The artist donated work which is one of five neons that Emin has donated to benefit the museum, highlights the longstanding relationship between the artist and MOCA. During Art Basel Miami Beach in December the museum will open Tracey Emin: Angel Without You, the first American museum exhibition dedicated to the artist and the first-ever exhibition to focus predominantly on Emin’s use of neon, an important material in the Emin. Phillips is a partner in the sale of the five neon works and a proud sponsor of the exhibition.

PHILLIPS: As the only international auction house to concentrate exclusively on contemporary culture, Phillips has established a commanding position in the sale of Contemporary Art, Design, Photographs, Editions and TRACEY EMIN Jewelry. Through the passionate dedication of its team of global specialists, the company has garnered Loving, 2013 Estimate $20,000 - 30,000 an unparalleled wealth of knowledge of emerging market trends. Phillips conducts auctions in New York and London and has representative offices throughout Europe and in the United States. For more information, please visit: phillips.com.

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