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Auktionsarchiv: Los-Nr. 15

Nate Lowman

Schätzpreis
400.000 £ - 600.000 £
ca. 613.114 $ - 919.671 $
Zuschlagspreis:
422.500 £
ca. 647.602 $
Auktionsarchiv: Los-Nr. 15

Nate Lowman

Schätzpreis
400.000 £ - 600.000 £
ca. 613.114 $ - 919.671 $
Zuschlagspreis:
422.500 £
ca. 647.602 $
Beschreibung:

Nate Lowman Trash Landing Marilyn #12 2011 oil, alkyd on linen 167 x 118.7 cm (65 3/4 x 46 3/4 in.) Signed and dated 'Nate Lowman 2011' on the overlap.
Provenance Maccarone Gallery, New York Private Collection Phillips, New York, Contemporary Art Evening Sale, 11 November 2013, Lot 2 Acquired from the above sale by the present owner Exhibited New York, Maccarone Gallery and Gavin Brown's enterprise, Trash Landing, 7 May – 18 June 2011 Catalogue Essay ‘It’s the most fun thing you could ever do – you get into the rhythm – and I set out to make three, and I figured if one of them was awesome, then I’d destroy the other two, but I really loved all of them, and they’re so fun to make, so I started making them over and over.’ - NATE LOWMAN, 2012 Nate Lowman emerged alongside Dan Colen, Dash Snow and Ryan McGinley as part of a contingent of brash young New York artists who burst onto the scene in the early 2000s. Famed for his iconic bullet holes, Lowman creates abrasive, often nihilistic works in the appropriative vein of Richard Prince inheriting from graffiti, skateboarding and DIY punk aesthetics. ‘A lot of the images I use are already out there in the public or in the news. I just steal them or photograph them or repaint them, so they've already been talked about, already been consumed. I'm just reopening them to get at their second, third, or fourth meanings. It really comes down to language. I feel like the biggest failure of humans is miscommunication. We can't communicate with each other – we can fight, we can kill, we can do those things well. Language is the most beautiful and destructive thing because it allows you to express yourself, but it totally confuses everything.’ (Nate Lowman in conversation with Leo Fitzpatrick, Interview Magazine, 20/01/2009). The present lot, one of an extensive series of Marilyns, is emblematic of the semiotic confusion and disjunction that Lowman explores. Initially it appears to be a silkscreen, with the attendant smudges and imperfections of printed ink: however, on closer inspection this effect reveals itself as trompe l’oeil, in fact painted by hand from an image projected onto the linen. The image depicted is based on the Abstract Expressionist Willem de Kooning’s 1954 painting Marilyn Monroe Lowman reinterprets de Kooning’s distinctively bellicose painterly style as part of an investigation into the violence of Pop culture: the Marilyns first appeared as part of his show Trash Landing, which also included pieces from his infamous Bullet Hole series. For Lowman, violence and celebrity became inseparable after the O. J. Simpson trial, which obsessed him as a youth. He explains his choice of image: ‘de Kooning … painted her so violently. It’s one of the only de Koonings I can think of that’s not “woman with a number.” It’s a person, so it has this extra weirdness to it. So, I thought about this violence towards blond women, and weird anger management, and what if de Kooning and O.J. were the same person.’ (Nate Lowman in Maxwell Williams, ‘Nothing is Finished,’ Flaunt Magazine Issue 119, Spring 2012). Repeated and attenuated, abstracted from an already abstracted form, Lowman’s treatment of this image echoes the uneasy marriage of the glamorous and the macabre that Andy Warhol made in his own Marilyn series, reminding us of her tragic and untimely death in 1962. Societal adoration of the female icon is exposed as reductive and problematic, uneasy washes of pastel colour seeming to enact hesitancy at the emergent Marilyn’s reification: she remains on the verge of full apprehension, barely held together in a fragile collection of sketchy visual signifiers. Long having lost any real connection to her biographical story, in collective memory Monroe has become a transcendent cultural symbol of female sexuality; Lowman’s postmodern detachment from his subject (and his subject’s subject) allows him to critique this mode of presentation. This is by no means a work made in reverence to de Kooning or Warhol, but rather a hyperbolic, serialised deconstruction of the attitudes that their approaches embody. Lowman elaborated this conceptual caricat

Auktionsarchiv: Los-Nr. 15
Auktion:
Datum:
12.02.2015
Auktionshaus:
Phillips
London
Beschreibung:

Nate Lowman Trash Landing Marilyn #12 2011 oil, alkyd on linen 167 x 118.7 cm (65 3/4 x 46 3/4 in.) Signed and dated 'Nate Lowman 2011' on the overlap.
Provenance Maccarone Gallery, New York Private Collection Phillips, New York, Contemporary Art Evening Sale, 11 November 2013, Lot 2 Acquired from the above sale by the present owner Exhibited New York, Maccarone Gallery and Gavin Brown's enterprise, Trash Landing, 7 May – 18 June 2011 Catalogue Essay ‘It’s the most fun thing you could ever do – you get into the rhythm – and I set out to make three, and I figured if one of them was awesome, then I’d destroy the other two, but I really loved all of them, and they’re so fun to make, so I started making them over and over.’ - NATE LOWMAN, 2012 Nate Lowman emerged alongside Dan Colen, Dash Snow and Ryan McGinley as part of a contingent of brash young New York artists who burst onto the scene in the early 2000s. Famed for his iconic bullet holes, Lowman creates abrasive, often nihilistic works in the appropriative vein of Richard Prince inheriting from graffiti, skateboarding and DIY punk aesthetics. ‘A lot of the images I use are already out there in the public or in the news. I just steal them or photograph them or repaint them, so they've already been talked about, already been consumed. I'm just reopening them to get at their second, third, or fourth meanings. It really comes down to language. I feel like the biggest failure of humans is miscommunication. We can't communicate with each other – we can fight, we can kill, we can do those things well. Language is the most beautiful and destructive thing because it allows you to express yourself, but it totally confuses everything.’ (Nate Lowman in conversation with Leo Fitzpatrick, Interview Magazine, 20/01/2009). The present lot, one of an extensive series of Marilyns, is emblematic of the semiotic confusion and disjunction that Lowman explores. Initially it appears to be a silkscreen, with the attendant smudges and imperfections of printed ink: however, on closer inspection this effect reveals itself as trompe l’oeil, in fact painted by hand from an image projected onto the linen. The image depicted is based on the Abstract Expressionist Willem de Kooning’s 1954 painting Marilyn Monroe Lowman reinterprets de Kooning’s distinctively bellicose painterly style as part of an investigation into the violence of Pop culture: the Marilyns first appeared as part of his show Trash Landing, which also included pieces from his infamous Bullet Hole series. For Lowman, violence and celebrity became inseparable after the O. J. Simpson trial, which obsessed him as a youth. He explains his choice of image: ‘de Kooning … painted her so violently. It’s one of the only de Koonings I can think of that’s not “woman with a number.” It’s a person, so it has this extra weirdness to it. So, I thought about this violence towards blond women, and weird anger management, and what if de Kooning and O.J. were the same person.’ (Nate Lowman in Maxwell Williams, ‘Nothing is Finished,’ Flaunt Magazine Issue 119, Spring 2012). Repeated and attenuated, abstracted from an already abstracted form, Lowman’s treatment of this image echoes the uneasy marriage of the glamorous and the macabre that Andy Warhol made in his own Marilyn series, reminding us of her tragic and untimely death in 1962. Societal adoration of the female icon is exposed as reductive and problematic, uneasy washes of pastel colour seeming to enact hesitancy at the emergent Marilyn’s reification: she remains on the verge of full apprehension, barely held together in a fragile collection of sketchy visual signifiers. Long having lost any real connection to her biographical story, in collective memory Monroe has become a transcendent cultural symbol of female sexuality; Lowman’s postmodern detachment from his subject (and his subject’s subject) allows him to critique this mode of presentation. This is by no means a work made in reverence to de Kooning or Warhol, but rather a hyperbolic, serialised deconstruction of the attitudes that their approaches embody. Lowman elaborated this conceptual caricat

Auktionsarchiv: Los-Nr. 15
Auktion:
Datum:
12.02.2015
Auktionshaus:
Phillips
London
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