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Auktionsarchiv: Los-Nr. Ο ◆12

Keith Haring

Schätzpreis
1.500.000 £ - 2.000.000 £
ca. 1.944.529 $ - 2.592.705 $
Zuschlagspreis:
1.716.500 £
ca. 2.225.189 $
Auktionsarchiv: Los-Nr. Ο ◆12

Keith Haring

Schätzpreis
1.500.000 £ - 2.000.000 £
ca. 1.944.529 $ - 2.592.705 $
Zuschlagspreis:
1.716.500 £
ca. 2.225.189 $
Beschreibung:

Sold to Benefit The Bedari FoundationΟ ◆12Keith HaringUntitled (Grace Jones Mask)signed and dated '© K. Haring 1987 ⨁' on the reverse enamel on aluminium 113 x 110.5 x 31.8 cm (44 1/2 x 43 1/2 x 12 1/2 in.) Executed in 1987. Full CataloguingEstimate £1,500,000 - 2,000,000 ‡ Place Advance BidContact Specialist Kate Bryan Specialist, Head of Evening Sale +44 20 7318 4026 kbryan@phillips.com
OverviewForming part of a series of rare, larger-than-life masks that Keith Haring executed in 1987, Untitled (Grace Jones Mask) rises over a metre in height, and evinces a vibrant mint green interspersed with looping lines of silver. At the tip of the mask’s triangular composition, a small round red excrescence protrudes into the viewer’s space, delineating the anthropomorphic figure’s discreet mouth. Despite deriving from a body of work that stands out from the rest of Haring’s creative output, the artist’s masks – of which only eight have been created, all in 1987 – display a visual blend of chromatic dynamism and formal whimsicality that is distinctly recognisable as his own. Notably, Untitled (Grace Jones Mask) features the artist’s idiosyncratic graffiti lines in enamel paint, as well as cartoonish strokes surrounding the mask’s eyes, mouth and forehead. In its quasi-tribal rendering, Untitled (Grace Jones Mask) attests to Haring’s ethnographic investigations into folk art and various cultural expressions, following from a tradition of modern masters – Pablo Picasso Georges Braque and Constantin Brancusi among others – who similarly studied traditional masks and totems in their sculptural and painterly practices. Signifying the masks’ importance and singularity within Haring’s oeuvre, Large Goon Mask, 1987 – another example from the artist’s sequence of eight thematic sculptures – currently resides in the collection of the Museum für Gegenwart, Berlin, as part of a permanent loan from the Marx Collection. Keith Haring’s 8 Masks from 1987 Keith Haring Untitled (Mask with Six Eyes), 1987. As suggested in the work’s title, Untitled (Grace Jones Mask) specifically references the iconic Jamaican model, actress and singer Grace Jones, whom Haring shared a friendship with since their first artistic encounter in 1984 – orchestrated by Andy Warhol and immortalised by Robert Mapplethorpe Having collaborated with Jones on another project shortly prior the execution of the present work, Haring envisioned the model as the quintessential embodiment of postmodern New York – what the writer Alison Pearlman defined as a ‘futuristic-primitivist style’.i Continually inspired by her brash presence and her ability to immerse herself within diverse cultural realms, Haring mingled with Jones in both artistic and social capacities, most frequently locating their joint creative enterprises at the Paradise Garage – New York’s most vibrant discotheque and festive LGBTQ centre. Untitled (Grace Jones Mask), recycling imagery that Haring had used in body-painting sessions with Jones since 1984, and marking a specific nod to the headdress he created for her during their first communal venture, is a rare perennial artefact cementing the two creatives’ visionary friendship. Possibly serving as further inspiration for the present work, Haring recounted a thematically related encounter which coincided with the period during which Untitled (Grace Jones Mask) and its sister works were produced. In March 1987, on a trip to Munich to visit Niki de Saint Phalle’s show, Haring had attended a lunch at which his friend Jean Tinguely ‘fun as usual!’, had ‘brought masks [...] and turned the atmosphere around immediately!’.ii With Haring’s art frequently being informed by his life (and vice versa), it appears possible that the artist’s unique venture into mask-making – constricted to the year of 1987 – was influenced by this specific event. The Influence of Grace Jones Recording Haring’s friendship and artistic partnership with Grace Jones, Untitled (Grace Jones Mask) was created on the heels of the actress’s important cinematic venture a year prior – the feature film Vamp, in which she played the Queen of Vampires, Katrina. In this film, Jones’s body and face were painted by Haring in eccentric, primary colours – in fine amounting to an appearance that eluded her likeness entirely. In the present work, the sculptural form’s anthropomorphic silhouette, along wi

Auktionsarchiv: Los-Nr. Ο ◆12
Auktion:
Datum:
20.10.2020
Auktionshaus:
Phillips
null
Beschreibung:

Sold to Benefit The Bedari FoundationΟ ◆12Keith HaringUntitled (Grace Jones Mask)signed and dated '© K. Haring 1987 ⨁' on the reverse enamel on aluminium 113 x 110.5 x 31.8 cm (44 1/2 x 43 1/2 x 12 1/2 in.) Executed in 1987. Full CataloguingEstimate £1,500,000 - 2,000,000 ‡ Place Advance BidContact Specialist Kate Bryan Specialist, Head of Evening Sale +44 20 7318 4026 kbryan@phillips.com
OverviewForming part of a series of rare, larger-than-life masks that Keith Haring executed in 1987, Untitled (Grace Jones Mask) rises over a metre in height, and evinces a vibrant mint green interspersed with looping lines of silver. At the tip of the mask’s triangular composition, a small round red excrescence protrudes into the viewer’s space, delineating the anthropomorphic figure’s discreet mouth. Despite deriving from a body of work that stands out from the rest of Haring’s creative output, the artist’s masks – of which only eight have been created, all in 1987 – display a visual blend of chromatic dynamism and formal whimsicality that is distinctly recognisable as his own. Notably, Untitled (Grace Jones Mask) features the artist’s idiosyncratic graffiti lines in enamel paint, as well as cartoonish strokes surrounding the mask’s eyes, mouth and forehead. In its quasi-tribal rendering, Untitled (Grace Jones Mask) attests to Haring’s ethnographic investigations into folk art and various cultural expressions, following from a tradition of modern masters – Pablo Picasso Georges Braque and Constantin Brancusi among others – who similarly studied traditional masks and totems in their sculptural and painterly practices. Signifying the masks’ importance and singularity within Haring’s oeuvre, Large Goon Mask, 1987 – another example from the artist’s sequence of eight thematic sculptures – currently resides in the collection of the Museum für Gegenwart, Berlin, as part of a permanent loan from the Marx Collection. Keith Haring’s 8 Masks from 1987 Keith Haring Untitled (Mask with Six Eyes), 1987. As suggested in the work’s title, Untitled (Grace Jones Mask) specifically references the iconic Jamaican model, actress and singer Grace Jones, whom Haring shared a friendship with since their first artistic encounter in 1984 – orchestrated by Andy Warhol and immortalised by Robert Mapplethorpe Having collaborated with Jones on another project shortly prior the execution of the present work, Haring envisioned the model as the quintessential embodiment of postmodern New York – what the writer Alison Pearlman defined as a ‘futuristic-primitivist style’.i Continually inspired by her brash presence and her ability to immerse herself within diverse cultural realms, Haring mingled with Jones in both artistic and social capacities, most frequently locating their joint creative enterprises at the Paradise Garage – New York’s most vibrant discotheque and festive LGBTQ centre. Untitled (Grace Jones Mask), recycling imagery that Haring had used in body-painting sessions with Jones since 1984, and marking a specific nod to the headdress he created for her during their first communal venture, is a rare perennial artefact cementing the two creatives’ visionary friendship. Possibly serving as further inspiration for the present work, Haring recounted a thematically related encounter which coincided with the period during which Untitled (Grace Jones Mask) and its sister works were produced. In March 1987, on a trip to Munich to visit Niki de Saint Phalle’s show, Haring had attended a lunch at which his friend Jean Tinguely ‘fun as usual!’, had ‘brought masks [...] and turned the atmosphere around immediately!’.ii With Haring’s art frequently being informed by his life (and vice versa), it appears possible that the artist’s unique venture into mask-making – constricted to the year of 1987 – was influenced by this specific event. The Influence of Grace Jones Recording Haring’s friendship and artistic partnership with Grace Jones, Untitled (Grace Jones Mask) was created on the heels of the actress’s important cinematic venture a year prior – the feature film Vamp, in which she played the Queen of Vampires, Katrina. In this film, Jones’s body and face were painted by Haring in eccentric, primary colours – in fine amounting to an appearance that eluded her likeness entirely. In the present work, the sculptural form’s anthropomorphic silhouette, along wi

Auktionsarchiv: Los-Nr. Ο ◆12
Auktion:
Datum:
20.10.2020
Auktionshaus:
Phillips
null
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