Peter’s Auction Pick of the Day: Contemporary Art

October 8, 2014

Los Angeles Modern Auctions is pleased to present a selection of contemporary artworks ranging from the early 60s to the late 90s, both local and national, and from established and emerging artists in its October 12, 2014 Modern Art & Design Auction. In October 2011, The New York Times ran the eye-catching headline, “Los Angeles Stakes Its Claim as a World Art Center,” and announced the emergence of the Los Angeles art scene from the shadows of New York and other European city centers. LAMA’s constantly impressive inventory of modern and contemporary works continually bolsters the city’s place as an important art hub. Peter’s Picks for today include a strong roster of Los Angeles artists, including Joe Goode, Mike Kelley, Paul McCarthy, and Chris Burden. Also on offer is an intriguing photograph from New York appropriationist Sherrie Levine, as well as appropriation works by Richard Pettibone and Andy Warhol.

Los Angeles Modern Auctions (LAMA)

Nazi War Cave #1 (1985), Mike Kelley, Modern Art & Design Auction, October 12, 2014

From Peter Loughrey, Director of Modern Design & Fine Art:

“Where does an artist find inspiration?  What is the rationale for subject matter? How does a work of art become an icon?  Each of these questions can be traced back to the idea of Concept. Concept has always been in the artist’s imagination from cave paintings to Caravaggio; however,  in the recent past, concept has become more vital to the artist than execution or technique or medium.  In fact, like Warhol or Rembrandt before him, the artist’s hand has become increasingly subordinate to the idea of concept.

In the upcoming October 12, 2014 auction a few of my favorite conceptual works are Mike Kelley’s Nazi War Cave #1, Paul McCarthy’s Untitled (Tokyo Santa), and Sherrie Levine’s Untitled (After Edward Weston). Kelley’s work is a masterpiece of hidden meanings and deeply personal visions, challenging the viewer to question their preconception of an icon as repulsive as a swastika. McCarthy takes a cherished and sacred icon such as Santa Claus and asks the viewer to accept his defiled version as art. Levine continues the appropriation gambit, first popularized by Warhol, and posits the idea — if popular culture can be appropriated as fine art, then fine art itself can also be appropriated.

Los Angeles Modern Auctions (LAMA)

After Edward Weston (c. 1990), Sherrie Levine, Modern Art & Design Auction, October 12, 2014

In addition to these artists, we are also offering contemporary works by Chris Burden, Richard Pettibone, Joe Goode, and others who have each in their way moved the needle of how we perceive a work of art.”

 Los Angeles Modern Auctions (LAMA)

Untitled (Tokyo Santa #2) (1999), Paul McCarthy, Modern Art & Design Auction, October 12, 2014

Los Angeles Modern Auctions (LAMA)

Full Financial Disclosure (1976-77), Chris Burden, Modern Art & Design Auction, October 12, 2014

Los Angeles Modern Auctions (LAMA)

Pliers (1962), Joe Goode, Modern Art & Design Auction, October 12, 2014

Lot 88
Joe Goode
Oil on paper
Signed and dated in pencil lower right sheet; retains Kantor Gallery and James Corcoran Gallery labels verso
Image/sheet (vis.): 13.5″ x 10″;
Frame: 16.75″ x 13.75″
Estimate: $20,000 – $30,000

Lot 215
Mike Kelley
Nazi War Cave #1
Acrylic on paper
Retains 43rd Biennale of Venice exhibition label verso
Sheet: 68.875″ x 104″;
Frame: 72.625″ x 108.25″
LAMA would like to thank the Mike Kelley Foundation for the Arts for their assistance in cataloguing this work

Provenance: Rosamund Felsen Gallery, Santa Monica, California;
Private Collection, United States (acquired directly from the above, 1985)

Exhibited: “Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile,” Rosamund Felsen Gallery, Santa Monica, 1985; “Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile,” Metro Pictures, New York, 1986; “LA Hot and Cool: The Eighties,” group exhibition, List Center for the Visual Arts, Massachusetts Institute of Technology, Cambridge, 1987; “Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile,” 43rd Biennale of Venice, Aperto ’88, Venice, 1988; “Mike Kelley,” traveling exhibition, Kunsthalle Basel, Basel; Institute of Contemporary Arts, London; CAPC Musée d’art contemporain, Bordeaux, 1992; “Mike Kelley: 1985-1996,” traveling exhibition, Museu d’Art Contemporani de Barcelona, Barcelona; Rooseum Center for Contemporary Art, Malmö; Stedelijk Van Abbemuseum, Eindhoven, 1997; “Mike Kelley,” traveling exhibition, Stedelijk Museum, Amsterdam, December 15, 2012-April 1, 2013; Centre Pompidou, Paris, May 2-August 5, 2013; MoMA PS1, New York October 13, 2013-February 4, 2014; MOCA, Los Angeles, March 31, 2014-July 28, 2014
Literature: Kelley, Mike. Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile. Venice/New York: New City Editions/Artists Space, 1986.

Illustrated: Armstrong, Richard, and Elizabeth Sussman. Mike Kelley: Catholic Tastes. New York: Whitney Museum of Art, 1993. p 144; Lebrero Stals, Jose, ed. Mike Kelley. Exhibition Catalogue. Barcelona: Museu d’Art Contemporani de Barcelona, 1997. pp 31, 42; Welchman, John C, Isabelle Graw, and Anthony Vidler. Mike Kelley. 2nd edition. New York: Phaidon, 2011. p 14; Meyer-Hermann, Eva, and Lisa Gabrielle Mark, eds. Mike Kelley. Munich: DelMonico/Prestel, 2013. p 76.

Estimate: $400,000 – $600,000

Lot 228
Chris Burden
Full Financial Disclosure
Check mounted to paperboard
Signed lower right check; signed, dated, and inscribed lower center
Image/sheet (vis.): 9.625″ x 13.25″;
Frame: 10.5″ x 14″

Exhibited: “Full Financial Disclosure,” Jan Baum-Iris Silverman Gallery, Los Angeles, 1977

Illustrated: Full Financial Disclosure. Exhibition Catalogue. Los Angeles: Jan Baum-Iris Silverman Gallery, 1977. Front cover.

Literature: Hoffman, Fred. Chris Burden. London: Thames & Hudson, 2007. pp 69, 373; Phillips, Lisa, ed. Chris Burden: Extreme Measures. New York: Skira/Rizzoli, 2013. pp 25, 134, 230.

Estimate: $4,000 – $6,000

Lot 229
Chris Burden
Merry Christmas from Chris Burden
December 15, 1980
Envelope with printed text and $10 bill
Image/sheet (irreg.): 12″ x 9″;
Frame: 17.25″ x 15.25″
Literature: Burden, Chris, Anne Ayers, and Paul Schimmel. Chris Burden: A Twenty-Year Survey. Exhibition Catalogue. Newport Beach: Newport Harbor Art Museum, 1998. pp 24, 79; Hoffman, Fred. Chris Burden. London: Thames & Hudson, 2007. pp 69, 373.
Estimate: $4,000 – $6,000

Lot 237
Paul McCarthy
Untitled (Tokyo Santa #2)
Cibachrome print
#3 of 6
Image/sheet (vis.): 68.5″ x 47″;
Frame: 71.5″ x 50.5″
Literature: Paul McCarthy: Tokyo Santa. Köln: Verlag der Bucchandlung Walther König, 2004. np.
Estimate: $8,000 – $10,000

Lot 238
Paul McCarthy
Untitled (Photo Book)
Four black and white polaroids with felt-tip marker bound together with string
One signed and dated “8/15/92 Paul McCarthy” verso
Each: 3.375″ x 4.25″
Estimate: $20,000 – $30,000

Lot 239
Paul McCarthy
Ink on paper
Retains Rosamund Felsen Gallery label verso
Image/sheet: 27″ x 41″;
Frame: 28″ x 42″
Provenance: Rosamund Felsen Gallery, Santa Monica, California;
Private Collection, Los Angeles, California (acquired directly from the above)
Estimate: $10,000 – $15,000

Lot 332
Sherrie Levine
After Edward Weston
c. 1990
Gelatin silver print
#1 of 5
Signed, titled, with edition in ink verso
Image: 19.5″ x 14.75″;
Sheet: 20″ x 16″;
Frame: 29″ x 24″
Estimate: $10,000 – $15,000

For more information, or details on how to bid, please contact a LAMA representative.

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