BEYOND BOUNDARIES: HIGHLIGHTS FROM LATIN AMERICA

Beyond Boundaries

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Beyond Boundaries

Highlights from Latin America

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Latin America has always been a confuence of cross-cultural dialogues. These exchanges reached new heights during World War II as the mass exodus from war-torn Europe populated the region of Latin America—from Buenos Aires to Mexico City—with artists, writers, musicians, and philosophers, leading to a food of new ideas, styles, and infuences. During the twentieth century not only did these European immigrants quickly become woven within the artistic circles of the many cosmopolitan metropolises throughout Latin America, but a number of the talented young artists native to these countries traveled to Europe and the United States, where they exhibited, taught and worked among their transnational peers.

To gauge Latin America from a cultural perspective one has only to look at a small selection of modern masters to get a sense of the breadth of creativity from Lucio Fontana—born in Argentina yet long recognized as one of Italy’s most important modern artists—to Wifredo Lam—who reappropriated Picasso’s primitivism, bringing it from Paris to Havana—to Leonora Carrington—born a socialite in Great Britain, who ran away to Paris with Max Ernst before immigrating to Mexico to lead the Surrealist movement there. This desire to resist, subvert, breakdown, and cannibalize has been at the heart of Latin American Art over the past century. This is why we feel it is essential to integrate the discussion of Latin American Art within the global context of Modern and Contemporary Art. It is integral to understanding the genesis behind the multitude of artistic movements—both within the region and beyond—and the unique styles of these individual artists, who have formed the underpinning of what we consider Latin American Art today.

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It is the celebration of these artists and their broader impact worldwide that we are so keen to share with you as we strive to break down the wall that has, for so long, been erected between Latin American and Contemporary Art. These artists themselves have pioneered so many revolutionary movements, including breaking the barrier between twodimensional and three-dimensional art, as seen in the work of artists like Gego and Hélio Oiticica. We cannot wait to begin this journey with you—organized chronologically rather than stylistically—starting with a small selection of key artworks from the upcoming Latin America Sale on 24 May 2017.

Henry Allsopp Worldwide Head, Latin American Art Kaeli Deane Head of Sale, Latin American Art

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1907

1940s

The birth of Cubism in Paris.

Abstract Expressionism emerges in New York.

1924 André Breton issues the frst Surrealist manifesto.

1938-1945 The turmoil surrounding WWII causes many artists to fee Europe for places like New York, Brazil, Venezuela and Mexico, including Leonora Carrington, Remedios Varo, Gego and Mira Schendel.

1929

1940

The Museum of Modern Art opens in New York.

André Breton organizes the fourth International Surrealist Exhibition in Mexico City.

1930 Dutch artist, Theo Van Doesburg, writes the Manifesto of Concrete Art.

1939 The Museum of Non-Objective Art—now the Solomon R. Guggenheim Museum—opens in New York with geometric art acquiring new signifcance.

1936 David Alfaro Siqueiros exhibits his work alongside artists like Paul Klee and Ives Tanguy in the seminal Surrealist exhibition Creation of Chaos at the MoMA. Jackson Pollock also studies under Siqueiros this year in his Experimental Workshop in New York.

1942

1937 Rufno Tamayo is included in New Horizons in American Art at MoMA.

Marcel Duchamp and André Breton organize First Papers of Surrealism, a major exhibition in New York that includes the work of Wifredo Lam, helping to launch his international career.

1938 Leonora Carrington is included in the seminal exhibition Exposition Internationale du Surréalisme at the Galerie Beaux Arts in Paris.

1938 Works by Remedios Varo illustrate André Breton’s landmark publication Dictionnaire Abrege du Surrealisme.

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1950

1943

David Alfaro Siqueiros participates in the frst ever Mexican pavilion at the XXV Venice Biennale.

MoMA purchases the masterpiece The Jungle (1943) by Wifredo Lam.

1955 Galerie Denise René in Paris presents the landmark exhibition Le Mouvement, which launches the Kinetic art movement.

1944 Swiss artist, Max Bill, organizes the frst international exhibition of Concrete Art in Basel.

1954 Carmen Herrera settles permanently in New York, where she becomes friends with artists like Barnett Newman, but has a difcult time exhibiting due to the fact that she is a Latin American woman artist.

1947 Remedios Varo and Wifredo Lam are included in Le Surrealisme, an important group exhibition, alongside André Breton and Marcel Duchamp at Galerie Maeght in Paris.

1948 The Venice Biennale resumes afer it was interrupted due to World War II.

1948 Pierre Matisse Gallery opens the important group show Carrington, Chagall, Dubufet, Giacometti, Lam, MacIver, Matt, Miro, Tamayo, Tanguy.

1953 1946 Lucio Fontana produces the White Manifesto in Buenos Aires, emphasizing the importance of incorporating technological and scientifc developments into art .

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Marks the second edition of the São Paulo Biennale, which includes works by Alexander Calder, Paul Klee, and Henry Moore, as well as Pablo Picasso’s masterpiece, Guernica.

Alfredo Volpi wins the National Prize of Painting.

The work of Mira Schendel is also exhibited.

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1960s The birth of the Op Art Movement in Europe and Minimalism in the United States.

1970s Conceptual Art, Happenings and Performance Art movements challenge traditional defnitions of art and have huge impacts in Europe, North America and South America.

1958 The Solomon R. Guggenheim Museum opens and Alfredo Volpi is awarded the Guggenheim International Award.

1969 HĂŠlio Oiticica exhibits his ground breaking and experimental installation Tropicalia at his solo show in Whitechapel Gallery in London.

1957-1962 Yves Klein presents The Void, which embodies the tendency among Post-War French artists to leave the canvas behind in favor of art that engages with the viewer in three-dimensional space.

1967 Lisson Gallery in London exhibits the work of Mira Schendel, helping to launch her international career.

1983 Richard Prince shows his controversial work Spiritual America, signaling the arrival of the Neo-American eighties generation with its imagery taken from consumerist culture as a reaction to Minimalism of the 1970s.

1964 Signal Gallery opens is London, exhibiting the most radical South American artists from Argentina, Brazil, and Venezuela.

1960

1972

Max Bill organizes a seminal exhibition of Concrete Art in Zurich, showing its development over the past decades.

1965 Gego is included in the exhibition Latin American Art 1931-1966 at MoMA.

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Documenta 5 is curated by Harald Szeemann, who shows the broad spectrum of radically based conceptual contemporary art from a global perspective.

1993 Helena Kontova and Giancarlo Politi launch Aperto ‘93 at the XVL Venice Biennale. Works by Damien Hirst, Gabriel Orozco, Matthew Barney and Felix Gonzalez-Torres are exhibited.

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2009 Gabriel Orozco has a retrospective at MoMA, New York.

2013 Mira Schendel has a retrospective at the Tate Modern in London.

2016 Carmen Herrera is given a retrospective at the Whitney Museum of American Art in New York and receives rave reviews.

2015 Wifredo Lam is given a retrospective at the Centre Pompidou in Paris, which will then travel to Museo Nacional Centro de Arte Reina Sofa in Madrid, followed by the Tate Modern in London.

2017 Lygia Pape has a retrospective at the Met Breuer in New York.

2016 HĂŠlio Oiticica has a retrospective at the Carnegie Museum of Art, which will then travel to the Museum of Contemporary Art Chicago followed by the Whitney Museum of American Art in New York.

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“My painting is an act of decolonization not in a physical sense, but in a mental one.”

—Wifredo Lam

Portrait of the artist, 1963.

Wifredo Lam, Ö Albissola Archives. Photographer: Gjon Mili / John Miller.

Photo Courtesy of Centre Pompidou/copyright Adagp, Paris 2015

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Wifredo Lam

Cuba 1902-1982

Untitled gouache on paper mounted on board 41 3/4 x 32 7/8 in. (106 x 83.5 cm) signed “Wi Lam” on the reverse Painted circa 1943.

Estimate $300,000-500,000

Wifredo Lam’s contributions to modern painting were no doubt pivotal. He expanded both the parameters of Surrealism and Cubism by imbuing his work with a unique Afro-Cuban vocabulary infused with Santería.

Early in his career while studying in Spain, Lam met Pablo Picasso, who would become his mentor and one of his great supporters. The subtle luminosity of the painting illustrated here embodies one of Lam’s iconic leitmotifs: the metamorphosed fgure of the femme-cheval, a hybrid creature—both woman and horse—possessed by a spiritual divinity. The elegant posture and stylized manner point to Lam’s inventiveness, building upon what he learned in the avant-garde circles in Paris before returning to Cuba where he would change the artistic landscape forever.

When Lam painted Untitled (circa 1943), he was at the height of his career, producing some of his most important works, including his masterpiece, The Jungle (1943), purchased by the Museum of Modern Art, New York, soon afer its creation. During this time, Lam was also involved with André Breton’s Surrealist scene in New York, leading to his participation in the important group exhibition First Papers of Surrealism, organized in 1942

by Breton and Marcel Duchamp. This exhibition resulted in Lam’s frst solo show at the renowned Pierre Matisse Gallery. Internationally lauded during his lifetime, Lam’s pivotal importance has recently been re-acknowledged with blockbuster retrospectives at the Centre Pompidou, Museo Reina Sofa, and the Tate Modern in 2015 and 2016.

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1.

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David Alfaro Siqueiros

Mexico 1896-1974

Tehuanas pyroxylin on masonite 28 1/4 x 29 1/4 in. (71.8 x 74.3 cm) signed and dated “Siqueiros 12-49” lower right; further titled, signed and dated “Tehuanas - 1949 - Siqueiros” on the reverse Painted in 1949.

Estimate $250,000-350,000

David Alfaro Siqueiros was a leading member of the Mexican mural movement, known for his expressionistic style and fery palette. For Siqueiros, muralism was the next step in social realism, giving him a public platform for his communist political agenda and socialist ideals.

Tehuanas (1949), is a prime example of the artist’s mature work, raising the consciousness of the masses by showcasing a joyous pride in Mexicanidad through his depiction of Tehuantepec women in their traditional garb, a style that was also adopted by Frida Kahlo as a means of embracing Mexican popular culture in an increasingly globalized world.

This painting also exhibits Siqueiros’ unique and revolutionary painting practice developed in 1936 in New York, where he founded Siqueiros Experimental Workshop. There, he led a series of classes, testing a variety of industrial paints and introducing new methods and mediums into his work. Indeed, it is arguable that Jackson Pollock, who was studying under Siqueiros at this time, frst learned his famous drip technique in the SEW, and the parallels between the two artists work during this period are undeniable. During this same year, Siqueiros executed his famous work, Collective Suicide—now in the collection of the Museum of Modern Art in New York—which immediately caught the attention of the international art milieu and was included in the seminal Surrealist exhibition, Creation of Evocative Chaos, at MoMA in 1936, alongside works by artists like Paul Klee and Yves Tanguy.

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“Art is a weapon that penetrates the eyes, the ears, the deepest and subtlest human feelings.”

—David Alfaro Siqueiros

David Alfaro Siqueiros, Mexico City, circa 1971.

Acervo INBA y CONACULTA - Proyecto Siqueiros: Sala de Arte Público Siqueiros. © 2017 Proyecto Siqueiros

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2.

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“I didn’t have time to be anyone’s muse…

I was too busy rebelling against my family and learning to be an artist.”

—Leonora Carrington

Kati Horna, Leonora Carrington at Her Easel (Mexico City), 1956. Gelatin silver print. 9 3/4 x 7 7/8 in.

Private Collection, Mexico City. © 2005 Ana María Norah Horna y Fernández. All rights reserved.

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Leonora Carrington

Great Britain/Mexico 1917-2011

Pastoral oil on canvas 21 x 29 in. (53.5 x 74.5 cm) signed “Leonora Carrington” lower lef Painted in 1950.

Estimate $500,000-700,000

Born to a wealthy English family, Leonora Carrington pursued her career in art against her parent’s wishes.

She studied at the Chelsea School of Art and the Ozenfant Academy in London, co-founded by Le Corbusier. At the 1936 International Surrealist Exhibition in London, Carrington frst saw the work of Max Ernst, and soon afer the two became romantically involved, running away to Paris together despite an age diference of more than 25 years. Ernst’s infuence is evident in her painting techniques of frottage and automatism.

During this time, Carrington became deeply entwined with André Breton’s Surrealist circle, meeting artists like Dalí, Picasso and Tanguy. However, the outbreak of World War II would ultimately tear her from this world and from Ernst, and in 1943 Carrington fed to Mexico, becoming part of the émigré Surrealist community living there. She quickly became close with the Spanish artist, Remedios Varo, and the two women broke with the orthodox, maledominated Surrealist canon.

Carrington’s interest in cooking and alchemy became integral to her work, as well as her fascination with the animal world. Pastoral (1950) is an exquisite example of Carrington’s mature work: a highly detailed landscape populated by extraordinary fairytale-like, hybrid creatures, referencing both Celtic mythology and Manet’s famous Le déjeuner sur l’herbe (1863), showcasing her masterful painting technique as well as her creative spirit.

Carrington was not only widely exhibited during her lifetime at renowned venues such as the Pierre Matisse Gallery in New York, but since her death in 2011 has been featured in important museum exhibitions at venues such as the Los Angeles County Museum on Art and the Irish Museum of Modern Art.

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Hélio Oiticica

Brazil 1937-1980

Metaesquema gouache on cardboard 15 3/8 x 20 in. (39.1 x 50.9 cm) Executed in 1958, this work is accompanied with a certifcate of authenticity issued by Projeto Hélio Oiticica.

Estimate $200,000-300,000

Born in Rio de Janeiro, Hélio Oiticica was one of the most inventive artists of the post-World War II period. A dreamer and an idealist, he created experiential environments where viewers became participants, enveloped in all means of artistic apparatuses. Oiticica identifed strongly with his Brazilian roots and spent a great deal of time in the favelas of Rio, which he recognized as strongholds against the oppression of the military dictatorship in his country. His groundbreaking installation Tropicália (1967) was a sensorial portrait of Rio as well as an environment that engaged and absorbed viewers in a myriad of ways.

Oiticica exhibited widely during his lifetime, with his acclaimed Whitechapel Experiment in London and later his eforts to make a name for himself in New York. Tragically the artist died very young and little is lef of his artistic production, due to a terrible fre in 2009 that destroyed nearly 2000 of his works.

Much of what remains are Oiticica’s early works, which he disregarded as unimportant, yet they are stunning jewels that give insight into the young mind of an artistic genius, informing much of his later experiments. The present work, Metaesquema (1957), shows Oiticica’s grasp of European abstraction and the infuence of artists like Piet Mondrian and Kazimir Malevich, who pushed for an art that would transform society. The series of Metaesquemas produced from 1957 to 1958, demonstrate Oiticica’s preoccupation with color as an entity with its own time, structure and space. Yet, even as one of the youngest artists associated with the Grupo Frente, Oiticica quickly cannibalized the older members’ achievements, becoming a leader of the Neo-Concrete movement that would transform Brazilian art forever.

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Still from Ivan Cordoso’s flm H.O., 1979. © Topázio Filmes / Ivan Cardoso, Photo: Eduardo Viveiros de Castro.

Copyright © 2016 Carnegie Museum of Art

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4.

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“I arrived in Mexico seeking the peace I had not found in Europe because of the turmoil there—for me it was impossible to paint amidst so much uneasiness.”

—Remedios Varo

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Remedios Varo

Spain/Mexico 1908-1963

La Mujer libélula (Dragonfy Woman) oil, gouache and ink on paper mounted on masonite 25 7/8 x 7 7/8 in. (65.7 x 20 cm) signed “R. VARO” lower lef Painted circa 1961, this work is accompanied by a certifcate of authenticity issued by Walter Gruen.

Estimate $300,000-500,000

To understand Remedios Varo’s contribution to the Western art canon, one must know her trajectory. During the 1930s, the Spanish-born Varo lived in Paris and was a member of André Breton’s Surrealist circle. Her works were shown in signifcant exhibitions, such as Fantastic Art, Dada, Surrealism at the Museum of Modern Art in New York in 1936. Afer the German Invasion, Varo immigrated to Mexico in 1941, where she joined Matta and Gordon Onslow Ford in an exploration of the fourth dimension. Breton had recently visited Mexico in 1938 as well, to give lectures on Surrealism and meet with Leon Trotsky, who was exiled there. For Breton, Mexico was “the surrealist place par excellence” and his visit catalyzed a series of international Surrealist exhibitions that would help to launch Varo’s career.

For Varo, Mexico was an ideal setting, as it gave her the physical and metaphorical distance from French Surrealism that allowed her to concretize a new form of the European movement, exploring the female psyche and portraying women as protagonists rather than the typical male-centric vision of her counterparts in Europe.

La Mujer libélua (Dragonfy Woman) (circa 1961) is a key example of this efort, depicting a graceful, yet powerful female fgure painted in luminous layers of delicate gouache and staring directly out at the viewer with a challenging yet quizzical gaze.

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Remedios Varo painting the Villaseñor portrait in her studio on Avenida Álvaro Obregón, 1957. Photograph by Duncan McNeill

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Lygia Pape

Brazil 1927-2004

Livro noite e dia (Book of Night and Day) acrylic and tempera on wood, in 8 parts each: 6 1/4 x 6 1/4 x 5/8 in. (15.9 x 15.9 x 1.6 cm) each signed “Pape” on the reverse Executed 1963-1976.

Estimate $300,000-500,000

One of the founders of the Neo-Concrete group in Brazil, Lygia Pape pioneered the movement beyond the rigorous tenants of Concrete abstraction, incorporating the inextricable participation of the viewer with the art object. Pape pushed the boundaries of minimalism through her unique series of “books” that explore history, time and humanity—as much visual poetry as they are works of art.

The present work—eight elements from the Book of Night and Day—is from a series where the artist created three sets of unique objects—each consisting of 365 elements—over a period lasting from 1963 to 1976. Each of these objects represents a day in the span of a year and the work closely relates to her most famous work, the Book of Time. Unlike the Book of Time, which consists of brightly hued primary colors, the Book of Night and Day has a subtler visual efect, utilizing only variations of white and black. It allowed her to study light and have more freedom in the creation of each element, relating closely to Pape’s cinematic work, in which she was preoccupied with the cutting and fragmenting of time, as well as the endless possibilities of each moment.

Ofen seen in the shadow of her contemporaries Hélio Oiticica and Lygia Clark, Pape is now receiving international accolades with a marvelous retrospective at the Met Breuer in New York, her frst exhibition of this kind in the United States.

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Gego

Germany/Venezuela 1912-1994

Untitled iron 28 3/8 x 4 3/4 x 7 1/8 in. (72.1 x 12.1 x 18.1 cm) Executed in 1967, this work is registered in the artist’s archives under reference number CP 0133 and is accompanied with a certifcate of authenticity signed by the artist.

Estimate $200,000-300,000

Untitled (1967) marks a seminal moment in the career of German-born architect and engineer Gertrude Goldschmidt, more commonly known as Gego. Forced to fee Nazi Germany in 1939, Gego quickly established herself in her adopted Venezuela as a major creative force through various architectural projects, leading to prestigious teaching positions at important educational institutions in Caracas. Her abstract drawings earned the encouragement of the modern masters Alejandro Otero and Jesús Rafael Soto. Furthering the aesthetic and conceptual principles of Constructivism, Geometric Abstraction, and Kinetic Art, Gego’s unique spatial investigations are abstract constructions that escape the limitations of the picture plane. Her paperless, threedimensional drawings—frst made in iron—achieved a new level of virtuosity when, in 1967, she began to employ stainless steel wire. The light and fexible medium eliminated the need for an intermediary, such as a welder and blacksmith; thus, freeing Gego to make emblematic works by her own hand, among the frst of which is the piece illustrated here.

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Gego in the Museo de Bellas Artes, Caracas.

Photograph by Joseph Fabri. © Fundación Gego

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Alfredo Volpi

Brazil 1896-1988

Banderinhas com mastro tempera on canvas 12 3/8 x 18 in. (31.4 x 45.7 cm) signed “A Volpi” on the reverse Painted circa 1970.

Estimate $100,000-150,000

Alfredo Volpi’s signifcance within the international art milieu is intimately tied to his personal life. The son of Italian immigrants, Volpi grew up in a lower-middle-class neighborhood in Brazil, where he worked as a decorator, painting in Renaissance and Moorish styles. Despite being self-taught, he participated in dialogues with other artists and intellectuals in every phase of his oeuvre, acutely observing his neighborhood’s various landscapes, homes and terraces. In 1950, Volpi made a noteworthy trip to Italy and France. There—much like the self-taught conceptual artist Robert Ryman—Volpi studied medieval art extensively for six months. This prompted a radical shif in his style, resulting in his most important series of works, Banderihnas (Small Flags), exemplifed in the work we see here.

In Banderihnas com maestro (circa 1970), Volpi used egg-based tempera instead of oil paint to achieve the luminous color palette, imbued with geometric rigor and precision. This simplifed, yet striking series brought him international recognition, enabling the artist to exhibit in the frst three São Paulo Biennales and later at the Venice Biennale. Most notably, this series won him the National Prize of Painting in the seminal 1953 São Paulo Biennale, considered one of the most important modern art exhibitions of the 20th century. Only now beginning to be once more acclaimed by the international art world, Volpi received much recognition during his lifetime, including receiving the Guggenheim International Award in 1958, among other accolades.

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Volpi in his workshop, with the colors he prepared himself.

Photograph by Carlos Namba. Courtesy of the Instituto Alfredo Volpi de Arte Moderna

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“[Mira Schendel] was a misplaced person.

Territory, for her, was always an issue, and you can see it in her work.”

—Ada Schendel, Laura Barnett/The Guardian.

Mira Schendel in London, 1966.

Photo © Clay Perry courtesy England & Co Gallery, London

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Mira Schendel

Switzerland/Brazil 1919-1988

Untitled oil and Letraset on colored rice paper 18 1/ 2 x 9 in. (47 x 22.9 cm) Executed circa 1970.

Estimate $50,000-70,000

Born in Zurich and later studying in Milan, Mira Schendel emigrated to São Paulo in 1949, where she began her artistic career in earnest. She found Brazil ripe for artistic innovation, both thanks to the community of European émigrés living there during this time, as well as the exploration of abstraction being led by artists like Lygia Clark and Hélio Oiticica.

Schendel received international recognition afer exhibiting her Objectos Grafcos in the 1969 Venice Biennale. These iconic objects—both graphic and ethereal—represent an art of minimalist and semiotic signifcance, heavily infuenced by the language barriers she faced afer prosecution in Europe. The present work is a variation on this series that is unique in this boldly hued coloration, contrasting the delicate medium of rice paper. Schendel has been widely recognized both in Brazil and internationally, as evidenced by her retrospective at the Tate Modern in London in 2013.

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“The initial point of departure in my work is a process of organization that follows the dictates of reason… It is a process that must choose, among innumerable possibilities, the one that balances reason and visual execution.”

—Carmen Herrera

Herrera painting in her apartment, 50 King Street, New York, late 1940’s. © Carmen Herrera

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Carmen Herrera

Cuba/United States b. 1915

Untitled acrylic on canvas 50 x 22 in. (127 x 55.9 cm) signed, titled and dated “Untitled - 1971 - Carmen Herrera” on the reverse Painted in 1971.

Estimate $400,000-600,000

Born in Cuba in 1915, yet residing most her mature life in New York, Carmen Herrera is best known for her paintings that set two brightly hued, contrasting colors in stark opposition through a carefully balanced arrangement of sharp, geometric planes. However, black and white paintings were critical to her artistic process and make up an important body of work, which the artist created in short bursts over a period lasting from 1951 to 1989. The twenty-two black and white paintings were shown together in the artist’s frst major museum exhibition in the United States at El Museo de Barrio in 1998. As articulated by curator Carolina Ponce de León, “Working in black-and-white allows the artist to detach herself from the demands and seduction of color, and so to concentrate on the constructive elements of the image. Each sequence would be fnished when she ‘felt the need for color arising anew’” (Ponce de León, Carmen Herrera: The Black and White Paintings, 1951-1989, p. 3).

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Herrera began her sojourn into Concrete art when studying in Paris in the early 1930s at Marymount College. Her mature work follows in the tradition of masters such as Piet Mondrian, Theo van Doesburg and Kazimir Malevich, and was developed simultaneously alongside her more internationally recognized contemporaries—artists like Ellsworth Kelly, Barnett Newman and Frank Stella. The black and white works also undoubtedly refer to her training as an architect, aptly addressed by Ponce de León, who states, “The harmony, the study of proportion, the conception of space, and the abstract thought intrinsic to the discipline [of architecture] were concerns that evolved rapidly in her painting” (Ponce de León, p. 4). Untitled (1971) has a soaring, skyscraper-like presence yet is entirely concrete in its design, creating a harmonic symphony of stillness that captivates the viewer, demanding attention despite its simplicity and reminding us of Herrera’s extraordinary and groundbreaking achievements in abstract art.

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Carlos Cruz-Diez

Venezuela b. 1923

Physichromie No. 939 silkscreen and plastic elements on metal support with aluminum frame 19 5/8 x 29 1/ 2 in. (50 x 75 cm) signed, titled and dated “PHYSICHROMIE NO. 939 - CRUZ-DIEZ Sept./ 1977” on a label afxed on the back Executed in 1977.

Estimate $100,000-150,000

During the 1950s, Carlos Cruz-Diez lef Venezuela to travel extensively throughout Europe, where he explored the possibilities of Constructivism while continuing to develop his interest in chromatic structures and color theory.

Physichromie No. 939 (1977) is part of his most important series, which he began in 1959 and has continued to investigate for decades. The exact medium of these works has developed over time but has always consisted of alternating colored strips that trap light, producing a chromatic efect that constantly changes as the viewer moves around the piece. In this way, the viewer becomes a participant in the artwork, not merely a spectator.

The innovative aspects of the these works immediately caught the attention of the international milieu, and very early in his career Cruz-Diez was included in two seminal exhibitions in Europe and the United States: Movement 2 at the famous Galerie Denise René in Paris in 1964 and The Responsive Eye at the Museum of Modern Art in New York in 1965. Cruz-Diez was also the subject of a major retrospective at the Museum of Fine Arts Houston in 2011, titled Carlos Cruz-Diez: Color in Space and Time.

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Carlos Cruz-Diez in his workshop in Caracas, 1958. ©Carlos Cruz-Diez / Adagp, Paris, 2013

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11.

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“Do not set out to make Mexican art, or American, Chinese, or Russian art.

Think in terms of universality.”

—Rufno Tamayo

Photo by Estudio Maywald © Fundación Olga y Rufno Tamayo

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Rufno Tamayo

Mexico 1899-1991

Tres amigos oil and sand on canvas 43 1/4 x 59 7/8 in. (109.9 x 152.1 cm) signed and dated “Tamayo 87” lower right; further titled “Tres Amigos” on the reverse Painted in 1987.

Estimate $1,200,000-1,800,000

By the age of 27, Rufno Tamayo had already travelled extensively, frst to New York and then later to Europe.

These travels forced him to reevaluate his understanding of Mexican art within the broader context of European Modernism. As a result, Tamayo began experimenting with various movements, including Fauvism, Cubism, and eventually Abstract Expressionism, melding these avant-garde styles with depictions of Mexican folklore and indigenous culture. It was in New York during the 1940s that he consolidated his place on the international art scene with a number of important exhibitions at recognized venues, such as the Pierre Matisse Gallery.

By the 1970’s, Tamayo had returned permanently to Mexico, afer settling briefy in Paris where he completed an important mural for the UNESCO building in 1958.

His later works reveal a preoccupation with liberating the traditional compositional structure of painting.

Tamayo began to include ovals, trapezoids, and triangles in his canvases in a graphic style that was also highly tactile. In Tres amigos (1987), Tamayo thickened the oil paint using sand, giving the painting a viscous texture and a raw, unfnished quality, clearly alluding to Dubufet. By depicting the fgures in simplifed shapes covered with geometric patterns, Tamayo incorporates the style of intricate Pre-Columbian pottery. This seemingly links his work to Picasso’s primitivism, yet rather than objectifying the “other”, Tamayo utilizes this visual iconography to explore his own identity as a mestizo—a blend of indigenous and European blood. As both a symbol of Mexican pride and an internationally renowned artist, Tamayo has been featured in countless museum exhibitions around the world, including a major retrospective at Solomon R. Guggenheim Museum in New York in 1979, titled Rufno Tamayo: Myth and Magic.

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“I don’t think about the passage of time.

I really feel that every one of my pieces has its own time.”

—Olga de Amaral

The artist in her studio, 1965. Photo by Diane Witlin, courtesy of the artist, p. 88, Olga de Amaral: The Mantle of Memory, 2013, Somogy Art Publishers, Galerie Agnes Monplaisir, Amaral Editores.

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Olga de Amaral

Colombia b. 1932

Sol cuadrado No. 16 gesso, acrylic and gold leaf on linen 57 x 35½ in. (144.8 x 90.2 cm) signed, titled and dated “Sol cuadrado 16 - 1994 - Olga de Amaral” on the reverse Executed in 1994, this work is registered in the artist’s archives under reference number OA0759 and is accompanied by a certifcate of authenticity signed by the artist.

Estimate $120,000-180,000

Born in Colombia in 1932, Olga de Amaral began her formal training as an architect but—dissatisfed with her schooling—she enrolled in the Cranbrook Academy of Fine Art in Michigan to study textiles. Afer this period in the United States, she returned to her native country to study ancient Pre-Columbian textile techniques and gold artifacts. In 1965, she founded the textile department of Los Andes University. Coincidentally, the renowned contemporary textile designer, Jack Lenor Larsen—who visited Colombia and de Amaral’s workshop—expressed his interest in her work and would go on to help her launch her career internationally. This would lead to an important early exhibition that included her work, entitled Wall Hangings, at the Museum of Modern Art, New York in 1969.

Thereafer, de Amaral was invited to exhibit extensively, including in the Venice Biennale in 1986. The largescale sculptural quality of her distinctive woven pieces caught the attention of the art world, transcending the boundaries of conventional craf and contemporary art.

These shimmering metallic objects not only introduce the fne art principles of abstraction and geometric rigor into traditional weaving techniques but also emit a spiritual quality that induces tranquility and reverence in the viewer. The glowing work seen here is a prime example of de Amaral’s unique and compelling sculptural textiles that is both solid and immaterial in its subtle surface qualities, feeling at once ancient and yet completely of the moment, and drawing references to artists like El Anatsui and Eva Hesse.

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“I see the blank canvas as an invitation to develop my thoughts, my own world. It is very attractive in the sense that it is an empty space that is yours.”

—Beatriz Milhazes

Beatriz Milhazes in her studio. © Berlin: Galerie Max Hetzler; Berlin: Holzwarth Publications; London: Ridinghouse, 2014

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Beatriz Milhazes

Brazil b. 1960

O Cisne acrylic on canvas 16 1/ 2 x 15 3/8 in. (42 x 39 cm) signed and dated on the reverse Painted in 2001.

Estimate $200,000-300,000

The work of Beatriz Milhazes induces viewers to experience an intense sensory immersion in texture and color, while simultaneously demonstrating a complex investigative approach towards European and Latin American art historical references. When organizing her exhibitions, Milhazes displays her earlier works along newer pieces to show an evolution and drive for innovation within her own aesthetic. Early on in her career, in 1989, the artist developed a novel technique, of painting various visual elements onto clear plastic sheets, then layering them directly onto the canvas—a method reminiscent of transfer prints, monotypes and collages.

This layering also refects her many infuences, beginning with Baroque art from the 17th and 18th century, evinced by the highly detailed, decorative designs that populate her compositions.

In this particular painting, O Cisne (2001), there are also ties to Kinetic and Op art of the 1960s—referencing artists such as Bridget Riley and Alejandro Otero—as seen in her overlapping circular forms striated by vertical bands that create multiple focal points, optical depth and pictorial fatness. But the most important aspect of this particular work is the artist’s use of luminous gold as the dominating color palette. Gold has complex associations with the colonial conquests in Latin American countries like Brazil, as well as the value of art and its spiritual connotations.

It is notable that for O Cisne, Milhazes has chosen a smaller format than we typically see in her work, drawing the viewer in towards the glowing canvas and revealing the ability of this particular painting to mesmerize and captivate the viewer.

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Vik Muniz

Brazil b. 1961

Jackie (from the series Pictures of Diamonds) signed and dated ‘Vik Muniz 2005’ on a label on the reverse digital c-print 59⅞ x 48 in. (152 x 122 cm) Executed in 2005, this work is number 7 from an edition of 10.

Estimate $80,000-120,000

Vik Muniz was born into a working-class family in Brazil in 1961. Afer studying advertising at the Fundação Armando Álvares Penteado in São Paulo, he moved to New York in 1983, where he has lived ever since. Muniz began as a sculptor, but his interest in the exploration of images, memory and perception made him turn to drawing and photography.

Muniz is best known for appropriating iconic images from art history and popular culture, which he then recreates with unusual materials before photographing them. The materials he uses to create these images range from sugar cane and diamonds to chocolate and even garbage. The textures he produces and the optical richness of the images he presents distinguish him from other photographers. The impact of his work on the contemporary art scene enabled him to present his frst solo show in 1998 at the prestigious International Center of Photography (ICP) in New York and he was invited to represent Brazil at the 49th Venice Biennale in 2001.

To create the work we see here, Muniz organized thousands of diamonds into a mesmerizing portrait of Jacqueline Kennedy, thereby eliciting her glamour through the use of precious gems, associated with wealth and status. It is also a testament to the infnite, regenerative potential of the creative image. His work has been exhibited extensively at prestigious museums such as the Tate Modern in London, the Modern Museum of Art, New York and the Solomon R. Guggenheim Museum.

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Vik Muniz making José Saramago.

Art © Vik Muniz/Licensed by VAGA, New York, NY

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“I believe the major infuence on me is the spirit of all contemporary painting; this is to say, that in my work all the problems of contemporary painting are present.”

—Gabriel Orozco

Gabriel Orozco. Cortesía de Conaculta, México

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Gabriel Orozco

Mexico b. 1962

Samurai Tree 6C egg tempera on red cedar panels with gold leaf 21 5/8 x 21 5/8 in. (54.9 x 54.9 cm) Painted in 2006, this work is accompanied with a certifcate of authenticity issued by White Cube.

Estimate $200,000-300,000

“A spirit of constant invention makes [Gabriel Orozco’s] production one of the most intriguing and original of his generation,” wrote Glenn Lowry in the catalogue for the artist’s 2009 retrospective at the Museum of Modern Art, New York. Orozco was born to a highly educated and artistic family in Mexico, his father being a third-generation muralist in the tradition of David Alfaro Siqueiros, José Clemente Orozco and Diego Rivera. Yet, Orozco’s extraordinarily philosophical and conceptual art was not immediately appreciated by the Mexican art scene during his youth.

Instead, he frst became recognized in New York in the early 1990‘s, and then at the 1992 exhibition, America: Bride of the Sun, at the Royal Museum of Fine Arts, Antwerp— where Orozco exhibited along with Lucio Fontana and Cildo Meireles—that he truly launched his career.

From there, Orozco would go on to travel and exhibit around the world, renouncing the sanctifed space of the traditional artist’s studio, and instead utilizing the everyday streets as his canvas. The present work, Samurai Tree 6C (2006), comes from one of the artist’s best known series, one that disrupts the viewer’s traditional notions of art by utilizing the medium of painting yet removing the artist’s hand completely, as well as his creative impulses. Rather, the series of Samurai Tree Invariants— begun in 2004 and each executed by either Philippe Piccoli or Christian Macia—has over 600 computer generated permutations designed by Orozco and based on a composition drawn into four quadrants, following a systematic series of circles bisected by dividing lines with rotating colors of red, blue, white and gold.

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Latin America We’ve come to the end of our highlights catalogue, but we hope it is only the beginning of your interest and continuing edifcation in Latin American Art. The continuing interplay between these artists and their counterparts in international 20th Century & Contemporary Art is protean—constantly slipping beyond our expectations and changing form—allowing you, the collector, to view and interact with the works we’re ofering this season from an entirely new perspective.

If you’re interesting in learning more about these works, please contact our specialist team and request a Latin America sale catalogue or visit phillips.com to view the sale in its entirety.

Auction 24 May 2017, 2pm EDT 450 Park Avenue, New York Public Viewing 20-24 May Saturday-Wednesday 10am-6pm Enquiries Kaeli Deane Head of Sale, Latin American Art New York kdeane@phillips.com +1 212 940 1352 Catalogues catalogues@phillips.com +1 212 940 1200 Bids bidsnewyork@phillips.com + 1 212 940 1228

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Contemporary.

Diverse.

20th Century & Contemporary Art & Design Evening Sale Hong Kong, 28 May 2017 Phillips is proud to present our upcoming 20th Century & Contemporary Art & Design Evening Sale in Hong Kong this Spring.

Please visit our public viewing at the Mandarin Oriental, Hong Kong 25-28 May, or visit phillips.com Enquiries sma@phillips.com +852 2318 2025

Fernando Botero Fin de Fiesta, 2009 oil on canvas 65 x 81 in. (165.1 x 205.7 cm) Estimate HK$4,600,000-6,500,000

phillips.com

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Plate 1.

Plate 3.

Wifredo Lam (1902-1982) Untitled, circa 1943

Leonora Carrington (1917-2011) Pastoral, 1950

Provenance Private Collection, Bogota Galerie Lelong, Paris Private Collection, Paris Private Collection, Italy

Provenance Manuela Amor de Hill, Mexico City Galería de Arte Mexicano, Mexico City Private Collection, Mexico City

Exhibited San Juan, Arsenal de la Puntilla, Wifredo Lam, obras desde 1938 hasta 1975, de regreso al Caribe, 1992 Literature Lou Laurin-Lam, Wifredo Lam - Catalogue Raisonné of the Painted Work, Vol. 1, 1923 - 1960, 2006, p. 332, No. 43.15 (illustrated in black and white) We are grateful to Eskil Lam for his kind assistance in cataloguing this work.

Plate 2.

David Alfaro Siqueiros (1896-1974) Tehuanas, 1949 Provenance Private Collection, California (acquired directly from the artist in 1950) Private Collection, Miami We are grateful to Dr. Irene Herner Reiss for her kind assistance in cataloguing this work.

Exhibited Mexico City, Museo Nacional de Arte, Los surrealistas en México, 1986 Monterrey, Museo de Arte Contemporáneo de Monterrey, Leonora Carrington: Una retrospectiva (September 1994 - January 1995); then travelled to Mexico City, Museo de Arte Moderno de México, Instituto Nacional de Bellas Artes, (1995) Tokyo Station Gallery, Leonora Carrington (October 14 - November 12, 1997); then travelled to Umeda Osaka, Dairu Museum (1997-1998); Takayama City, Hika Takayama Museum of Art (1998); Tsu, Prefectural Art Museum (May 5, 1998) Bunkamura Museum of Art, Women Surrealists in Mexico (July 19 - September 7, 2003); then travelled to Osaka, Suntory Museum (September 13 - October 19, 2003); Nagoya City, Nagoya City Art Museum (November 1 - December 21, 2003); Kochi, Kochi Museum of Art (January 4 - February 22, 2004) Literature Juan García Ponce, Leonora Carrington, Mexico City, 1974, no. 22 (illustrated) Whitney Chadwick, Leonora Carrington: La realidad y la imaginación, Mexico City, 1994, no. 23 (illustrated) Susan L. Aberth, Leonora Carrington: Surrealism, Alchemy and Art, New York, 2010, p.77 (illustrated) This work will be included in the catalogue raisonné of Leonora Carrington’s paintings, to be published

by Dr. Salomon Grimberg.

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Plate 4.

Plate 7.

Hélio Oiticica (1937-1980) Metaesquema, 1958

Gego (1912-1994) Untitled, 1967

Provenance Private Collection of Vilma and Moyses Lupion, Brazil By descent to Private Collection, São Paulo Private Collection, São Paulo

Provenance Galería Okyo, Caracas Acquired from the above by the present owner in 2007

Plate 8.

Plate 5.

Remedios Varo (1908-1963) La Mujer libélula (Dragonfy Woman), circa 1961 Provenance Collection of Carmel Gerdes, Mexico Cit Wendi Norris Gallery, San Francisco Acquired from the above by the present owner Literature W. Gruen and R. Ovalle, Remedios Varo: Catálogo Razonado, Mexico City, 2008, p. 291 (illustrated)

Plate 6.

Lygia Pape (1927-2004) Livro noite e dia (Book of Night and Day), 1963-1976 Provenance Acquired directly from the artist by the present owner Literature Iria Candela, ed., Lygia Pape: A Multitude of Forms, New York, 2017, p. 122 (another example illustrated)

Alfredo Volpi (1896-1988) Banderinhas com mastro, circa 1970 Provenance Petite Galerie, Rio de Janeiro Acquired from the above by the present owner in 1971 Exhibited Rio de Janeiro, Petite Galerie, Alfredo Volpi, 1971 Literature Instituto Alfredo Volpi de Arte Moderna, ed., Alfredo Volpi: Catalogo de Obras, São Paulo, No. 1453, p. 403 (illustrated) We are grateful to Pedro Mastrubuono, Director of the Instituto Alfredo Volpi de Arte Moderna, for his kind assistance in cataloguing this work.

Plate 9.

Mira Schendel (1919-1988) Untitled, circa 1970 Provenance Private Collection, São Paulo Galeria Frente, São Paulo Acquired from the above by the present owner Exhibited São Paulo, Galeria Frente, O Espaço infndável de Mira Schendel, August 26 - October 31, 2015 Literature O Espaço infndável de Mira Schendel, cat. exh., Galeria Frente, 2015, p. 154 (illustrated) We are grateful to Ada Schendel for her kind assistance in cataloguing this work.

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Plate 10.

Plate 12.

Carmen Herrera (b. 1915) Untitled, 1971

Rufno Tamayo (1899-1991) Tres amigos, 1987

Provenance Latin Collector Gallery, New York Acquired from the above by the present owner in 2008

Provenance Marlborough Gallery, New York Acquired from the above by the present owner

Exhibited New York, El Museo del Barrio, Carmen Herrera: The Black and White Paintings, 1951-1989, April 17 - June 28, 1998

Exhibited Madrid, Centro de Arte Reina Sofía, Rufno Tamayo: Pinturas, June 19 - October 3, 1988 New York, Marlborough Gallery, Latin American Art, November 18 - December 20, 1988 Moscow, Exhibition Hall of the Association of Painters, Rufno Tamayo: Pintura y Gráfca, 19251989, (August 29 - October 1, 1989); then travelled to Oslo, Edvar Much Museet (October 26, 1989 January 21, 1990); Leningrad, Hermitage Museum (February 15, March 15, 1990) New York, Marlborough Gallery, Rufno Tamayo: Recent Paintings, 1980-1990, September 26 October 16, 1990 Berlin, Staatliche Kunstalle, Rufno Tamayo: 1990, May 2 - June 10, 1990

Literature Carmen Herrera: The Black and White Paintings, 1951-1989, exh. cat., El Museo del Barrio, New York, 1998, p. 16 (illustrated)

Plate 11.

Carlos Cruz-Diez (b. 1923) Physichromie No. 939, 1977 Provenance Private Collection, Caracas Private Collection of Oswaldo Subero, Caracas Acquired from the above by the present owner

Literature Rufno Tamayo: Pinturas, exh. cat., Centro de Arte Reina Sofía, Madrid, 1988, no. 78, p. 222 (illustrated) Rufno Tamayo: 1990, exh. cat., Staatchliche Kunsthalle, Berlin, 1990, no. 141, p. 250 (illustrated) Rufno Tamayo: Recent Paintings, 1980-1990, exh. cat., Marlborough Gallery, New York, 1990, no. 16 p.

36 (illustrated) Octavio Paz and Jacque Lassaigne, ed., Rufno Tamayo, Barcelona, 1994, no. 271, p. 294 (illustrated) Xiang Xiaosheng, ed., Rufno Tamayo, Jiangxi, 1995, p. 111 (illustrated) We are grateful to Juan Carlos Pereda for his kind assistance in cataloguing this work.

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Plate 13.

Plate 15.

Olga de Amaral (b. 1932) Sol cuadrado No. 16, 1994

Vik Muniz (b. 1961) Jackie (from the series Pictures of Diamonds), 2005

Provenance Private Collection (acquired directly from the artist) Private Collection, Mexico City

Provenance Galeria Fortes Vilaça, São Paulo Acquired from the above by the present owner

Exhibited Angers, Musèe de la Tapisserie Contemporaine, Olga de Amaral: Rétrospective 1965-1996, 1997 Buenos Aires, Museo Nacional de Bellas Artes, Olga de Amaral, 2001 Lima, Museo de la Nación, Tiempos y Tierra, 2002 Brescia, Museo Della Citta ‘Di Santa Giulia, Plusultra: Oltre Il Barocco, 2009

Exhibited Tel Aviv Museum of Art, Vik Muniz: Pictures of Anything, March - August 2014

Literature Twylene Moyer, ed. Olga de Amaral: The Mantle of Memory, Galerie Agnès Monplaisir, Paris, 2013 p. 154 (illustrated) Plusultra: Oltre Il Barocco, exh. cat., Museo di Santa Giulia, Brescia, 2009, cover page (illustrated) Olga de Amaral: Rétrospective 1965-1996, Musèe de la Tapisserie Contemporaine, Angers, p. 63 (illustrated)

Plate 14.

Beatriz Milhazes (b. 1960) O Cisne, 2001 Provenance Private Collection, Canada (acquired directly from the artist) John Berggruen Gallery, San Francisco Galeria Bergamin, São Paulo Acquired from the above by the present owner

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Literature P. Corrêa do Lago, Vik Muniz, Obra Completa, 1987 2009, 2009, p. 514 (another example illustrated) Vik Muniz: Pictures of Anything, exh. cat., Tel Aviv Museum of Art, 2014 (another example illustrated)

Plate 16.

Gabriel Orozco (b. 1962) Samurai Tree 6C, 2006 Provenance White Cube at Mason’s Yard, London Acquired from the above by the present owner in 2006 Exhibited London, White Cube at Mason’s Yard, 12 Paintings and a Drawing, September 29 - November 11, 2006 Vienna, Belvedere, Gold, March 15, 2012 - June 17, 2012 Literature blueorange, exh. cat., Museum Ludwig, Cologne, 2006, p. 53 (illustrated) Dark Wave, exh. cat., White Cube, London, 2006, p.

46 (illustrated) Gold, exh. cat., Belvedere, Vienna, 2012, p. 323 (illustrated)

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“My concern is always invention. I always want to invent a new language that’s diferent for me and for others, too… I want to discover new things. Because, to me, art is a way of knowing the world.”

—Lygia Pape

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Beyond Boundaries

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