NEW YORK STAFF SHOW [Catalogue]

Staff Show

New York Exhibition 1-11 August

Urge.

Create.

Personality.

Tastemaker.

New York.

Staff Show.

The outsider often doesn’t realize the inextricable link between the art professional and the art maker. Whether the aesthetics-driven world of an international auction house attracts personalities already in the habit of artistic creation, or reveals in the individual a latent desire to create is debatable. Regardless, the closer one looks, the clearer it becomes that the urge exists in most of our colleagues, from specialists to business administrators.

The Staff Show is a peek into the artistic selves of the tastemakers at Phillips, uncovering the synergy between and among artists, art professionals, and the global art world that is particular to the industry. Conceived of and executed by the employees of our New York office, the works encompass photography, sculpture, painting, drawing, and new media, by established and new artists alike. Phillips is pleased to present our very own employees in this annual exhibition.

Richard Berardino (i-iv) Untitled, 2017 Acrylic on paper; Acrylic on canvas 16 x 12”; 29 x 18”; 24 x 18”

Noemi Bilger Important Communication, 2016 Acrylic on Canvas 36 x 60�

Izaak Bray Untitled, 2017 Oil on canvas 8 x 10�

Patrick Brennan Face, 2016 Acrylic, Mylar and silk on canvas 26 x 20�

Richard Brownbill (i-ii) Untitled, 2006 (iii-iv) Untitled, 2009 Inkjet prints 17 x 22”; 20 x 20”

Patrick Burns Bilateral Silhouette-082012C, 2012 India ink, polymer, acrylic on panel 14 x 11�

Daniel Giordano (i) Study for Brother (Biped), 2016 Glazed ceramics, cast aluminum, marzipan, Orange Tang, epoxy resin, artificial teeth 22 x 12 x 16�

(ii) Cannoli, 2017 Glazed ceramics, Orange Tang, epoxy resin, wire, dust 14 x 6 x 4.5�

Cat Glennon Untitled, 2016 Silver gelatin print 22 x 27.5�

CJ Greenhill Caldera (i) Ex-voto para mi Mami, 2015 Oil and collage on repurposed wood 48 x 72”

(ii) Suculentas, 2016 Oil on acrylic on canvas 48 x 60”

Nick Hasko Cyanotype in Eb, 2017 Cyanotype on linen 5 x 7�

Ricardo Jean (i) Unmateables, 2017 (ii) Socioeconomics Caricature, 2017 (iii) A Night on the Town Caricature, 2017 (iv) And What is it that You’re Offering?, 2017 (v) Makeup Sorcery Caricature, 2017 (vi) Cave of Introspection Caricature, 2017 (vii) Political Correctness Police Caricature, 2017 (viii) “No” is a Complete Sentence Caricature, 2017 (ix) “Toxic Masculinity” Caricature, 2017 (x) Constructing the Pedestal (Lookism Caricature), 2017 Prismacolor Markers & Pencils and Micron Pen on Marker Paper 16 x 12 ; 12 x 16”

James Jones (i) Death of Saradanapalus, 2017 (ii) May to fucking June, 2017 (iii) David Hammons, 2017 Acrylic on paper 39 x 38.5”; 42 x 40.5”; 42 x 42”

Aaron Koehn Sink, 2017 Acrylic on canvas 28.5 x 23.75”

Barrett Langlinais Untitled, 2017 Watercolor pencil on paper 12 x 9�

Danny Licul SIBLING RIVALRY, 2016 Oil on canvas 24 x 18”

Danny Licul is a painter living and working in New York City. His work has been exhibited at the 2017 Spring Break Art Show, Owen James Gallery (Greenpoint), Gallery SENSEI (LES), Bull and Ram Gallery (Bushwick), UMass (Amherst), White Box Gallery (NY), The National Museum and Art Gallery (Trinidad), The Wall Street Journal Lobby Gallery (NY), Center for Book Arts (NY), Sara Meltzer Gallery (NY) and Kasia Kay Art Projects Gallery (Chicago). He has been awarded an LMCC Swing Space, a residencey at The Herzliya Center for the Creative Arts (Israel), the Elias Friedenshon Memorial Art Award and the Yale Summer School of Art Fellowship. Articles featuring his work have appeared in “W The New York Art World” and “NYArts Magazine.”

Licul attended Pratt, SUNY Purchase and Queens College, from which he received a B.F.A.

Matt Miller Magnifying and Dissecting the Aspects of a Muppet, 2009 Paint and melted polystyrene on board 24 x 18 x 5.5�

Following my graduation from Michigan State

After a few weeks at Pratt, I noticed some

University, I secured a studio near my parents’

paint on a piece of foam that had been struck

home in West Michigan. It was there that I

with some solvent. What I observed changed

began considering how to create new surfaces

everything. What I saw was a mark that

to paint on. I remembered a printing project

resisted the solvent and also absorbed it. The

my friend Justin Smith had done where he

mark stood but was twisted and bent, and

melted styrofoam and used the marked foam

previously latent brush marks had surfaced

to pull prints. I was also reminded of all the

and were entirely visible. The negative space

styrofoam cups and packaging I had melted

receded dramatically, placing moments within

with my mother’s nail polish remover in our

the marks on their own pedestals within the

driveway as a kid. It was fun and fascinating

whole image. This breakthrough led and is

just watching them collapse and disintegrate.

leading to further development and innovation

My first work using polystyrene mainly used

that I both isolate and combine to create my

the unorthodox material to create a surface to

work. I rarely throw any unfinished work away

paint on. The result was a pock mark scarred

even If I am not happy with it at the moment

ground. These qualities were a result of

that I make it. I know from experience that

addition of solvent to the polystyrene. It was at

there is a good chance something or some part

this point that I realized I had started to build

of something I have begun will be integrated

a method of abstraction into my art making

into another artwork. This could manifest itself

processes. Soon after my experimentation

in the form of a whole painting becoming an

at home, I began my MFA program at Pratt.

underpainting or as a piece being cut out from

Following the first couple of intriguing results, I

the old work and grafted into the new.

decided to focus on the material and see what I could discover and where it could be pushed.

Vera Naughton (i) Kitchen Sink, 2016 (ii) Juicy, 2016 (iii) Key to my heart, 2016 (iv) Button up, 2016 (v) Mother of all pearls, 2016 Rubber and metal; Plastic and string; Plastic keys and glass beads; Vintage buttons and silk knit rope; Mother of pearl buttons and sterling closure 10 x 10�

Jason Osborne (i) The Raddest Finish Line, 2017 (ii) Studies Show no. 2, 2017 Acrylic, Balloons, Rose Petals, Collage on Birch Panel 20 x 16”; 10 x 8”

Alexa Perlstein (i) Intertwined, 2017 (ii) Reflections, 2013 (i) Acrylic on canvas (ii) Colored pencils on black paper 12 x 16�

Robert Peterson (i) Citrus bowl, 2017 Grogged brown clay with shino glaze 3.25H x 7.7”Dia.

(ii) Pasta bowl, 2017 Grogged brown clay with shino glaze 2.75H x 5.5”Dia

(iii) Rice bowl, 2017 Brooklyn red clay with matte rutile glaze 2.5H x 5”Dia

James Reeder (i-iv) Untitled photographic objects no.51, 54, 59, and 60 2016-2017 Gelatin silver prints 11 x 14�

Daniella Rosa After Claude Monet: Bathers at La Grenouillère, 1869, 2011 Acrylic on paper 12 x 8.75”

Ryan Russo Untitled (from the Constructivist series), 2011 Collage and ink on paper 22 x 30�

Jack Ryan Untitled, 2017 Gouache on cardboard 6 x 4�

Pablo Serrano Quiebrasoles, 2017 Translucent resin 39.5 x 11.5 x 2.25� combined, 11.5 x 11.5 x 2.25� individual

Kimberly Sørensen Table runner, 2017 Linen warp, alpaca/silk/linen weft hand-dyed with natural indigo 43 x 12.5�

Thomas Spoerndle Pareidolic/Surrogate: Foursquare/Introverted, 2016 Acrylic, Enamel, Graphite and Thread on Cut Canvas 44 x 40�

Thomas Spoerndle is an artist residing in New York City.

He received his MFA from Hunter College in 2010 and his BFA from the Cleveland Institute of Art in 2007. His work explores abstraction through painting, drawing, printmaking and installation. To learn more, please visit thomasspoendle.com.

Paul Steffens Not Now: 25 Drawings I Made at Work, 2017 Ink on paper 8.5 x 11�

Carolina Swan (i) La Llorona, 2013 (ii) La Virgen De Guadalupe, 2013 Gouache 11 x 15”; 10 x 8”

As I’ve gotten older, I get more interested in my Latin roots. My parents are both Mexican which makes me 100% Mexican and first generation American. Born in NY but being raised in southern California, I was around the culture for grade school. And we would spend summers in Mexico. I am one of five kids and we grew up hearing horror stories of La Llorona. La Llorona is a folktale of a woman who drowned her children and her ghost scours the land taking other children. The famous cries are a sure sign that she was not far and that you were in danger. I was recently in Mexico City and the story still lives on and still runs chills up my spine. And it doesn’t get more Mexican then a Day of the Dead (Dia De Los Muertos) version of Our Lady of Guadalupe (La Virgen de Guadalupe). I love that in Mexican culture the dead are celebrated and remembered during this holiday. My mom still creates an altar for those who have passed. She leaves their favorite foods and maybe a small shot glass of tequila for my grandpa. It is said that this is when the dead are able to come and take enjoyment of their old favorites for just that one night.

Oliver Lee Terry Cilantro Tacoma, 2017 Watercolor on cilantro paper 9 x 12�

Jon Thies (i) Albers 23, 2017 (ii) Artforum, 2016 (i) Framed print with basketball hoop (ii) Framed photograph (i) 28 x 27” (ii) 20 x 20”

That Was Then - This Is Now

Jeff Velazquez Two Works: (i) Perdition, circa 2000; (ii) Divination, 2016 (i) oil enamel, permanent marker, heart-shaped stickers on found wood. (ii) ink, crayon, pencil on paper (i) wood 30 x 30 1/ 4 in. frame 32 1/8 x 32 1/8 in. (ii) paper 22 1/2 x 30 in. frame 28 1/ 4 x 35 5/8 in. (ii) signed upper left

Miko Veldkamp There are wild turkeys, skunk, deer and ticks.

The turkeys eat the ticks, but people more worried about the skunk. Feral cats keep the mice away. (Martha’s Vineyard Landscape), 2015 Oil on canvas 24 x 18�

Miko Veldkamp (1982, Paramaribo, SR) is a Dutch artist based in New York. He shifted his practice from video and sculpture to painting in 2010 and has since shown his work at the Rijksakademie van Beeldende Kunsten in Amsterdam, the Lewis Center for the Arts at Princeton University and Poppositions in Brussels. He moved to the United States 2014, living first in Princeton, NJ and then in Baltimore, MD, before moving to New York City in 2016.

Theo Willis Red Flags (Excerpt: June 2017: Day 753-782), 2017 Canvas, Dye, Nails 29 x 39.25�

Painting.

Photography.

Drawing.

New Media.

Sculpture New York.

Staff Show.

Enquiries Eleonora Leo +1 212 940 1249 eleo@phillips.com

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