Africa Theme Sale NY by Phillips de Pury & Co.

15 may 2010 new york

lot 61. yinka shonibare (detail)

lot 92. peter eastman (detail)

lot 11. chĂŠri chĂŠrin (detail)

lot 31. seydou ke誰ta (detail)

contentS

Simon de pury

Inspired by AFRICA, the Chairman’s letter ...page 11

yinka SHonibare, mbe

Inside the technicolor dreamworld of the London-based artist ...page 12

monique barbier-mueller

Entering the world of an adventurous collector and lover of Africa ...page 18

radio etHiopia

Africa’s transcultural influences ...page 30

youSSef nabil

Self-portrait of an Egyptian photographer ...page 38

weSt africa’S muSical Heartbeat From Afroblues in Bamako to Afrobeat in New York ...page 46

Jakob boeSkov

From Denmark to Nigeria, art house meets action in Nollywood ...page 50

Contents

teCo benson

The view from a Nollywood director’s chair ...page 54

kendell geers

The South African artist looks at African contemporary art ...page 56

objeCt lesson

The driving influence on Lot 55 ...page 60

news

What’s happening in the international art world ...page 62

1pm: afriCa Lots 1 – 233 ...page 66

buyers guide

How to buy and whom to contact at Phillips de Pury ...page 238

AFRICA is a continent that has totally fascinated me ever since I was a child. Through my friends Jean-Paul and Monique Barbier-Mueller and their extensive program of publications and exhibitions at the Musée Barbier-Mueller and at major institutions around the world, I was later introduced to the power and beauty of African art. Three trips to Mali with Monique Barbier-Mueller then initiated me completely to the magic appeal of AFRICA. A boat trip on the Niger from Mopti to Niafunké to visit the music legend Ali Farka Touré, several visits to the photography studio of Malik Sidibé, the architectural beauty of Djenné or the Dogon villages, all confronted me with the raw force and artistic genius of Africa. It is that total originality that has been such a strong inspiration for countless artists of the 20th century. It is only through exhibitions such as the pioneering show staged by Jean-Hubert Martin at the Centre Pompidou in 1989, that a western audience began to focus on the great intrinsic quality of contemporary African art. Jean Pigozzi was the first to recognize its immense importance and started to build then what today unquestionably is the greatest and most comprehensive collection of its kind. We wanted this auction to put the spotlight on the great art being done today in Africa but also art from America, Europe and around the world that uses Africa as inspiration. Amongst them a generation of outstanding African American artists that mix some African influences with influences from America and other parts of the world have become one of the most interesting and novel elements in the international contemporary art world. It is my hope the contents of this auction will be like the haunting music of Salif Keita, a homage to AFRICA.

SIMON de PURY ChaIRMaN, PhIllIPS de PURY & COMPaNY

Yinka Shonibare photographed in his east London studio on March 19, 2010

yinka shonibare Mbe insider /outsider words charles darwent | PhotograPhs shane deegan

«getting the Mbe was funny. it’s a staMp of approval froM the establishMent for soMeone who critiques the establishMent. i Mean, it was kind of a joke, but also not»

«i’M happy to be recognized as african and as british. they’re both true, and both sides show Me»

and to its dodgy colonial past.The Victory’s victory wasn’t just military, it was imperial. as shonibare says, ‘The Battle of Trafalgar gave the British control of the seas, control gave them the freedom to trade and trade built them an empire.’ you can, at least in part, thank Nelson for the multiculturalism of london. ditto for shonibare’s presence there: he is a Member of the British Empire in more ways than one. But Nelson’s Ship in a Bottle will not be just about history. ‘It’s about visual effect,’ its creator says. ‘art has to do something more than just state facts. The size and beauty of the work, those sails – it’s so surreal, it will stop you in your tracks. The ordinary tourist from Japan won’t know anything about Nelson, but he will know about color and scale.’

I would say, from bitter experience, that it is better not to visit yinka shonibare’s studio with a hangover. It’s not just that the place is livelier than a bag of crickets – sassy assistants, backto-back phone calls, urban love Radio pumping out something with the approximate beat of a pneumatic drill. It is that the studio, on a dingy East london canal, is a cultural battlefield. as I sit on a sofa praying for early death, I am assailed by culture, or cultures. From the ceiling hangs a stuffed owl, its pose copied from a Goya Capricho; its mate sits, wide-eyed, on a table across the room. There are models after Fragonard, photographic tableaux from arthur Miller via dante via doré, dutch-Ghanaian waxprint cloth bought in Brixton, books on trade routes, human geography, Ingres, Michelangelo, Jean-Michel Basquiat. Photographers with tattooed fingers point their cameras at the far end of the room, the only quiet spot in the place. There, standing against a wall and patiently enduring, is yinka shonibare MBE. ThIRTy yEaRs aGo, shonibare, then a student at wimbledon College of art, was hit by a spinal infection called transverse myelitis. Now rising 48, he walks with effort – there is an electric wheelchair in the corner – and has partial use of his hands. The effects of this are twofold. on the one side, his evident disability makes him frail. on the other, it lends shonibare a courtly quality, an air of subdued power. In the turning world of his studio, he is the sole still point. ‘yinka’s just reading about sex right now,’ says a chipper american assistant; and, indeed, he is thumbing through ‘sEX’, a previous number of this catalogue, with its sticky-red cover. he looks at me with lidded eyes and quietly guffaws. The last time we’d met was at the Musée du quai Branly in Paris, three years before. shonibare’s show, called Jardin d’amour, was about to open in a temporary exhibition space there. This in itself was interesting. The Quai Branly is an ethnographic museum, devoted to what the French call art premier – difficult to translate, but roughly embracing work made by traditional, non-western societies, often without a written language. which is to say that art premier is not a hundred miles from art primitif, or primitive art. It seemed an odd context in which to find shonibare, who was born in london to highlyeducated Nigerian parents (his father was a lawyer), went to a British public school and, after wimbledon, did an Ma in Fine art at Goldsmiths. and then, of course, there is the famous MBE – a British order of chivalry presented to him by hRh The Prince of wales at Buckingham Palace in 2005 – the letters of which the artist invariably appends to his name. Even if you persist in seeing shonibare as Nigerian, the categorization

remains vexed. Can the work of the Natural synthesis artists of 1960s lagos – uche okeke, say – be described in any useful sense as art premier? and yet the tendency to ethnographize them, and shonibare, goes on. when his mid-career retrospective toured to the smithsonian in washington, d.C., recently, it was shown not at the hirshhorn, but in the National Museum of african art. shonibare ponders all this calmly and says, ‘I think they’re starting to acknowledge now that african artists are part of the global conversation, so the whole ethnographic thing doesn’t really apply. an african artist living in london or New york is thinking about the same issues as any other artist in those cities, issues of identity. after all, it was a Nigerian, okwui Enwezor, who curated documenta in 2002. It’s no longer news. I’m happy to be recognized as african and as British. They’re both true, and both sides show me.’ he pauses, then goes on. ‘The exhibitions I and other african artists of my generation get invited to, those exhibitions are more and more international. The idea of an african artist being somehow not in the mainstream was true ten years ago. Now, we expect to be treated in the same way as anyone else.’ and yet, in shonibare’s own case, not quite. when a show called afro-Modern – an exploration of what might broadly be called Black Modernism – opened at Tate liverpool in January, his work was conspicuously absent. If he and/or his art are too african for some tastes, they are clearly not african enough for others. when I ask why he wasn’t in afro-Modern, shonibare, serene below a shock of rugged hair, shrugs slightly and says, ‘I wasn’t actually asked, and I don’t necessarily care. It’s good not always to be pigeonholed. I’ve done different kinds of projects, from africa Remix at the hayward to the Turner Prize, the National Gallery, the louvre. It’s all been in different contexts. and I’ve got a lot on.’ well, yes. somewhere in the maelstrom of his studio is a blackboard chalked with a list of the projects on which he is presently working: among these, shows at the Royal academy and National Galleries of Berlin and Monaco in June, the Israel Museum in July and major galleries in Madrid and (maybe) Boston and Cape Town next year. of more immediate interest to londoners is his installation for Trafalgar square’s Fourth Plinth, due to be unveiled in May this year. Called Nelson’s Ship in a Bottle, this will, as its name suggests, comprise a bottle over 16 feet long, with an appropriately-sized model of hMs Victory inside, the latter rigged out in sails of shonibare’s trademark Ghanaian wax-print cloth. It says something for his art that his will be the first Fourth Plinth commission directly to address the historical meaning of its site, Trafalgar square’s role as a trumpet for Britain’s one-time naval glory. 17

aNd ThEN, oF course, there is the million-dollar question asked of all ships in bottles: how was it made? shonibare smiles a slow, deceptive smile. ‘I’ve no idea,’ he says, grunting. By modelbuilders prodding in unglued bits of hull with sticks and pulling the sails aloft with string? (smile.) ‘I’ve no idea.’ The bottle was made in Rome. Is the piece still there? ‘It’s somewhere, resting.’ so that’s that, then. which is as it should be. The point of ships in bottles is that they raise more questions than they answer; likewise history. The story of the Victory is both good and bad, English and african, true and false. like Nelson’s Ship in a Bottle – like shonibare himself at this moment – it is endlessly evasive. The power of his work has always lain in its apparent ease and actual difficulty. his trademark batiks are african by tradition, but the method of their making was brought to Ghana by the dutch and the fabrics themselves were, until relatively recently, woven in holland. Now they are more likely to be made in China; shonibare buys them from Brixton Market in south london. If his message in a bottle tells us one thing (and it doesn’t), it is that it isn’t easy to read messages in bottles. shonibare recently turned the floor below his studio into an art venue called Project space. There is a box on the door where anyone – ‘curators, writers, artists’ – can post ideas for shows, and, if they are lucky, be given them for free. ‘we had 30 ideas in the box last time, and quite good ones, too,’ he says. ‘It’s a way of me keeping in touch with the world, with what’s going on.’ Invitees to the latest opening night are arriving, and the already frenetic studio gets busier. as I rise to go, yinka shonibare MBE says, à propos de bottes, ‘yeah, getting the honor was funny. It’s a stamp of approval from the Establishment for someone who critiques the Establishment. I mean, it was kind of a joke, but also not?’ Then he grins a big-kid grin. ‘I’m an outsider who wants to be on the inside, but also an insider who wants to be on the outside. I live those contradictions within myself, within my identity. I want the trappings of acceptance while loathing them at the same time. It’s all there in my work.’ n Nelson’s Ship in a Bottle will be on the Fourth Plinth in Trafalgar Square, London, for two years from May 24th, 2010; www.london.gov.uk/fourthplinth

monique barbier-mueller an intrepid enthusiast words karen wright | PhotograPhs dominik Butzmann

Monique Barbier-Mueller photographed with her collection, Geneva, March 12, 2010

it is A strange story to hear while sitting in the genteel, elegantly furnished living room of Monique’s house in Geneva, yet not totally surprising, as we are surrounded by astonishing – no, let’s admit it, shocking – art. shocking not because of its date, 1906, or its context, not because of its quality, which 20

sidibé portrait Les Musées Barbier-Mueller

have to smother it but how, with what?they had little cushions but they were plastic and would melt. here we were, the two stupid white men not knowing how to help ourselves, and during this time the men took the cushions, put them in the water and the whole thing was over.’ After, i thought, “how did it happen?” Well, you know, Malick was asleep when i was telling the others about what should not be done and, when he woke up, he felt hungry and he wanted his meal to be heated up. When an old man asks for something you don’t tell him that he should not do it, you just make it. that is how it happened. We almost exploded. nevertheless, at last we arrived safely at our destination.’ it was then that Monique learned about the danger from the hippopotami. ‘they asked, “Did you see the hippopotamus?”,’ she recalls. ‘When you have a lady hippopotamus who has children, she is scared something might happen to them so she comes to you and she just gets on you and she can take you to the bottom and can stay there a few minutes, sufficiently for you to stop breathing. this was the thing which was really dangerous because the crocodiles were small and they have to be hungry to attack.’ i ask gently whether Ali Farka touré’s music was worth it when they got there. ‘Yes, of course!’ she says. ‘We realized later on we could have gone by road, which was much faster and much safer, but they didn’t tell us; they wanted to make it a special trip. We spent the night, which was amazing because they were a little surprised by those two white people who came and wanted to have a meeting with Ali Farka touré; he was a very grand seigneur. he seemed to be such a gentleman, you know. he decided that he was going to reward us and decided he was going to give us one of his goats.’ ‘he showed it to us and from that moment on – i don’t know how this poor animal understood what was going to happen to it – it never stopped making a noise all the time. it was at last quiet; we thought, “Wonderful”, but no, here it came again. When we went on this excursion we didn’t know exactly what to expect; we didn’t know how famous Ali Farke touré was. he was really quite a lord in this place. he had installed pumps and he was watering a lot of fields; he was producing rice and things, bringing welfare to i don’t know how many villagers. he was a great man.’

‘Phish! it’s not the crocodiles that are dangerous it is the hippopotami – they drag you down to the bottom and sit on you.’ With this surprising statement, Monique Barbier-Mueller lays to rest a hair-raising story i had heard from simon de Pury prior to meeting her. Monique tells me that the whole incident happened when she and simon were in Mali. ‘one day i heard about a man called Ali Farka touré [the legendary Malian musician]. i wondered where he was and, like everything in Africa, you ask somebody who is a good African and he tells you he knows him. “Do you know where he lives?” “Yes, i do.” “Can you tell me where it is?” “Yes i can.” “is it far from here?” “not too far.” i decided we had to go there, so we arranged the trip. At the time, it was still a little complicated because we didn’t have mobiles and the telephone wasn’t working very well; it was difficult to arrange something. nevertheless, we came to an agreement and one day, there we were, off to meet Ali Farka touré. We were the only two white people on this boat with a group of people who were there to help it move, as well as the cook and the guide, and i had also taken a photographer called Malick sidibé. We were going between two very slippery banks; you realized you wouldn’t be able to walk up if you had to do so, off the river. there were some crocodiles there, small ones, but they were there, very quiet. ‘At one moment there was a discussion in the front of the boat and i wondered what had happened because i did not understand what they were saying. they told me that they had a problem with the gas, which had been spilt. i said, “Alright, we still have enough to get to where we are going?” ‘“Yes, we have enough.” ‘But i had been on a long trip before, two weeks with a man on a boat, and i knew that sometimes it burns easily, explodes and so on, and so i said, remembering my experience – you know, they would always propose a little coffee or something – i said, “From now on no more coffee, no more tea, we don’t cook, we don’t even heat up anything. You understand what i said? Everybody knows French, everybody understands what i said?” Alright. i felt fine. ‘We were going on a little like that and at this moment simon came from the back of the boat and at the same time, whoosh, a flame! i thought, “Good heavens, what shall we do?” simon said we have to put water on it. i said, “no, no water.” i knew you should not use water in some cases. You

Monique Barbier-Mueller photographed by Malick Sidibe

exhibitions abroad two or three years ago and the exhibition in Paris was a big success,’ she says, ‘because people realized after all how avant-garde this man was. I was surprised myself, because it was shown in the Musée d’Orsay; when you came from the dark walls of the Musée d’Orsay with these brownish paintings of the Romantic time and you came to this man who was a contemporary and who was so much more advanced and bold, I understand why people were shocked. And now he is in our time, but this was painted a hundred years ago. It’s unbelievable. So it’s a good example of how artists open the world for our eyes.’

is undisputed – but because of its content. The triptych-cum-frieze surrounding the sofa on which I am perched is Love by Ferdinand Hodler (1853– 1918), the Swiss painter best known for his bucolic landscapes and often formal portraits. Love consists of naked couples caught in the act of seduction. Monique points out that they are the three ages of man – very young, middle-aged and elderly – but all the figures look sinuous and sensual in their heightened color and the attenuated forms, not unlike those in Egon Schiele’s paintings. The works were collected by Monique’s father Josef Mueller. Monique smiles at my surprise at their impact. ‘Hodler had 21

Josef Mueller in his storeroom

«My father was one of the few people I know who are to understand how It Is constructed, what It

JoSef ContInued to collect in Switzerland until the depression of 1929 forced him to move to Paris, where he began a new collection of african art and Pre-Columbian works (art made in central and South america and the Caribbean before the arrival of european colonizers). In Paris, Monique says, ‘he started to roam around, especially in the galleries and in the [northern Parisian flea market] Marché aux Puces, you know the famous one, and after a while he became known there, so that people would put aside pieces of primitive art he might find interesting.’ It was around this time that Monique would be allowed by her father to choose something to look at, to follow in her father’s footsteps, and learn the history of an object not just through its appearance but by its tactile qualities. ‘I could take in my hands whatever I felt interested in,’ she says, ‘and this way learn by contact, by touching the object, what they meant, how much weight they have, what kind of polish they have, the way they have been carved, whether they are heavy or not. I have learnt to read with my eyes but I had the experience of the hand and this is something which I think

Josef Mueller portrait courtesy les Musées Barbier-Mueller

says. ‘fog is immaterial; it is very daring for an artist to do that, but I think it is a beautiful painting and I like it very much and I bought it. I usually do not buy [Vallotton] since my father had bought many of them, but he was more interested by the models and I needed to have some landscapes. I think it is very funny because Vallotton was a great landscape painter but he also invented landscape, visionary landscape which has very little to do with nature. I was very fascinated by those things; I bought two such landscapes because I simply could not make a choice.’ I point out that this is the sign of a true collector. I like the geometric simplicity of these works that Monique has chosen with their diaphanous light. In this room, I feel the spirit of three collectors, each with a discernible taste. Yet the collection remains harmonious. we resettle in the Hodler room and Monique continues to talk about her father. ‘My father was an engineer, an engineer who hated it. He was, on the contrary, very receptive to what art tells you; he would understand. He was one of the few people I know who are able, in front of something they don’t know anything of, to understand how it is constructed, what it means, why it is original, the way it is authentic. He felt this very strongly and he didn’t need to have this background of erudition that most people try to have.’

Before wetalk further about her collection, Monique takes me next door into one of the interlinked reception rooms. ‘Here is the first picture my father purchased,’ she says, pointing to a portrait of a young girl by another Swiss artist, Cuno amiet (1868–1961). Saying, my father, ‘was very much against buying it at first, because he felt that being a young man of twenty and having no wife, no apartment and no usual surrounding for it, just having a painting, was absolutely ridiculous. But he had his two sisters who felt also that this was a beautiful painting and they insisted that he should buy it, so he did and this was the beginning of the collection.’ In fact, all the works in this room are by the same artist. Monique points out the portrait of the artist’s wife, anna luder, who is wearing a stylish chapeau and then one of a family scene in which members of the artist’s milieu are all captured on one of their regular Sunday lunches. Monique recalls that her family and others would visit amiet on Sundays. ‘It was a kind of ritual,’ she says. ‘You would look a little at the new paintings and then sit at a long table, and they would bring the special bread they make on Sundays, which is plaited together to make a braid. You had this beautiful bread and a large piece of butter which came right from the farm, and coffee and milk, and it was absolutely wonderful.’ In the third of these reception rooms is a collection of works by félix Vallotton (1865–1925), another of the artists her father collected in depth. Monique points out that in the works containing figures, the model often stands with their back to the artist. ‘My father bought this, which is considered a masterpiece here,’ she says of one painting, ‘but it is a representation of the wife of Vallotton, who was a young woman from the wildenstein family, and as such a very elegant person of the Parisian crowd. Vallotton was somebody who was much more difficult to live with probably, and also for himself he was probably not very easy. I think this is typical; you can really read this from this painting here. when a painter makes a woman like that you realize that he is a painter, of course, but he certainly doesn’t have an easy way of looking at the flesh. It’s not very sensuous.’ She points at two still lifes. ‘those belonged to my aunt,’ she says, ‘the rest are from my father.’ Monique then gestures to two landscapes on the end wall. ‘I bought those last year,’ she says. ‘I like this kind of romantic landscape.’ the paintings contain ambiguous worlds, almost dreamscapes, with no specific landmarks. I say to Monique that it could be anywhere, and she agrees. ‘It is seldom that you see painting where they try to show fog,’ she

able, In front of soMethIng they don’t know anythIng of, Means, why It Is orIgInal, the way It Is authentIc» He said, “It’s going to be alright; that’s what it should be.” He had asked her to come with several dresses he might choose one of, and one was a kind of ball dress in pink satin. He decided on that one… She was a woman full of initiative; she was a good skater, she climbed all the very high summits of the Alps, spending a night in the huts in the cold, things which were not so usual in her time. She had no mother or father to tell her not to do so and she felt like going. She amassed an extraordinary collection which stopped, as it happens many times with women, the moment she married.’ Later, when I look into Hodler, I discover that Gertrud’s photographs chronicling the artist and his family were shown at the Musée d’Orsay’s 2007 exhibition of the Swiss artist’s work, indicating that Gertrud was an early woman photographer as well.

most people miss nowadays.’ Josef Mueller’s collection of African, Pre-Columbian, and other archeological objects quickly became one of the leading private collections of work of this nature, and now a museum in Barcelona holds the PreColombian collection on long loan from Monique and her family. For her, growing up around these extraordinary and evocative items was a natural, daily experience. ‘I developed the habit of having an affinity with many cultures other than my own,’ she says, ‘and I had a feeling this was so normal that I expected everyone to live in the same conditions.’ Sitting in the living room, Monique points to a portrait of her aunt, Gertrud Dubi-Müller, who I sense was very important to her. ‘She was a great collector,’ Monique says. I comment on Gertrud’s beauty. ‘Yes, she is beautiful,’ Monique responds. ‘She is bold. She is not someone who is going to wait for things to happen.’ She admits that she and Gertrud did not get along when she was a child. ‘I was not an easy child, I realize nowadays,’ she says, ‘but I admire her now very much because in her time when she was – as my father was – an orphan, she really made the best of it. She was a great sport. She was the first woman to drive a car in [the Muellers’ Swiss home town] Solothurn and to drive a car meant that you would come to Geneva in this particular case, because there was a car manufacturer called Picard-Pictet, so the cars were called Pic-Pic [1906–24] and they, of course, were custom-made. So you would stay in Geneva at a certain time because people would teach you how to drive. She stayed some weeks in there because of that, and also because they would ask if you preferred to have the door which opens this way or that way, if you wanted the steering wheel to be higher or lower. Since she had to stay, she decided to make the best of this time and she went to visit Hodler, who was living here, and had him make her portrait – not that one,’ she gestures at the painting in the room, ‘the portrait which was made was a large one, and is in the museum in Solothurn [Portrait of Gertrud Müller (1911)]. My aunt used to speak about this portrait because she was somebody who knew what she wanted. She was not somebody who showed off, she was more in the quiet way. So she went there and she was appalled, because Hodler first took one canvas out which was about that size (she measures with her hands) and said it was too small. He took a larger one: no, that was too small. Larger and larger, and in the end it was something like that (she gestures with her hands wide apart) and she felt it was too much.

I ASk MOnIque when she first realized that she was a collector in her own right, and she laughs. ‘I never thought of collecting. As a matter of fact I never considered myself a collector. I didn’t collect as long as I had no personal money, which I think was fair, because Jean Paul [Barbier, her husband] was working a lot and he had this other frenzy of collecting primitive art, and I let him do so because he did it well. He was keeping up the standard of living for me and my children and I thought he should have his own way. But I started to collect when my father died, after 1977. I bought one or two little things but very little. I said I am not a collector but what I have been able to achieve, I realize now, has been very inspired by this house.’ While Swiss artists like Hodler, Vallotton, and Amiet were clearly dear to her father’s heart, arguably the greatest Swiss artist of the twentieth century also features in the collection. ‘This is my father by Giacometti,’ she says. I comment on its similarity to another portrait of her father by Hodler which Monique had shown me earlier, and she says she will show me another portrait. ‘My father was [Giacometti’s] first customer. He knew him already as a child since he knew Giovanni, the father. I showed you the painting from the father. He made this portrait of my father. He made the other one I showed you afterwards by memory and he didn’t dare to show it first because it was a little offensive. And then later on my father discovered it and liked it and bought it nevertheless.’ When I return to Switzerland to oversee the photo shoot, Monique takes me to lunch in a local restaurant. While we are eating, I notice how

ÂŤgiacometti leant over and said,â&#x20AC;&#x153;mademoiselle, you have that i can only watch your hands, and i

to stop talkinG with your hands, they are so beautiful can not listen to what you are sayinG”» She recalls, smilingly, that he was not easy to buy from, and that he only sold her the large work in the hallway when he realized that he was not going to finish the set of twelve he had envisaged. ‘It is funny because you know how it is with artists; people think that they are begging you to buy a thing and they pursue you to buy things; I was the one who was trying to get the thing and I was trying hard. He had made a series of such larger compositions which he wanted to be exhibited as a kind of alley on both sides. They were philosophers, he had decided.’ I mention the African quality that struck me when I first saw the work. ‘It is very rough, yes,’ she replies. ‘He was very pleased that I wanted that. He told me it was rather savage, and he liked that I liked it.’ I ask about Andy Warhol given that she mentions him. She says she was disappointed that she only met him late in life when he came to Geneva and invited people to come and sit for portraits. She recalls the encounter almost with a shudder. ‘He chose to be in a room with a plate glass window on the street,’ she says. ‘He did not like my high-necked jumper so told me to take it off. I draped a shawl around the neckline but it was loose. I met him several times after that but I never had a conversation with him about this portrait. Since he died, we bought the portrait nevertheless.’ A more recent purchase was the Yinka Shonibare sculpture which sits in the front reception room. Monique mentions the 'extraordinary' exhibition of the British sculptor’s work at the Quai de Branly in Paris in 2007. ‘It was marvelous because it was also very ambiguous, it was funny to see. He was taking as a model those beautiful scenes by Fragonard, which had been remade. It was absolutely charming and at the same time it had this incredible chorus from the African textiles, although they are not African, as you know. They are made for Africans and you can’t find them otherwise. It’s a relationship between the Netherlands and Africa and that’s it. It’s very pretty, because I think it’s very modest and very simple but it makes the point completely.’ I ask whether it was her father who inspired her interest in Africa. ‘I simply had all those African things around me,’ she replies. ‘This is a little odd. My parents split up and my mother married again to a man from the West Indies, so this was not exactly Africa…’ She remembers going to the Bal Nègre in Paris and listening to the music. ‘I realize it is something which I kept in my bones in a way – the smells, a certain way of walking, of having

beautiful her hands are, and she laughs. ‘You are not the first to say that,’ she says. ‘When I was young I went to Brasserie Lipp in Paris with my father and Alberto [Giacometti] came in to the restaurant. I was talking, and he leant over and said, “Monique, you have to stop talking with your hands, they are so beautiful that I can only watch your hands, and I can not listen to what you are saying”.’ As we walk around, she points out the work of several other Swiss artists whose work she has collected, ranging from Hans Berger to Helmut Federle, and she comments on the breadth of artists the country has produced, from Uwe Witte to Urs Fischer. I chime in with Fischli and Weiss and Not Vital. ‘We have so many people who are different and each one is really going his own way. This is quite extraordinary for such a small country. You know, we Swiss are at a cross-point of cultures; we are open, I think, to a little of everything. I am very proud of them. I don’t have to defend them, but I stand for them. Sometimes when I speak with other people – I am on the international council of MoMA – they say I am chauvinistic about Swiss artists. I say I am not chauvinistic, but if I don’t speak for them, nobody does. They do not have many people to speak about them.’ THere IS A large rugged work in the hallway that looks like it could be African, which I am surprised to hear is by Jean Tinguely. ‘Tinguely was capable of many things,’ she replies. The Swiss kinetic master is one of the artists of Monique has collected in depth. One important piece – a late work, made after Tinguely had been very ill – is in a small room off the living room. ‘He thought he would die and when he didn’t, he made this work based on the Grünewald altarpiece in Colmar. The triptych is made of oxidized panels which he did like Warhol did – had a party and invited people to piss on the steel, and he brought the skulls from someone, you could get them in those days. He installed it and the noise and shadows that the skulls cast on the walls and ceiling are all an integral part of the work. I bought it on the basis that I would lend it to any shows he had, but luckily there were not many as it is really difficult to take apart and reassemble.’ Monique had a long term friendship with Tinguely, including much written correspondence. Tinguely’s letters are notoriously difficult to decipher, as they feature complex symbols relating to experiences or artworks.

«[ANDY WARHOL] CHOSE TO BE IN A ROOM WITH A PLATE GLASS WINDOW ON THE STREET. HE DID NOT LIKE MY HIGH-NECKED JUMPER SO TOLD ME TO TAKE IT OFF. I NEVER GOT TO MEET HIM AGAIN AND HAVE A CONVERSATION WITH HIM. WE DID BUY THE PORTRAIT IN THE END» Monique Barbier-Mueller photographed by Andy Warhol

I ASK WHEN she first met Malick Sidibé, her friend who featured in her hairraising story. ‘Malick has been a long-time friend of mine, and whenever I went to Mali I would go, when I was still looking fresh at the beginning of the trip, and have myself photographed. He gives me the negatives so I can have them developed here, in a good place, because he doesn’t like the way it can be done in Africa, and then we send them back to him. He keeps his production in very good order but many people come and don’t send him back the negatives. Anyway, we have been friends for a long time. We had this experience on the boat. He is an artist and a poet, but he is a little crazy. Last year I went to Africa and found out there was a little plane I could rent to make it a little easier for him and for me to fly from [Malian capital] Bamako to Mopti and from there go to [historic Malian town] Djenné, where there is an embroiderer, who is a fine man who has been developing his trade very well. When I knew him first, twenty years ago, he was just making some bubus for men and now he has made me many dresses. I told him to make them a little more simple, you know, with just a little embroidery and ready-made so that a woman could just pass by, buy one and wear it. He had never thought of that, and it has become a success – he is doing well and now he has some assistants who learn the trade. I am very happy about it. I had this idea I wanted to make a small report on him, to ask him how the whole thing had happened, and so on. I thought it would be nice to try to do the interview and have Malick take the photographs. So I bring Malick films from Paris and off we go to Mopti and Djenné and during the trip Malick takes a lot of pictures of the clouds. Why not? But the result was he had only a few left and he had left all the films in Bamako! This was one thing which didn’t succeed,’ she laughs. The story of Malick’s success is another thing. Monique was involved in organizing a song competition, Les Africains Chantent Contre le Sida (Africans sing against Aids), in which people across Mali wrote and performed songs which informed people about the virus, and its prevention and treatment. ‘I told my story of this song competition to Robert Storr [curator

Warhol portrait courtesy Les Musées Barbier-Mueller

fun, laughing in that incredible way, so I think that this is really something that made Africa known to me, even though it was not Africa.’ Monique first traveled to the African continent in the 1960s. ‘I saw that there was an opportunity to go with the African Museum of New York,’ she recalls. ‘So there I went. I got to Mopti, which is in the north of Mali. Mali is an absolutely wonderful place and is certainly the place which gives you the best hint of what Africa can give you, because you have all the different landscapes. You have the desert and the green land, you have rocks and you have sand. The people are very beautiful – they are full of humour, they are very strong-minded.’

Top three, Left:

“L'Afrique chante contra le SIDA”, 2007. Bottom: Installation view of the work at the 2007 Venice Biennale

I SPend SeVeRAL hours with Monique but before I go she offers me some delicious fried sugar-dusted crispy biscuits, a specialty of Basle, she tells me, washed down with white wine. I compliment her on the depth of the collection and ask how she feels it evolves. She looks around her and again says it is a result of living in the house. ‘I have come to the conclusion that I have made a Gesamtkunstwerk, you know, like Schwitter’s. If you look well you realize things fit together; there is coherent hanging. each painting brings something to the one which is next to it. Here [in the Hodler room] it is very simple, because everything is by the same painter, but in other places you see that it is more complicated; nevertheless I have been able to maintain this dialogue between the works although they are not from the same time and by the same artist. The fact is that there is such an intimacy between the works that they respond to one another; they speak to you and all the time they give you the best of what they can say and do.’ Intrepid is a word I do not always associate with collectors, but Monique does justice to the word. not only was she not frightened by the dozy crocodiles, but she chooses to travel in Africa in as near to an African way as possible, preferring to stay in small hotels on the niger rather than the more westernized hotels in the centre of Bomako. She shows me photographs shot in Malick’s studio with not only her family, but her African support team and her driver – for whom she recently purchased a new car so he could support his family. All are smiling broadly. When we look at the photographs she has taken on her recent trip to Mali, her love of the country shines through and her care in documenting these moments calls to mind the similar efforts her aunt Gertrud made to capture Hodler and his world all those years ago. I think both her father and aunt would be very proud of her. n 28

Sidibé: Photos Courtesy Jack Shainman Gallery. Installation view: © Photo: Haupt & Binder, Universes in Universe.

of the 2007 Venice Biennale] and he liked the idea and said he was going to put it into the Venice Biennale,’ she says. ‘I tried to prove that you could make a concert about Sida songs, songs which would be better in the propaganda in the move against Aids. I was getting upset that when people were in danger of dying, one would give them advice on how to handle the situation, either in French they wouldn’t understand or in a written language they could not read. I thought how could you get those messages through? I thought it would be best to think of some songs, which would be invented by the people and written in whatever language they wanted as long as they would put this kind of message in it. We made several smaller contests and everybody who wanted to be included who had made a song would come with their own orchestra, because this is the way it works in Mali. Of course, we paid for that and it was a big event in seven provinces of Mali. At the end there were seven people who were selected and those were then asked to show up in a concert in Bamako, where we were able to give the prize to the best of the songs.’ ‘I must say it was incredible,’ she continues, ‘because I had no idea how this should be done; everything was in the hands of the people who were there. They made it in a way which was accurate and professional, very much to my surprise; I thought it was going to be more easy-going. For instance, when we were giving the marks, you had to think of the musicality, of the voice, of the rhythm, of the way they were moving on the stage, if they respected the time, if the message was well given, and so on. You had to give your notes about several different points and when it came to a result, the seven people of the jury were very close together – we really all had the same feeling. So the first prize was given to the best girl and the second prize was a young girl who was ten years old, who was very cross because she was certain that she would have the first prize! She was excellent but the other was better by agreement. This was the end.’ ‘I had Malick take a photograph of all of the people who had been winners and he made very good photographs. Those which had never been shown, which were unique, were chosen by Robert Storr as a subject for the Biennale. He also tried to have the record of each song played next to the picture of the singer but I am not sure the audience understood how it worked. Anyway, this was the work of Malick which, as you know, won the Golden Lion prize.’ Monique vividly recalls Sidibé’s first experiences of Venice. ‘Because Malick was supposed to attend the opening, he went to Paris first, where he rested at my apartment, and we took a private flight to Venice because he was very tired. I remember while he was on the plane I told him he would see that it was quite beautiful, and that some people think it looks a little like Africa, but it’s quite different. So we arrive and he sees all those things and when we land, he says, “It’s really like Africa; I see no difference.” I said, “Wait a little.” After that we went on a motor shuttle and when we were on the Grand Canal he was simply speechless. He couldn’t speak a word. He said he couldn’t understand how those houses don’t get into the water.’

Malick Sidibé's work

This page: a Kota reliquary figure Opposite: Josephine Baker dancing the Charleston for La Revue nĂ¨gre at Les Folies BergĂ¨re in Paris in 1926

RADIO ETHIOPIA AFRICA’S TRANSCULTURAL INFLUENCES WORDS KOBENA MERCER

Pablo Picasso, Nude with Raised Arms (The Dancer of Avignon), 1907

‘The trouble with computers is that there’s not enough Africa in them’ Brian Eno 1 GloBAlizATioN iS oFTeN seen as intrinsically new, but the long-range view is that it has actually been underway since 1492. African and european art have been influencing one another for centuries – what’s changed is that we now have a much more supple understanding of the cross-cultural traffic that has been part of the worldwide condition of modernity from its inception. Contemporary African art is flourishing – from the Johannesburg scene of Robin Rhode and Nicholas Hlobo, through Senegal’s Dak’Art Biennale, the Bamako photography festival in Mali, the Cairo Biennale in egypt, and artists who live and work abroad, such as the French-Algerian Kader Attia, in Berlin, or the Kenyan-born Wangechi Mutu, based in New York. The nuts and bolts of globalization have certainly played a part in opening up the wider circulation of contemporary African art, but equally important in breaking down the barriers inherited from earlier historical moments was the decisive shift in mindset brought about on all sides by the post-colonial turn. Where the ‘post’ in post-colonial can be interpreted at one level simply as a chronological marker, the new approaches thrown up by artists, critics and curators since the 1980s point instead to a deeper shift in our understanding of 20thcentury art that was brought about by taking a second look at aspects of the standard narrative which previously were taken for granted. Primitivism did indeed act as Modernism’s ‘big bang.’ When Picasso and Braque encountered the ‘otherness’ of tribal masks from the Congo and elsewhere, the powerful sense of ‘difference’ they discovered in such forms paved the way for the Cubist revolution of the picture plane. The shockwaves emanating from this cross-cultural encounter carried through into expres-sionism and Abstraction in so far as the formal properties of African art helped to liberate the constituent elements of painting and sculpture from representation, such that the expressive potential of line, shape and color could be explored in their own right. But if we pull back from the purely formal dimension, noticing how the choreography of African and european elements in the visual arts

finds a parallel in the ragtime, blues and jazz that originated in the miscegenated contexts of African-American music at the turn of the 20th century, then we begin to observe a curious split between the eye and the ear in the culture of Modernism. Artists and musicians alike absorb influences from all kinds of sources, and freely admit it, but whereas popular culture openly acknowledged the give-and-take of cross-cultural borrowing as an inescapable aspect of 20th-century music, the institutions of modern art seemed, in contrast, to manifest an anxiety of influence. in the sonic realm, differences mingled and proliferated, yet in the scopic domain it was as if the so-called primitive was locked into an anthropological world of ‘authenticity’ that would never be contaminated by modernity. Hence, tribal artefacts were detached from indigenous contexts and preserved in museum vitrines as if they had no histories of their own. This morphological model held sway up to the 1984 MoMA exhibition, ‘Primitivism’ in 20thCentury Art: Affinities of the Tribal and the Modern, curated by William Rubin. The storm of criticism provoked by the anachronistic usage of this early 20th-century model was, in actual fact, highly productive as it cleared the ground for alternative curatorial efforts such as Jean-Hubert Martin’s 1989 Magiciens de la Terre at the Pompidou Centre in Paris. in the lop-sided chronology whereby the morphological model remained uncontested for the best part of 80 years, we might observe that when tribal and modern were kept separate by the idea of ‘affinity’ this effectively preserved a rather old-fashioned conception of artistic production as a self-generating act of creatio ex nihilo in which ‘originality’ would be at risk if any external ‘influences’ were acknowledged. Such a purist outlook flies in the face of modernity’s cultural conditions, where distinctions between the original and the copy increasingly begin to break down as a result of mechanical reproduction.To say Picasso was ‘copying’ an African carving in his preparatory sketches for Les Demoiselles d’Avignon (1907) might sound like his powers of invention were being diminished, but when led zeppelin went about imitating the blues guitar of Willie Dixon and Blind ‘lemon’ Jefferson, it was precisely because they had abandoned any pretence to ‘purity’ that they ended up creating something utterly new. Global 32

mixing brings cultures into unpredictable patterns of contact, and under these circumstances the desire for ‘purity’ is not only somewhat antimodern and a bit quaint, but also practically and logically impossible.

‘On or about December 1910, human character changed’ Virginia Woolf 2 William Rubin’s archival research for his 1984 show catalogued a series of insightful pairings, showing, for instance, a Kota reliquary figure from Central Africa’s Gabon region juxtaposed with Picasso’s Nude With Raised Arms (The Dancer of Avignon) (1907). While the Bloomsbury modernist critics Roger Fry and Clive Bell argued in the 1920s for the concept of ‘significant form’ – pointing out that since the original purpose of such tribal objects was unknown, they could only be evaluated in aesthetic terms – art critics in the 1980s argued instead that primitivism’s intimate relationship to fetishism was the key issue. Where Freud saw the fetish as an arbitrary object that was emotionally over-valued in order to cover up a deeper anxiety that could not be confronted, Hal Foster noticed that the attention given to purely formal resemblances not only confined items such as the Kota statue to an optical sphere that ignored its social purpose as part of a funeral ceremony, but that by turning a blind eye to its provenance, museums also produced a disavowal of the colonial trade routes through which such materials passed into Western collections.3 By stressing such de-contextualization as a consequence of modernity – that once taken out of its initial context, an object can never quite go back to the place it was in before – post-colonial criticism showed that aesthetic value is rarely intrinsic but always depends on where an object is placed within the art and culture system. Something did profoundly change in art around 1910 because just as Marcel Duchamp laid bare the invisible rules of the value system by transposing the readymade from one context to another, so the black monochrome abstracts that Kasimir Malevich produced (on the basis of his reading of Vedic philosophy and indian mysticism) also questioned the very definition of art.

Top: Constantin Brâncusi, White Negress II, 1928

Picasso: © Succession Picasso/DACS, london 2010. Brancusi: courtesy The Art institute of Chicago; © ADAGP, Paris and DACS, london 2010. Cave: photo James Prinz, courtesy the artist and Jack Shainman Gallery, New York

Below: Nick Cave, Soundsuits, 2008

«wE FIND PECULIAR Egg-LIkE bODy SHAPES THAT HAvE bEEN ‘CARNIvALIzED’ TO CREATE A mONTAgE THAT OPERATES ACROSS THE vISUAL, THE AURAL AND THE kINETIC»

Marlene Dumas, Moshekwa, 2006

once art was no longer purely optical but conceptual and social as well, its very ontology was opened up to reinterpretation. Primitivism is where cross-cultural flows are most highly visible in Modernism, but with the de-fetishization of ‘difference,’ as it were, what opens up is the ambivalence of fear and desire that connects various selves and others, especially where morphology had stridently disavowed primitivism’s sexual fantasies. Because europe and Africa were positioned as binary opposites, Rubin turned a blind eye to the fact that Modernism involved a story not just of two sides but three. Dancing the Charleston in the 1926 Revue Nègre at the Folies Bergère, where she won the attention of the Parisian avant-garde overnight, Josephine Baker knocks her knees into the oblong shape that replays the formal resemblances we have already

as a result of the triangular trade. Appealing to an imagined Africa as a utopian site of redemption, Afro-Americans constructed nothing less than a dynamic feedback loop that influenced the way Afro-Modernity was experienced by Africans themselves. When Ghanaian highlife music re-absorbed Trinidadian calypso in the 1940s, it was replaying the Atlantic journeys undertaken by Cuban mambo and Argentinean tango in the 19th century. in the quest for political freedom, this Black Atlantic feedback loop also generated Pan-African solidarity when Afro-American artists depicted various nation-states that embodied independence at different times. Sculptor Meta Warrick Fuller created Ethiopia Awakening (1914) to inspire self-determination, just as Jacob lawrence summoned the Haitian revolution during the 1930s. in the 1960s, writer Maya Angelou settled in Ghana after it became independent,

exported from europe by French-Creole elites. These hybridized cultural forms shed new light on Modernism when the cross-cultural dimension is viewed through the distinction between collage and abstraction advanced by the British critic Peter Wollen in his notion of ‘the two avant-gardes.’ 5 if the verb ‘to abstract’ simply means ‘to take out of’, then Brancusi’s White Negress II (1928) epitomized the drive to subtract the essence of pure form out of bodily figuration, even though the eroticism that infuses the strange beauty of his marble egg has not abandoned the language of the body entirely. Fast forward to American artist Nick Cave’s Soundsuits (2006– 08), and we find peculiar egg-like body shapes that have been ‘carnivalized’ by a mix of disparate stylistic influences to create a montage that operates across the visual, the aural and the ki-

seen, but only now are scholars beginning to investigate why modernists such as le Corbusier and Adolf loos were so irresistibly attracted to Baker’s performative excess. in his 1908 text, ‘ornament and Crime,’ loos denounced the impulse to decorate as a deplorable ‘primitive’ trait to be overcome by a rational modernity that would strip art back to basics; but in 1926 he designed a house for Josephine Baker that was clad in zebra-like black and white stripes. Whereas these maddening contradictions were once pushed into the dark corners of art history, contemporary exhibitions such as Tate liverpool’s Afro Modern: Journeys through the Black Atlantic (2010) reveal how such ambiguities created an entry point for the alternative Modernisms produced by artists of African descent in the United States, the Caribbean and latin America. The highly invented Africa evoked during the 1920s heyday of the Harlem Renaissance is doubly important. it shows us we are dealing with an imaginative state of mind as much as literal geography when we ask: where exactly on the planet is Africa located? Far from being confined to the 53 nations on the continent itself, neo-African influences were scattered across the globe

just as the 1970s Trans-Africa campaign in the US played a major part in bringing South African apartheid to an end.

‘To be Negro in the cultural sense ... is to be distinctively composite’ Alain Locke 4 Questioning the idealized image of Africa that had arisen in the 1920s, philosopher Alain locke refuted the nostalgic fantasy of a return to roots when in 1942 he boldly asserted that Diaspora culture was ‘a hybrid product of Negro reaction to American cultural forms and patterns.’ As the post-primitivist 1940s shifted attention away from Harlem towards the Caribbean, the syncretic religions that fascinated the surrealist André Breton, the négritude poet Aimé Césaire and the Afro-Cuban painter Wilfredo lam, who all converged in Haiti, were immediately understood as a collage of cross-cultural influences. Just as Afro-Brazilian Santeria cloaked Yoruba gods behind the Catholic saints apparently being worshipped, so the Caribbean culture of carnival involved the ‘Africanisation’ of a Catholic festival 34

netic. Designed to emit sounds when they are worn, Cave's Soundsuits allude to carnival’s masquerade costumes, whose kinesthetic fusions of sculpture and dance often encode satirical and political critiques beneath the mask of frivolity, as Peter Minshall’s ‘mas’ costumes for the Trinidad Carnival often reveal.

‘Control, stability, and composure under the African rubric of the cool seems to constitute an all-embracing aesthetic attitude’ Robert Farris Thompson 6 Studio portraiture by Seydou Keita, Samuel Fosso and Malick Sidibé, among many others discovered during the 1990s, brought to light a hidden history of photography’s role in Afro-Modernity. Up to then, photojournalistic reportage had framed our understanding of how the medium had adapted to African conditions, whereas the theatrical artifice of the studio setting, adorned in richly patterned fabrics, revealed a space of self-fashioning in which the photographer did not just record the sitter’s outward appearance but tuned into his or her inner dreams

Dumas: photo Peter Cox, courtesy zeno X Gallery, Antwerp. Wiley: courtesy Deitch Projects

«PRImITIvISm IS wHERE CROSS-CULTURAL FLOwS ARE mOST HIgHLy vISIbLE IN mODERNISm»

Kehinde Wiley, Place Soweto (National Assembly), 2008

Nicholas Hlobo, Izithunzi (detail) from the installation Umtshotsho, 2009

and aspirations. in the frontal composition of their relaxed posture, Keita captures the sense of ‘cool pose’ that Yale scholar Robert Farris Thompson saw not as a mask that was hiding stress or pressure but as a ‘deeply and complexly motivated’ attitude towards life that involved the ‘interweaving of elements serious and pleasurable, of responsibility and play.’ Fabric plays an important part in this theatre of desire. Having staged the street style of young African-American males in settings derived from Baroque displays of grandeur, it was eminently logical that painter Kehinde Wiley turned his attention to the color-saturated excess of the Dutch wax-print fabrics that blur the figure/ground distinction in works such as Place Soweto (National Assembly) (2008). Gender-based separations that oppose the feminine qualities of pattern and decoration to supposedly masculine attributes of structure and form are thereby gently collapsed by an alternate grasp of the heightened power of surfaces in the visual world of

creative powerhouse of contemporary art. With its networks of public museums and private galleries, opportunities for studio training, and an established art press, it is flourishing not despite its turbulent past but because of it. Whereas artists previously undertook oneway journeys of exile, post-colonial changes have introduced patterns of circulatory migration that position African artists across multiple locations. When i interviewed Moshekwa langa in 2003 he hesitated around the word ‘diaspora’, adding, ‘for me it means having definitely left the place of origin and being a free-floating agent… Also, i suppose “diaspora” would mean having a community that you are part of, but i live in a Dutch neighborhood, not a separate community. Perhaps “traveler” would be a better word.’ Distinguishing between the deep-time it took for Afro-diaspora cultures to gain shape after the Middle Passage, okwui enwezor and Chika okeke-Agulu argue that contemporary patterns are best described instead as being trans-na-

the Cape Town artist, Jane Alexander, whose Butcher Boys (1985) is an iconic tableau addressed to South Africa’s earlier state of emergency. Such monstrous creatures are, on the one hand, evidence of inhuman laws that left lives brutalized and deformed by pain: but, on the other hand, like the equally mythic angels that combine (animal) wings and (human) bodies, such transspecies hybrids are harbingers of a future full of unknown potential. As one of the first gay artists on the continent to come out, Nicholas Hlobo – recipient of the 2009 Standard Bank Young Artist Award – pursues a cross-cultural poetics that also addresses transition, focusing on sexuality, birth and death with fearless wit and tender sophistication. Born in 1975, Hlobo’s works such as Hermaphrodite (2002) feature rubber inner tubes as his signature material, whose valve and circular shape suggest a body with dual sex organs, even as the overall ensemble resembles nothing so much as a condom. Using proverbs and word-play in Xhosa, his

«ARTISTS REvEAL HOw UNExPECTED bREAkTHROUgHS mIgHT EmERgE ALONgSIDE THE AgONIzINg SLOwNESS OF HISTORICAL TRANSITION» modernity where, as oscar Wilde once put it, only a fool does not judge by appearances. From another angle, commonplace distinctions between surface and depth are equally disrupted in Wangechi Mutu’s collages. Using photographic materials drawn from ethnography and pornography (as did Candice Breitz), Mutu acts upon the agency of the ‘cut’ in the modernist tradition of Hannah Höch and Romare Bearden to lay out a scenario in which the grotesque hardships African women have endured begin to give way to an Afro-futurist landscape populated by mutant cyborgs made out of Mylar and plastic pearls. The violent traumas of colonial history can therefore be acknowledged without relinquishing optimism in the unpredictable twists and turns of human ‘becoming.’

‘Oh, but I didn’t know I was in the diaspora’ Moshekwa Langa 7 in the period since becoming a new nation in 1994, South Africa has established itself as a

tional wherever they create states of being shaped by the crossing of predetermined boundaries.8 indeed, where young novelists such as Chimamanda Ngozi Adichie and Segun Afolabi brilliantly evoke trans-nationalism’s perils and pleasures, South Africa’s situation shows how Africans of all ethnicities have had to traverse boundaries of race, which was a political fiction that nonetheless history made ‘true.’ Rather than the simplistic reductionism of the term ‘post-racial,’ which implies an all-or-nothing model of change, artists reveal how unexpected breakthroughs might emerge alongside the agonizing slowness of historical transition. Born in 1982, Nandipha Mntambo assumes the guise of the Minotaur in digital photo-works such as Narcissus and The Rape of Europa (2008). Appropriating Greek mythology for cross-cultural translation, she also usurps the self-image by which Picasso identified with the Minotaur’s power in his etchings of the 1930s. As well as crossing gender and ‘race,’ Mntambo transgresses the primordial taboo separating human and animal. in this she follows a path trailed by 36

installation Ingubo Yesize (2009) refers to the ritual in which, before burial, the corpse is covered with a cowhide known as the ‘blanket of the nation.’ in Umtshotsho (2009), the forceful upsurge of latex volume that is bursting through a chair calls to mind Deleuze and Guattari’s concept of ‘the body without organs’ – pure libidinal energy as it exists prior to being disciplined into a stable identity. Hlobo’s title actually refers to a traditional party for adolescents, a kind of rite of passage before adulthood; and yet, with their sperm shapes and orifices, works such as these, stitched together with satin, organza and lace, give us a queer hybrid variant that hovers between the abstract and the figurative in a manner suggestive of a marriage of styles between eva Hesse and David Hammons. leather, cowhide or latex are all ‘skins’ and Hlobo’s subtle insight is to suggest that both the cuts and joins being made upon such surfaces point to those parts of the body politic most in need of care and attention. Unlike the individual monograph or the thematic selection, the survey genre is one of the trickiest propositions there is in exhibition

Hlobo: courtesy Michael Stevenson Gallery, Cape Town. Mntambo: Photographic composite: Tony Meintjes, courtesy Michael Stevenson Gallery, Cape Town

Nandipha Mntambo, Narcissus, 2009

making and art writing alike. Attention to detail and the need to be comprehensively inclusive always seem at odds. While the blockbuster model was viewed as the best way to introduce audiences to art that had not been widely seen, the Africa ’95 program that took place among UK galleries in 1995 and Seven Stories about Modern Art in Africa (1995) at the Whitechapel Art Gallery had the unfortunate effect of making the audience wait for another decade before anything similar was offered. By which time, the first-of-its-kind survey show, held at the British Museum, Wealth of Africa: 4,000 Years of Money and Trade (2005) was slightly out of date. Striking out with more flexibility, okwui enwezor’s The Short Century: Independence and Liberation Movements in Africa 1945–1994 (2001), surveyed art and politics during the moment of decolonization, and revealed the advantages of a contextualist model in which literature, theatre and music gave the visual arts a comparative framework. enwezor’s curatorial role in the 2nd Johannesburg Biennale, as contributor to Tate Modern’s Century City (2000), and as artistic director of Documenta Xi (2002), among many other exhibitions, all point towards the structural impact achieved by the gradual inclusion of African art within global circuits of display, reception and

debate. The Africa Forum strand at the Venice Biennale provides a further case in point. Simon Njami’s Africa Remix (2004) indicates the continuing relevance of the survey genre, but the strategy most likely to get my attention is one conceptualized around a thematic focus that has an elastic sense of give-and-take. one of the first showings of African photography, Self Evident (1995) at the ikon Gallery, paired Seydou Keita and others with responses from Black British artists. in Barcelona, Pep Subirós curated Africas: The Artist and the City (2001), which reflexively embedded his own research and thus included Paris and london as ‘African’ cities. This trans-national remit underpinned Flow (2008) at Studio Museum in Harlem, while Black President: The Art and Legacy of Fela Kuti (2003) at the New Museum in New York highlighted the ever-present salience of music in understanding Africa’s imaginative presence in contemporary art and culture. if this is what globalization has delivered so far, then it strikes me that the future will be a rather interesting place indeed. n Kobena Mercer presented the 2009 Alain Locke Lectures at Harvard University and contributed an essay to Afro-Modern: Journeys Through the Black Atlantic (2010) at Tate Liverpool 37

NOTES 1. Brian Eno, Wired, May 1995, p. 146. 2. Virginia Woolf, ‘Mr. Bennett and Mrs. Brown,’ [1924] in A Woman’s Essays, London: Penguin, 1992, p. 69. 3. Hal Foster, ‘The Primitive Unconscious of Modern Art,’ in Recodings: Art, Spectacle, Cultural Politics, Seattle: Bay Press, 1985. 4. Alain Locke, ‘Who or What is Negro?’ [1942] in Jeffrey C. Stewart, ed., The Critical Temper of Alain Locke: A Selection of his Essays on Art and Culture, New York: Garland Press, 1983, p. 311. 4. Peter Wollen, ‘The Two Avant-Gardes,’ Studio International, Nov/Dec 1975, pp. 171–75. 6. Robert Farris Thompson, ‘The Aesthetics of Cool,’ African Arts, vol. 7, no. 1 (Autumn 1973), p. 41. 7. Kobena Mercer, ‘In Conversation with Moshekwa Langa,’ in Laurie Ann Farrell, ed., Looking Both Ways: Art of the Contemporary African Diaspora, New York: Museum for African Art, 2003, p.106. 8. Okwui Enwezor and Chika Okeke-Agulu, Contemporary African Art Since 1980, Bologna: Damiani, 2010.

youssef nabil mad about the boy interview karen wright | portrait stÉphanie solinas

Youssef Nabil agrees to meet me in NYC shortly before he leaves for Europe. I allow him to choose the location and he selects the sleek yet anonymous bar of the Mandarin Orient Hotel poised high up over Central Park. The afternoon is stormy with tall buildings seeming to disappear into cloud that lends a curious intimacy to the following conversation. It was also appropriate as much of our discussion turned towards the melancholic and nomadic aspects of so much of Youssef’s work.

KW You styled them? Yn Exactly. I used to take care of every little detail. And I was only doing black and white at the beginning. And then, I had a desire to do color. I had the wish to see my work in color, but I never wanted to use color film. Because for me it gave a completely different character of photography – something that I didn’t feel. So I thought instead of coloring the black and white photographs the way that old movies were colored, and using the old photography technique. So I looked for the studios of these people who used to do hand coloring. And I learned the techniques from them.

Karen Wright I know you grew up in Africa - Egypt to be exact. Youssef nabiL In Egypt, yeah. KW When did you leave? Yn Well, I’m 37. And I lived all my life actually in Egypt. I only left about seven years ago. But I was always travelling. I was based in Cairo. KW What were your parents like? Yn I’m from a very normal Egyptian family.

KW So you were self-taught? Yn Every once in a while I’d save some money, and I’d go somewhere. That’s how I’d travel, as an assistant to photographers. The first time with David LaChapelle in New York…

KW And you traveled because that’s what Egyptian families do? Yn My father was working with an American company in Egypt. Before that, he was working in Europe and was working in Saudi Arabia. Normal jobs – he’s not like one of the rich businessmen. Just trying to give you a general picture.

KW You met him in a weird way didn’t you? Yn We just met by coincidence. It was meant to be, I believe a lot in these things. I think it’s like when you really belong somewhere, the whole universe just tries to help you get there. It was late 1992 time and I had just started taking pictures. I was taking pictures of a friend of mine in a hotel in Cairo, and David was staying in the same hotel. He saw me taking pictures and [LaChapelle] approached me and said, ‘Oh, you know I’m working for a Condé Nast magazine, and...’ (I didn’t know who he was – he could have been anyone!) ‘I’m doing this story, and some woman – called I don’t know what – she’s charging me this whole amount of money because I wanted three models… Do you know other models?’ And I’m like, ‘Yeah, I know all of them – they’re my friends.’ At that time I was starting to get known a little. I was taking pictures of a few Egyptian celebrities. I called some people for him, I helped him for free. And we became friends! Then he called me from New York afterwards, and he said, ‘I want you to be my assistant, if you can come here to New York and stay with me…’ And it was really small. We were only three people. It was him (another guy who passed away I think about seven or eight years ago) and me. This was between 1993 and 1994. I used to go back to Egypt and leave. I was actually studying French literature, leaving school, coming here. I spent five years doing literature – I remember nothing. My family wanted me to have any degree next to my art career or whatever I wished to do. Just to make them happy, I did it, I gave it to them, and I said, ‘Let me go now!’

KW Tell me about your parents. Yn I think the greatest thing they have ever done for me is put me in a French school, because that got me very interested in other cultures. I used to save money & buy foreign magazines, I got to know more about art and photography as an art which is something that we actually never had in Egypt. The only art photography we ever had were studio portraits. And basically, that was practiced by Armenians, old Armenians who had remained in Cairo from before the war. So I left school andI started doing my own artwork when I was about 19 years old. KW And you knew immediately you wanted to be a photographer? Or were you a painter first? Yn I wanted to be an artist. And I didn’t know what to do at first. I used to do a lot of drawings and painting. Collage and videos that I would record from TV and edit and put music on, very late 1980s, early 1990s. KW Did you go to the cinema a lot when you were growing up. It's very much in your work, isn't it? Was it a particular kind of cinema? Yn It was actually the old movies that I was very much interested in. Egyptian old movies, Hollywood old movies… And then I started photographing my friends in scenes that I’d write, that were inspired by these periods. Very glamorous, everything was very well prepared for. Light, the hair, the make-up, everything really just so. 38

Youssef Nabil photographed in Paris, March 31, 2010 000

Above: Fifi Smoking, Cairo 2000 Below: CINEMA, Self-portrait, Florence 2006

Above: My Frida, Cairo 1996

All photographs courtesy of the artist

Below: Sweet Temptation, Cairo 1993

«Cinema is life. it’s our story, it's the ending, the beginning, what you do in between»

KW Where was your residency in Paris? Yn At Cité Internationale des Arts. I was there for three years and then I moved to New York.

KW David wasn’t the only photographer you worked with was he? Yn The other person I worked with was Mario Testino. KW How did you meet him? Yn I met him through friends in Egypt. He was coming to Egypt to shoot Linda Evangelista for British Vogue, and he needed an Egyptian assistant. My friends called me and said, ‘Mario’s coming.’ And by now it was 1997, I knew exactly who he was. Yeah, so I was working with him. He came to Egypt with the whole Vogue team. And I was an assistant there. Then I told him that I wanted to work – to continue working with him. So I went to Paris and worked with him for a year and a half.

KW So you’ve never gone back to Egypt…? Yn No. KW Do you have any feelings about going back? Or do you feel that’s another part of your life? Yn Egypt? Like this is one chapter. But I’m not going back there to work, or consider being based there. I can’t do this for so many other reasons. Basically because I need to also feel free in my work, and I was feeling that the country and the society was becoming more and more conservative. And then you have another whole Egypt, as if living in Europe and traveling from here to there. I was always associated with the real Egypt, actually, and not kind of the elitist Egypt. So I can’t really be there, and work from there.

KW And this was about when? Yn 1997 to 1998 KW And then you went back to Egypt? Yn And then I said, that’s it! I don’t want to work with another photographer – I want to go back and have my own exhibit of all that I was doing! Because I was doing my black and white photographs, painting them in New York, in Paris – the work I did in Egypt. I’d never shown them before. So I decided to go back to Egypt and exhibit. My first exhibition was in a small gallery called Cairo-Berlin art gallery. It was owned by a German lady; she was in Egypt, and she was doing great work through her little gallery in Egypt. But she passed away…

KW Tell me about the underwear pieces, which seem to deal directly with this conversation. Yn The guy who was selling the underwear was a religious guy with a long beard, and the whole store had only this kind of sexy underwear with holes and zippers and feathers, and actually they have one item which makes noises like a cat. And they sell it, I think, for women who are just getting married for the wedding night, just to be sexy. When you’re walking in downtown Cairo, and you see this shop in the middle of the other shops, you feel it’s like a sex shop in Europe or something.

KW And so now you’re back in Egypt and you have this show, and then what happens? Yn I had a show in May 1999. And then soon after, a few collectors were collecting me, one of them was the ambassador of Belgium in Egypt – who went to Mexico afterwards. I went to visit him when he was in Mexico, because I always wanted to go there because of Frida Kahlo…

KW Mm, it really stands out! Yn It really stands out and behind him is a sign that says he doesn’t shake hands with women. Like, you know, he just stands there. I’m collecting them actually. I’ve started getting them for my work. A good example of what we are passing through.

KW I was going to bring you back to that because you got into that with David LaChapelle – Yn Earlier, exactly.

KW It’s interesting because that work makes total sense within the context of being in Egypt. But when you leave Egypt does Egypt carry on into your work? Does that feeling stay in your work, or is that work that you have left behind, in a sense? Yn Well, I think we are all like this: just like fish out of water. I come from there, so I’m always thinking about there, I’m always concerned about Egypt’s problems. Even though like now I’m living in New York, and Europe before that, but I can’t help it. I’m always dealing with issues that relate to my culture and to my own experience. And where I come from.

KW When you were staying with David? Yn Yes, I wanted to go to Mexico. I went there, and then the collector was telling me, ‘You should go and see Frida Kahlo’s house and everything.’ When I was there, I planned my first exhibition at Centro de la Imagen. It’s their museum of photography, really, it’s a great place. So I had a solo show, it was just one year after I had my first ever exhibition in Egypt. KW So they’re showing in a public space. Yn An institution. And things went from there. I went back to Egypt, had a few shows there, and I stayed until 2003, had a few shows there. The French minister of culture [Jean-Jacques Aillagon] visited my exhibition when he was in Egypt, and the French Embassy organized a dinner for him and I was invited– I was sitting next to him. I guess he liked my work and I was invited to go to France for an artist’s residency for ten months. I liked it and that was that – I stayed there.

KW And that’s led to friendships with artists who come from similar places. Like Shirin Neshat, Ghada Amer and Mona Hatoum? Yn Yes. KW I am here to talk to you for a magazine called AFRICA. Is it strange to put you in that group when you are often called a Middle East artist as well? 41

Yn No. In many ways, being Egyptian made me feel closer to Africa as well as the Middle East.

actually. I never really recovered exactly from it. Not that actors are dying, but the whole idea that one day it could finish, and it could happen to anyone.

KW As we've said, movies were incredibly important in the way you looked at things. But movies also informed your whole psyche about life and death, and I think that’s very interesting. I’d like you to talk a little more about this. Yn Well, I think for me, cinema is life. It’s our story, it’s the ending, the beginning, what you do in between. And, you sort of know from the beginning – that it’s going to end one day. You go to see a movie, you know that it is only two hours! Two hours, or three hours, or one hour and a half most of the time and it’s going to end! And that’s the whole thing about life for me… I hope my movie is not a short one and that it’s not going to end soon for me or anyone. But when it’s going to end, it’s just going to end. And it’s crazy, as a discovery, for me.

KW It happened at a very young age for you, in a sense. Yn It happened for me when I was like five or six. But I think also that it’s personal. I think like, all kids, they don’t know this. They maybe discover it at as a child. For me, it was actually something that opened my mind to other ideas too early maybe. I was thinking about it all the time. And I started imagining that I could lose someone in my family. I used to pray all the time to God that I want to die first, and I don’t want to see anyone I love dying. KW But also, I mean, this thing about watching people sleep which seems to be another theme. in your work. That’s a thing about dying as well, isn’t it? Yn It’s related to dying. I don’t think we just go to sleep and that’s it. I think we travel, we go somewhere. I think when we die it’s going to be more or less like this. We’ll be here but we’ll be just somewhere else. It’s like being in a house, and instead of being on the third floor we’ll be on the first floor, or in the basement or something. But you’re still in that house.

KW When did you discover life was so short? Yn This is what I was doing all the time when I was a kid: I used to go home from school and watch TV. And I would watch TV while having my lunch, and I’d watch TV when I was doing my homework, and then I would sleep in front of the TV. (laughs)

KW (laughs) Yn So I think when you sleep (laughs), we definitely go somewhere. For me, sleeping is a metaphor for death. It’s sexual ... people look very at ease when they’re sleeping. They look innocent.

KW (laughs) Yn It was TV, TV, TV all the time. Watching all of these dramas and Egyptian old movies and stuff. KW Were they like soap operas, and things like that? Yn Actually I wasn’t exactly more interested in this, it was more like any old movies. The point is that I was introduced to a lot of ideas through TV. And as a kid I was always asking my mother, ‘Who is she, and who is he, and where are they now?’ All these kids’ questions. And most of the time, the answer was like: ‘They’re all dead.’ So, it was a shock for me.

KW You saw Frida’s house: did it do something to you? Did you feel inspired by it? Yn Well, at that time I had already read so much about her, and seen so many pictures of the houses, that I was a little bit disappointed. I mean, by the fact that they turn it almost into a Disneyland, you know.

KW Guess they were old movies! (laughs) Yn To be in love with all of these beautiful, glamorous dead people! And I think it did something to me subconsciously. It was a horrible discovery,

KW They do this to keep the house going don't they? Yn Keep the house going, have some money coming, et cetera. But the thing is that you know all the pieces are not exactly well kept. There’s no 42

Opposite: Self portrait at night, Paris 2005. Above: Self-Portrait, Vincennes 2003. Below: Egyptian Female Zipper Underwear, Harlem 2007

«i think when we sleep we travel, we go somewhere. and i think when we die it’s going to be more or less like this»

KW Well, the pain she must have been in! Yn The pain that she transformed into art, the way she dressed, the way that her life and her art were one. She was so unique so you cannot really say that she copied any other artist. I don’t think so…

security really. I was visiting it with a friend of mine, and she wrote the essay of my catalogue there and she’s the second important biographer of Frida Kahlo, her name is Martha Zamora. Martha actually met Frida Kahlo. She’s in her late fifties now – but she met her when she was like four or five. And just a year or something before she died, she was in school and they went to visit Diego Rivera – while painting.

KW In Mexico, they were free of the marketplace. And the marketplace pressures. Can you imagine artists who could work without having their dealer coming down and saying, ‘I need 20 of those, I need 30 of those, I want that same image, I want it bigger, I want to sell it for more!’ Yn Exactly, exactly. Yeah, exactly.

KW Amazing! Yn And then Frida Kahlo came to visit Diego Rivera. And then she only remembers this woman who was wearing lots of perfumes and she would make noises when she was walking because of all the jewelry she was wearing.

KW And there was an innocence about it. You did it because you had to make it. It wasn’t: ‘I’m an artist because it’s going to make me money.’ It’s: ‘I’m an artist because I have to be an artist, I can’t be anything else.’ Yn She had trouble with money all the time. She didn’t have money at all, she owed people money everywhere. Whenever she goes to New York, to San Francisco, to – and her husband was paying lots of this. And then when she got divorced she started doing commercial [work] – portraits of families, but again, all her style. You can feel it’s her. But as you say, she was very free in creating. And she didn’t produce much. I think in all her life she only produced 90 paintings or something. But she had almost 22 or 23 operations in her life and she was always in hospitals, sometimes for six months, and I thought, yeah, maybe because again the movies come after you read about something for so much and they change some ideas…

KW Yeah, jewelry. Yn And later on she went back to her mother and she said, ‘You know, mama, today I met a woman and she looked like a Christmas tree.’ KW Christmas tree? (laughs) Yn And she said, it’s Frida Kahlo. She was four or five! But you know, she was wearing things, and a flower, and an earring, and color. KW Fantastic! But it made such a deep impression that she went home? And told her mother? Yn It did make a deep impression. And she spent all her life doing research and she told me, up to the early 1980s you could find a painting by Frida Kahlo for $10,000. Then she became fashionable after that. So anyway I went to visit the house with Martha Zamora. And she explained to me that Frida had her ashes actually put in one vase and a visitor, a tourist, just stole them!

KW But why are you so interested in self-portraits? Yn Well, I always did a few when I was younger and I had started my work. And when I left Cairo in 2003 to go first to Paris, I was away from all the cinema, and all of whatever I was attached to in Egypt. Because cinema is very important for us. I was very inspired by all of these characters, and belly dancers, and actors and actresses. And then when I left, I was away from all this! At that time I started being known in Egypt, and then I left my country to go to Paris. And I found myself alone … So again I started thinking about life. Not only my life, but about life in general. And about the idea of coming to a place and then leaving. Which is again, related to death. So I started doing self-portraits in different cities..

KW (gasp) Yn And they found them and then got it back – but you know things like that! The house – the house needs to be a little bit more secure. So I was disappointed for this, and I was just feeling very protective. Like, if she was there… and at that time she was already– KW Why do you think she’s important to you? Yn When I came to New York I was working with David. I was supposed to travel with him for the next three weeks – to Martinique– but I couldn’t get a visa. So I stayed in the apartment by myself three weeks going to the office, going back home, and I saw this biography in his apartment. It was Frida's first biography, and I was reading it all the time. So in a way, first she kept me company for three weeks – and then I was really getting interested in this artist. I fell in love with how she looked like from the first minute that I set my eye on the cover.

KW Capturing the spirit of the city, in a way! Or capturing the spirit of the people? Yn And in all of the cities I was a visitor. I knew that I was there for a week, or three days, and then I was leaving after. And it’s the whole relation about life – I think we’re visitors. We’re here for some time and then we’re having to go. We will go. So I started talking about this in my work, and that’s how I started actually doing the self portraits. KW Can you remember the first one? Yn The first ever one? Or the first one where I left Egypt.

KW Because she’s quite androgynous in a way, I mean maybe that’s a part of her attraction. Yn The fact that she was dealing with very personal issues by exhibiting them.

KW The first one that you did after Egypt? 44

Above: My Time to Go-Self-Portrait, Venice 2007

Yn Thee first one was in Vincennes. It was 2003.

New York is amazing for other qualities, but I don’t exactly feel that it’s a real city. People are here to work. It’s very cosmopolitan, you meet so many people, and it has amazing qualities for work that you cannot find in Paris…

KW That’s the very odd one, where it’s hard to see you! (laughs) It’s in the woods, isn’t it? Yn Oh, you know it? It’s in the woods. You don’t see me. I don’t look at the camera most of the time for the self-portraits. Because actually I don’t see myself! They could be about anyone else. So yeah, I was there in the woods holding the earth, by the river…

KW But the culture isn’t here, really, is it? Yn Sometimes it gets stressful for me and I miss something about being in Europe or around the Mediterranean, where I come from. KW You miss café life! Yn I feel at home, I feel at home if you put me anywhere next to the Mediterranean, as you say.

KW They’re sad, your self-portraits. There’s a sadness in them that you don’t see in the portraits that you do of other people. There’s a… Yn They are sad, yeah…of course the self-portraits are the most personal ones. They speak more directly about my life. Although some of the portraits of other people also, you can feel also some sadness. People are not exactly smiling or laughing when I photograph them.

KW So what will you do next? Yn What I’m doing right now is my first movie… KW Oh, wow! Have you started making it? Yn Yeah.

KW I must let you go off to pack you are off to Paris tomorrow. Is it for work or play? Yn Well I go to Paris all the time. First, because I print my work in Paris. and I come back here with it to color it.

KW So tell me about the movie. Yn It’s definitely something new. It’s not shot yet. But I’m in the process of getting the funds for production. We’re almost there.

KW And why is that? It seems a long way to go to get your work printed? Yn Because when I used to live in Paris, I already had a relationship with my lab there. They know exactly what I like about the degree of… density, et cetera. It’s one of those relations. It’s like when you go to you know… KW Your hairdresser? (laughs) Yn Yeah! Or your tailor or your dentist (laughs). Someone who knows what you like. And once you’re really happy with someone, I think it’s very difficult to find someone else! I was really happy with them. And there are actually people from all over the world that go and print there –they’re the best. And you know the thing about New York is that they went digital everywhere. And they can achieve an amazing result with a digital printing. Exactly like a darkroom printing. But the thing with my work – because I work with colors, watercolor, oil, and pastel – I can’t do this on digital paper. So I have to work on the old fiber paper. I’m one of the very few who are still using old photography techniques.

KW Is it a feature, or is it a documentary, or? Yn No, it’s an art movie. It’s a short - seven to ten minutes, it’s supposed to be shot in Morocco. And I’m actually leaving tomorrow to Paris and Italy, meeting with people to see actors and casting, and so… KW What’s the story? Yn The story, again, is closer to my self-portrait series, which is about my relationship to life, to death, to existence, to my life, to leaving Egypt, to going to other places. And all of this in relation to death, and to being reborn again somewhere else. KW Because it’s interesting that you’re moving into movies. Because what I love about your photography is its stillness. So doing something quite different. Sometimes you see photographs, and you think, ‘Oh, you know they’ll make movies…’ Yn Yeah, but there’s not much talking in this movie. It’s like when you close your eyes and you think about old memories –sometimes they come for you as visions. n

KW You’re an elephant, or whatever they call it. Yn I’m happy with this lab so I go to print there – and then I come back with the work here. And then besides that I love Paris. I love Europe. I think 45

west africa’s musical heart beat text iggy cortez

From Afroblues in Bamako to Afrobeat in New York, the fusion between African, European and American music has grown in worldwide popularity in the past decade. While West African pop seems to dominate notions of 'African music' in Paris and New York, new voices inspired from music from the rest of the continent are emerging in London.

Amadou & Mariam (top most) : The Malian husband-and-wife duo met at an Institute for Blind People and have been producing infectious and widely popular music ever since. Oumou Sangaré (above) has used her popularity as a singer to address womens’ rights issues in Africa, working closely with the United Nations. Amira Kheir (left) adapts traditional Sudanese music with Western arrangements and contemporary jazz.

amadou and Mariam: Photo by Bernard Benand, Courtesy Nonesuch records. kheir: Photo by Christoph Ferstad. Oumou sangaré: (portrait) Christina Jaspare, background Philip ryalle, Courtesy Nonesuch records

«cubaN music Or rOcK aND rOll, eVeN blues aND JaZZ… theY caN all be traceD iN sOme waY tO westerN africaN beats»

«OUT OF NOWHERE, THERE WAS A WAVE OF CONGOLESE MUSIC IN LONDON – PEOPLE GOT EXCITED ABOUT THAT, AS IT KIND OF OPENED UP THE MARKET»

Diabaté: Photo by Dave Peabody. ali Farka toure: Photo by Marianne Greber. Orchestra Baobab: Photo by Jonas karlsson. Monkfish: Photo Courtesy the artists. rokia troaré: Photo by richard Dumas.

While artists like Fela kuti have always been larger than life stars in the international music arena, the past decade has seen a renewed interest in West african pop throughout europe and the United states, thanks to the pioneering work of record labels like World Circuit and Nonesuch records. Nonesuch has recently issued popular anthologies of african music from the 1960s, while also representing artists like amadou and Mariam, the blind Malian duo who have pioneered the culturally hybrid sound known as ‘afro blues’, or the grand diva of Malian music Oumou sangaré, nicknamed the songbird of Wassoulou. europe’s musical investment in West africa often tends to be nostalgic, obsessed with rediscovering established artists and genres from the 1960s and 1970s. But this attention to venerated elders, like Youssou N’Dour and the late ali Farka touré, has also paved the way for younger artists, like the Malian singer and guitarist rokia troaré, whose sleek, sophisticated sound inventively combines traditional Malian music with supple, jazz-inflected vocals. amira kheir, the sudanese-italian singer, who rapidly became a staple of the african music scene in london after moving here from turin five years ago, traces the renewed interest in west african music throughout europe and the United states to its strong ties to american genres of music. ‘Originally, you can trace a lot of “western” genres of music to west african beats and rhythms,’ she explains. ‘even things like Cuban Music or rock and roll in the early 1940s or 1950s, even blues and jazz… they can all be traced in some way to western africa beats.’ kheir is excited by how senegalese and Malian artists have brought a greater international interest to african music, even though as a singer from an east african tradition, she sometimes struggles against certain audience expectations in europe. ‘there is certainly an anthropological approach to african music [in europe],’ she says. ‘record executives want a specific kind of sound – they want the sound of west african music that can work in europe. My music is inspired by east african music, which in turn is heavily influenced by Middle eastern music, so the beat is different, the scales are completely different – it’s just very different from what Western audiences expect from “an african artist.”’ Nevertheless, kheir has achieve success within the african music scene in london, performing solo gigs at the london Jazz Festival and recently being featured in a televised solo concert on the BBC’s africa network this past March. While not yet producing contemporary african music that lands multi-million dollar record deals, london is on the cusp of something truly exciting for, unlike Paris or New York, which are very much dominated by west african music, it is musically more open to complex musical identities, kheir explains. the south london band Monkfish, whose style combines Congolese drums, traditional west african instruments, Caribbean rumba and african pop, typify the eclectic energy of the london music scene. Paul O’sullivan, the band’s guitarist, relates this to the historical ebbs and flows of migration throughout the city’s history. ‘the first musicians to come to london were south african jazz musicians in the 1960s because of apartheid. But then even [the Nigerian] Fela kuti used to play in london! in the 1970s, Ghana had really taken over, making it quite a west african scene. But then out of nowhere in the late seventies and early eighties, there was a wave of Congolese music – and i think people in london got excited about that, as it kind of opened up the market.’ Monkfish’s cosmopolitan sound comes from its band members’ internationally diverse interests. ‘We produce music democratically,’ explains O’sullivan. ‘some people in our band love Malian music, some love east african music, i love Congolese music… it all goes into the mix.’ Nonetheless, even though african music continues to amass devotees throughout the world, and as american pop bands strongly inspired by african music like Vampire Weekend have their albums shoot to the top of the charts, there are still many fresh developments in west african music – Ghanaian hip-hop, tuareg blues or rap from Cote d’ivoire – that few but the most intrepid music aficionados in europe and the Us have already discovered. n

This page: Rokia Traoré's album Tchamantché (above) was released to widespread critical acclaim in the US and the UK. The Malian kora player Toumani Diabaté (below) fuses traditional Malian music with jazz, blues and flamenco.

Opposite: Ali Farka Touré (top) was one of the most widely popular Malian artists, actively promoting African musicians internationally. Orchestra Baobab (middle) broke up in the seventies only to regroup in 2001 after their music was rediscovered in Europe. Eight-piece band Monkfish (bottom) have become one of the most popular locals acts in London.

jaKob boesKov nollywood calls words karen wright | PhotograPhs jongchul lee

Jakob Boeskov photographed at Lucieneâ&#x20AC;&#x2122;s, New York, March 24, 2010

«THeRe was a loT oF sHoUTInG and IT was veRy PHysIcal. wHIle IT was alIen To Me, I FelT veRy MUcH aT HoMe»

I ARRANGE TO meet Jakob Boeskov in a small French restaurant in downtown Manhattan. When he fails to arrive, I phone to find he has forgotten our meeting. A strapping, tall and very blonde but obviously harassed Nordic-looking man arrives, apologizing profusely for his lateness, saying he was immersed in the final edits to his film, Dr Cruel, to be screened both in NYC and hopefully Africa in the spring. I first came across Jakob and the Africa project when I was interviewing Anne Pasternak, director of Creative Time, the New York-based arts organisation which has financed the film project, who told me that this is also the organization’s first venture into Nollywood. When we meet, Jakob tells me that his first experience of Creative Time was going to jail with their curator, Peter Eeley. I laugh and ask for more explanation. He says Peter was in Denmark for a conference and he wanted to see theTivoli Gardens but they had closed for the night. Jakob encouraged him to climb over the fence and they walked around. I asked why they were arrested. ‘Peter had managed to get one of the rides working and we were on the bumper cars when they came in. Peter was telling them it was art as they put on the handcuffs’ he says. ‘I told him it was no use saying that’. This early excursion did not deter the broad-minded Creative Time. Jakob was born in 1975 and grew up in Elsinore in Denmark before moving to Copenhagen to study art, where he was eventually forced to leave art school before he finished his studies. After this, he became well-known as a political cartoonist. As a film-maker, his early influences were the classics, such as films by Fellini and Bergman, ‘both a long way from Africa’, he says, laughing. He admits that as a young man he was obsessed by the writings of Marshall McLuhan and fell under their spell. Recalling McLuhan’s two key phrases, ‘the medium is the message’ and ‘the global village,’ Jakob claims that McLuhan ‘predicted the internet.’ ‘It was American culture,’ he reiterates, ‘that really changed America, it was rock and roll, not just politics and weapons’. Rebellion is at the centre of a lot of our conversation. Jakob tells me that he had an Icelandic father and Swedish mother. He then admits rather ashamedly that his father fought as a soldier in the Vietnam war, something that Jakob clearly could not relate to but I feel could well have been an inspiration for him his best known art project, My Doomsday Weapon (2002). For this work, together with journalist Mads Brügger and industrial designer Kristian Von Bengtsson, he created a fake hi-tech weapon called the ID Sniper rifle. This imaginary weapon could shoot GPS chips into demonstrators, so that the police could locate the culprits. Jakob took the ID Sniper rifle designs to a weapons trade fair in Beijing where he proceeded to try and sell it to international arms dealers. ‘Some were really taken in and we received orders’, he said. He played the part well until he was deported by the authorities for having outstayed his visa. The fall-out though has not been entirely positive, he admits, as his web site has been taken down frequently, he believes by hackers employed by the Chinese authorities. In order to make Dr Cruel, Jakob flew to Nigeria’s capital Lagos, which is the centre of Nollywood, now the world’s fastest growing film industry. Over 2,500 films were made in the past year, albeit many with a very non-Hollywood budget of less than $10,000. Nollywood has become, in Jakob’s words, the ‘voice of the African people, an antidote to the politically controlled news channels like CNN.’ He says he found the whole experience in Africa a sympathetic one. He explains that, his father having come from Iceland, he could see a similarity between

that country and Africa, both being extremely tribal and, as he puts it, ‘strange.’ It was a melancholic place in which to live so it was a pleasant surprise to find that Nigeria was a place not of sadness but filled with optimism. Also, the concept of Nollywood appealed to him, with its complete disregard of copyright and its huge target audience of 180 million. The main problem for film-making in Africa was the cost of film-stock – a difficulty which Nollywood gets around through guerilla tactics. ‘It’s clear’, he says ‘that the African’s don’t relate at all to America, they don’t know who Marilyn Monroe is, they don’t need to – they have their own thing going.’ When I ask Jakob about the genesis of Nollywood he tells me that he had heard that the whole Nollywood industry had started when cheap Chinese video machines were being imported into Nigeria but there was nothing to play on them. The presence of this unused equipment stimulated the beginning of the industry. Whether this is true or not, it makes a good story, I say to Jacob. (The director of Dr Cruel, Teco Benson, gives a different account of this – see below). ‘It is refreshing’, Jakob says, ‘that there are no unions and the films have a directness and sheer weirdness; they are of course all about love,’ he laughs, and he admits that this attracts him. He recalls seeing a Nollywood film called Hitler, saying ‘it was so appealing as it was not part of the politically correct dogma. Nothing is tasteless in Africa – tragedy is not in the past but is part of everyday life’. Creative Time helped sort out his partners in Nigeria

by getting in touch with Teco Benson, an established Nollywood director. As Jakob relates, Teco makes action films which are a good thing, as ‘action and love are universal languages.’ The making of Dr Cruel was not without problems though. Jakob recalls that the lead actor was Osita Iheme, a well-known Nigerian comic actor (who, because of a hormone deficiency, will always have the stature and looks of a child). He didn’t show up on the Sunday, the day of the shoot. ‘Teco, the director’, Jakob says, ‘was not phased, but I was getting really worried. I had written the script and we only were shooting for the one day. He came three hours late, with sun glasses on in this big jeep with all these body guards. He got out of the car and I found out he had been in church!’ The shoot itself was very different in atmosphere from the European sets that Jakob had been on before. ‘There was a lot of shouting and it was very physical - it is very much the “snap-snap – let’s go” mentality. The people were all very outspoken. While it was alien to me, I felt very much at home. The Africans say what they think and in the end the approach was push and shoot.’ Jakob says he is keen to go back. There is a huge energy there ready to be tapped and he was mesmerised by the great music he heard there. Strangely, he says, it was not tribal music but electronic music made on computers. What he loved is the ‘futurism of Nigeria, it is a country living for the future. Unlike Europe which is always looking back, Africa is filled with smart futuristic people’. ■ 53

Opposite: Jakob Boeskov in Lagos, and on the set of the film Dr Cruel with Osita Iheme Below: in New York, March 2010 Bottom left: a poster for the film Dr Cruel

TECO BENSON THE DIRECTOR’S CHAIR INTERVIEW KAREN WRIGHT

Teco Benson is a passionate movie maker, choosing to leave his job as a health care professional in the 1990s to join the burgeoning Nollywood scene in his native Nigeria. His new movie, High Blood Pressure, will be the 23rd feature film he has directed, many in the action-man genre for which he is best known. He has also produced a long list of titles as well. We conducted the following email interview recently, and it is interesting to note how his recollection of how cinema took such a hold in Nigeria differed from that of his collaborator Jakob Boeskov. KAREN WRIGHT How did you first hear about Jakob’s film project? TECO BENSON Jakob got across to me through Facebook and told me he would like me to work with him. KW Jakob said that the genesis of Nollywood was when video equipment was imported from China and there were no films to play on the equipment – is this true? TB Not really, Nigeria had a thriving film industry and cinema culture that eventually died in the late eighties owing to economic and other factors. The death of films and cinema culture created a lacuna as the old cinemas converted to churches and warehouses. As nature abhors a vacuum, so the death of film created a vacuum which video films later filled. How did it happen? In the days of cinemas, there was no VHS, nor VCD, DVD or Blu-ray. Televisions were new, few, and a luxury possession of the elites. With the emergence of such Japanese wonders as home theatres and video cameras, film makers who had 54

learned their craft from television decided to experiment and tell their stories with video cameras and eventually sell it to homes on VHS, since people no longer go to the cinemas. It worked out. The biggest bang was Living in Bondage, shot in 1992. The unprecedented success recorded by the owners saw an influx of people into the industry. The video medium actually democratised filmmaking in Nigeria, from the expensive and unaffordable celluloid format. KW Can you define for me what you feel is different about Nollywood compared to Hollywood and Bollywood? TB The major differences are format, budget and distribution. While the other two make films for the big screen, because they have thriving theatres, Nollywood converted their misfortune to blessing by making the same film for home viewing rather than the big screen, since there is no cinema in the first place even if they switch to big screen. Recently pockets of cinemas have surfaced in Nigeria, but they are so few that they cannot return investment. Besides, Nigerian elite cinema audiences prefer to go see films from the west. Another difference is that most times Hollywood and Bollywood movies are purely for entertainment, while Nollywood movies are about stories with moral messages. KW Is this the first art project that you have worked on and if so how did it differ from your usual projects? TB First this is a short film, I do mainly features. In terms of theme, I tend more towards serious topical issues. KW Why did you choose, as a successful film maker, to make what must have been a low budget short? TB Well, I saw the commitment and optimism in Jakob the creator and felt like helping out. Again what I did was to make it look a little more serious than he intended. I realized they just wanted a fun kind of thing, but I’m not given to fun! But at the end of the day, we had something good. KW Was it the idea or the experience of working with an artistic group like Creative Time that attracted you, and did the experience meet your expectations? TB I did the project to establish a working relationship. And I think so far so good. KW Do you think that Jakob understood the African mindset and did he work well with the Nigerian team? TB Yes, he fitted into the scene immediately except for his white skin! He is good and well mannered. He is also very committed and focused. Relationship-wise he was wonderful. He blended with everybody on set, I recall he played the major role. KW Are you interested in working outside the African film scene? Do you think this project will introduce your work to a wider audience? TB I am definitely interested. That is actually my destination. Well, I don’t neglect anything. What you consider small might be the springboard to your destiny. Anything is possible. KW Will you screen this project in Nigeria and if so in what context? How do you feel it will be viewed locally? TB Well, it depends on the arrangement with Creative Time. It’s a short film, and Nigeria is not used to that, but there is always a first time. ■

«HOLLYWOOD AND BOLLYWOOD MOVIES ARE PURELY FOR ENTERTAINMENT, WHILE NOLLYWOOD MOVIES ARE ABOUT STORIES WITH MORAL MESSAGES»

kendell geers out of africa

interview katerina gregos | portrait alex salinas

Kendell Geers photographed in his studio, Brussels, April 1, 2010 000

Katerina GreGos How can one even begin to talk about African contemporary art? Can one actually say such a thing exists? What does the phrase itself mean, other than denoting modern art originating from Africa as a geographical territory? It is problematic enough to talk in terms of the sweeping generalizations that inevitably follow what is termed Indian, Chinese or Brazilian contemporary art, but the case of Africa, we are actually talking about not a country, but an entire continent. So I’d like to know what ‘African contemporary art’ means to you, if anything? Kendell Geers It is almost impossible to define Africa as a singular concept given that it is a vast continent made up of 53 countries, including the Indian and Atlantic Ocean islands and the Maghreb. Africa was always an integral part of the European imagination with the ancient Egyptian and the cradle of civilization just across the Mediterranean Sea. The continent also holds the keys to our human origins: it was the birthplace of humankind. Not only has there been very close contact with Europe for millennia, but in modern times the continent was colonized by all the European imperial powers, with Belgium, France, Germany, Italy, Portugal, Spain, Britain and Netherlands each importing their own languages, value systems, religions, economies, politics, ideologies and so forth. It is impossible to generalize or reduce Africa or its arts and cultures to any singular or cohesive concept or philosophy. In effect, there is no such thing as an ‘African art scene’, but there are certainly a great many different scenes in Africa, some of which you may have heard of but many others that you will never hear about. Rather than speaking about ‘African contemporary art’, I would rather speak about ‘contemporary African art’, the difference being that the former caters for the international market in much the same way as African traders have always done. ‘Contemporary African art on the other hand presupposes a sense of the present, of the contemporary spirit and is always in motion, always fluid and resisting classification. ‘Contemporary African art’ is more viral and hence dangerous, as contemporary art should be. By way of example, consider the priests and missionaries visiting the continent, Bibles under their arms and stories of Christ on the cross, suffering for our sins. It could be argued that the animistic shamans of the Congo then transformed the Christian concept of the Passion into the nkondi nail fetishes into their own indigenous ritual in which a wooden effigy becomes the embodiment and expression of their own pain and suffering. The ‘contemporary African artists’ whose work I respect function outside of the logic of international ‘contemporary art’ according to a logic that they have defined by their subjectivity and context as by the international languages they were taught in by missionaries, capitalists and global media.

KGr What do you consider are the main problems surrounding the perception of African contemporary art, or as you put it contemporary African art, in the west? KG In a word the biggest problem that we face is still that of racism. Historically, the European attitude towards the continent was patronizing and paternalistic and little has changed over the centuries. Even in the most liberal and antixenophobic circles, there persists an imaginary prejudice of what African art should look like and how African artists should be perceived. I remember participating in a panel discussion at the Museum of African Art some years back and an African-American lady asked me how, as a white person, I dare call myself African. My ancestors have lived in Africa for more than three centuries and yet I am still not considered to be an African. Somehow the irony that whilst her ancestors had been living in the United States for three centuries and mine in Africa for as long, she still considered herself to be more authentically ‘African’ than I. It is this same racist prejudice that insists African artists be academically untrained and that their work be somehow primitive or exotic. KGr In that sense, it would also be important to talk about some seminal historical precedents of exhibitions held in the west that featured art from Africa such as Magiciens de la Terre (Centre Pompidou, Paris, 1989), the exhibition that ‘awakened’ the Western art system’s consciousness to ‘art from the periphery’ and pretty much sparked off the debate about the ‘globalization’ of the art world; or more recently Africa Remix (Museum Kunst Palast, Düsseldorf, Hayward Gallery, London, Centre Pompidou, Paris, Mori Art Museum, Tokyo, 2004-2005) which attempted an overview of the artistic production in Africa and the African diaspora. Both were admittedly very different, but much discussed and seen shows. How do you yourself ‘read’ these shows and how do think they have affected the perception of African contemporary art outside Africa? KG Magiciens de la Terre was an extremely naive exhibition and that’s what saved it. Indeed, it was a landmark, being the first to present the work of African artists alongside their international contemporaries. Africa Remix on the other hand was a calculated political attempt at defining who and what African art is and could be. Neither exhibition was rigorous or helpful in the debate since they were more about curators than the artists. The problem with such shows is that in the aftermath museums tend to tick off the subject of ‘Africa’ as now defined according to that proposal and any other voice is thus silenced. How can anybody define the contemporary art production of any continent in one single exhibition? Could you imagine the scandal that would be created if an African curator made a show called American Remix and that was the only exhibition by which the Americas (north and south) and their 57

contemporary arts was understood and defined? KGr Why do you consider Magiciens de la Terre naive? Given the vastness of the subject, how can one then even begin to convey a notion of ‘contemporary African art’. How can one overcome the inevitable generalizations of the aforementioned kind of exhibition model, whose approach is a combination of that which looks ‘contemporary’, with the necessary twist of folklore or couleur locale. KG I don’t think that it was a question about Africa so much as the notion of a ‘universal’ creativity. The exhibition was, in my opinion, naive inasmuch as it paired so-called primitive or folk artists from the so-called periphery or third world with so-called avant-garde contemporary artists from the first world. The exhibition proposed that there was no difference between the untrained talents of African artisans and European white cube gallery artists. Why, for instance, was Africa not represented by South African artists like John Coplans or Ian Wilson? The naivety lay in the uneven pairing of traditions in which Africa was ‘spoken for’ and on behalf of, by a European curator in a global art system that by definition they were excluded from. At its most reductive, the equivalent would be for an African curator to exhibit lederhosen from Bavaria or lace from Belgium alongside work by Marlene Dumas and suggest that there was no difference in the intentions of the artist or the traditions they embodied. KGr So where does one begin? KG One starts at the beginning of course and I would say begin by actually listening to the artists themselves in much the same way as one would with self-conscious European artists. KGr Throughout its history, Africa has always been subjected to claims and colonization from the outside. One could say that the same is happening today in terms of its contemporary art, with its persisting allure of the ‘exotic’ and the ‘different’. Yet there are movements within Africa itself to resist these tendencies, and to wrest authority of its own art history, its cultural production, classification and presentation. Can you say a little about this? KG It’s extremely complex because even within the continent itself there is no agreement between the curators, critics or artists. There are those who believe for instance that Picasso ‘stole’ his ideas from Africa on account of his having used African masks in Les Demoiselles d’Avignon and in his development of the Cubist approach to painting. Many of these artists now paint in quasi-cubist Africanesque styles and would argue that they are the true African artists. I always find it ironic to say the least that, while these artists are so adamant in accusing Picasso of having stolen their inheritance, few of them have ever used the actual masks they are painting in the rituals

«there persists an imaginary prejudice of what african art should look like and how african artists should be perceived. my ancestors have lived in africa for more than three centuries and yet i am still not considered to be an african. it is this same racist prejudice that insists african artists be academically untrained and that their work be somehow primitive or exotic»

and according to the traditions for which they were originally made. There are as many exotic or outsider or craft artists as sophisticated or conceptual artists in Africa. Increasingly, artists like Fernando Alvim or collectors like Sindika Dokolo, Gordon Schachat and Pierre Lombart are trying to create collections, viable museums and infrastructure that will help make the continent more self-sufficient and the artists as a result less dependent on the recognition defined by racist international prejudices. KGr One of the problems surrounding African contemporary art is, of course, the writing of its art history, or the lack of, to date. Okwui Enwezor and Chika Okeke-Agul recently published a book called Contemporary African Art Since 1980, one of the few books to attempt to make sense of this vast territory of artistic production. What do you think of this book? As an African artist who knows the situation from the inside, politically as well as culturally, how would you write a new history of African contemporary art, since the period of independence. What would be the main points you would emphasize? KG I think that Okwui Enwezor and Chika Okeke-Agul’s book is fantastic. Unfortunately, it’s the first and only book that has seriously attempted to write the history of a continent and the danger persists that it becomes the only canon and all other voices are silenced. They did a fantastic job trying to represent and define an extremely complex history, but it should not stop there. More than on any other continent art, politics, history and identity are inextricably connected and intertwined in Africa, and art as a result resists any simple attempt at definition. The visual artists of the continent are decades behind their literary or musical contemporaries in terms of documenting their histories. KGr Do you see a difference between the art made by black African artists such as El Anatsui or Oladele Bamgboye and white African artists like yourself or William Kentridge, for example; artists born and residing in Africa or artists of African origin who were born or emigrated to the west? KG William Kentridge is a white artist who has always lived in Johannesburg and he is one of the most successful artists in the world today. Oladele Bamgboye and Yinka Shonibare are black and live in London and create work that is as sophisticated, computer literate or avant garde as any artist living in London. There is a violent, primal urge in the paintings of Marlene Dumas, currently living in Amsterdam, and a conceptual bluntness in the work of Willem Boshoff, who lives in Johannesburg. Being born in Africa is about as defining as being born anywhere and success or failure can no longer be pinned to where you were worn or where you live any more. KGr Is there a market for African art in Africa 58

itself or is African art predominantly sold via the western art market? KG The market for ‘African contemporary art’ is largely European, but certainly outside Africa there are collectors like those I already mentioned who are the role models for other collectors. The market for contemporary work in Africa is considerably smaller than elsewhere, but it is one of the fastest growing markets in the world. KGr What do you think of the recent resurgence in large-scale exhibitions in Africa such as the Dakar or Cairo Biennials, Luanda Triennial? These exhibitions function as showcases of African art for an interested international audience, but what is their actual function and effect within Africa itself? KG They are important flash points of attention in which artists, curators and collectors from across the continent are able to meet and discuss their ideas. I am disappointed that more African countries do not support their artists with more biennials, triennials and art fairs that encourage better international discussion and the movement of art and ideas. KGr How do you think the post-colonial turn and post-colonial discourse has had an effect on the reception and interpretation of contemporary African art, in effect changing the hegemonic narratives that were formerly imposed by the west to facilitate and legitimize its claims or persistent ‘hijacking’ of Africa? KG The struggle for artists coming from Africa is the very same as for anybody coming from African to be able to speak for yourself, rather than on behalf of. Since the times of the missionaries, Africans have been perceived as illiterate or somehow closer to nature and therefore in need of guidance and paternal assistance. This problem continues to exist in the international art world as European curators and collectors define what an African artist is or is not allowed to be. While nobody would dispute that actress Charlize Theron was born and grew up in South Africa, few would speak of her as African and why not? Why is there even this debate about trained or untrained, primitive or not, in considering which African artists are more authentic and which not? Independence in Africa is a very complex discussion, for while the colonizing European nations may have been thrown out, they continue to rule the continent through the companies and infrastructures they set up and still hold control over. African culture is in many ways the shadow of the European imagination and its values. As cigarettes get banned in the first world, the markets open up in the corrupt third world. There are more Christian churches and congregations in Africa than in Europe. More people speak English, French and Portuguese in Africa than in England, France or Portugal. In these terms it’s impossible to

define where Europe ends and Africa begins for the exportation of European values, traditions, politics, religions and infrastructure to Africa and rape of everything indigenous was without mercy. It is very difficult for any African person to see themselves and their traditions as they once had been and our eyes are all colored by the prism of the European lens. KGr Between the primitivism and ‘exoticism’ of tribal or folk art which fertilized, indeed decidedly marked modernism in the beginning of the 20th century, and the ‘internationalized’ language of conceptual art today, what exists in between and where might contemporary African art be positioned today? KG I always think about the Brazilian Cannibal Manifesto of Oswald de Andrade, in which he suggests that third-world culture and tradition should devour and cannibalize what it needs from the first-world culture and tradition, rather than set itself up as some kind of victim. There is a lot that we still need to understand

about the shamanic cultures of Africa and Latin America and we have a long way to go in learning to respect these animistic traditions. It is a European conceit thinking that these shamanic cultures would even want to show their work in the art-gallery system. Why do we assume that the status of ‘art’ is the highest that an object, image or tradition could achieve? Why not compare the European alchemical traditions and understandings of quantum physicists with that of the so-called witch doctors, sangomas and shamans? I believe that the conceptual languages of what we call primitive traditions are way more sophisticated and complex than any conceptual games about art. KGr How would you situate your own work – and its particular emphasis on a politically engaged conceptual practice – within the African context as well as outside it. Is there a difference in how people read your work in Johannesburg, your place of birth, for example, and Brussels where you now live?

KG In Johannesburg, I am a native, and in Brussels, an exile and, of course, that difference changes the ways my work is understood and read. If I present the photographs I took of electric fences and security signs in Johannesburg, most people would scratch their head at the banality of it all, whereas the same photographs are seen as violent and extreme to a European audience. I am from South Africa and will always conceive of myself as an African artist, but I live in Brussels and produce work according to the languages and rules of contemporary art. I am as influenced by the European alchemists as by Zulu sangomas. I don’t see the contradiction in being able to live and work simultaneously in two contradictory languages and schools of thought for that is how I was defined by the socio-political religious clash between my European and African ancestors. n Katerina Gregos is a curator and writer from Greece, who lives and works in Brussels, Belgium

Opposite Page: Eurovision 2007. Below: Kendell Geers, ‘A GUEST + A HOST = A GHOST’, Installation View, Stephen Friedman Gallery, 2009

object lesson: lot 55 words Edouard dE Moussac

Bob Marley’s music continues to increase his legendary reputation years after his death. While Marley helped promote an authentic image of Rastafarianism, he also fully embraced a celebrity lifestyle.

Puma’s high end footwear are closely associated with urban chic. By endorsing several famous soccer players like Pele and Diego Maradona, the brand has become synonymous with the ‘celebrity athlete.’

By reproducing everyday objects on a massive scale, Claes Oldenburg’s sculptures - like the monumental Clothespin (1975) in Philadelphia transform the familiar and banal into the extraordinary. 60

Kehinde Wiley depicts urban AfricanAmerican men in an opulent manner that references baroque portrait painting. By rendering these subjects in an antique style, his art is both strategically anachronistic and ultra contemporary.

Marley, Image Island Records. Puma shoes, PUMA AG. Oldenburg, Photo by Ben Katz. Kehinde Wiley, After Hans Holbein the Younger’s Portrait of Simon George 2009, Courtesy Rhona Hoffman Gallery.

AS fAR AS Satch Hoyt is concerned, sound is the thing. ‘Music informs my process as a socio-political transmitter. All my sculptures and installations are accompanied by a self-composed/collaged soundscape,’ the Berlin-based artist and musician says. Born in London in 1957 to a white British mother and a Jamaican father, Hoyt’s work rejoices in the accumulation – and collision – of cultural references gathered in its creation. But the sculptural trope in Hoyt’s art is really an exploration of the black experience and mutability. Hoyt’s used the black leather tongues from Puma sports shoes to make Penalty (2009), a sculpture of a pantherlike soccer player shooting for goal; and for Celestial Vessel (2009), vinyl records to fashion a 16-foot canoe – the boat being a ‘record’ of origins, of journey. His drawings tap into a spirit of fantasy, refuge and transcendence, while the selfcomposed soundtracks to Hoyt’s installations place music inside this trope. An accomplished musician, Hoyt has collaborated with many artists – including Grace Jones and Louise Bourgeois – and for the past nine years, he’s been the flautist in Burnt Sugar: The Arkestra Chamber, the jazz ensemble led by the musician and writer Greg Tate. Rimology (2009), with its gleaming BMW chrome hubcaps and soundtrack, is a perfect example. It’s a piece that explores the ostentatious consumerism of bling rooted in automobile culture, but from an Afro-Caribbean sound-system sensibility. Rimology reverberates with the beats of Jamaican music history – mento, blue beat, ska, reggae and dub – and its story is the continuing African diaspora. But more than this, Hoyt’s also interested in the iconography of the luxury car and the fantasies it engenders: in the 1970s, the BMW was the most desired car among Jamaicans. (It was referred to as ‘Bob Marley and the Wailers’ after the reggae star treated each member of his band to a new BMW.) In the UK, however, the BMW has a more ambivalent acronym – the ‘Black Man’s Wagon’: a phrase that, dependent on who says it, is either soured by an envy based in racism, or a grandiose status claim. Rimology doesn’t stop there: its symbols stretch out towards contemporary hip-hop culture, asserting that this defining culture is among the major music signifiers in current global youth culture. In fact, if Hoyt scaled it down for a necklace (remember the Beastie Boys’ predilection for the VW logo?), Rimology would be perfect for any aspiring rapper out there. n

NEW YORK

The enigmatic characters that inhabit Lynette Yiadom-Boakye’s oil paintings, like Geranium Love Sonnet (2010), pictured here, draw the viewer in with their knowing expressions and disquieting smiles. Her paintings, which can be seen in her show at the Jack Shainman Gallery (April 22–May 22), defy the cliché that portraits gives the viewer a privileged insight into the subject’s character. Yiadom-Boakye employs vigorous brush strokes to pare details down to a minimum, obscuring any signifiers pointing to the subject’s status or class – further shrouding them in a veil of mystery. 62

Yiadom-Boakye: courtesy of the artist and Jack Shainman Gallery, New York

news

LONDON

Nairy Baghramian and Phyllida Barlow at London’s Serpentine Gallery (May 8–June 13) creates a dialogue between the two sculptors’ work. Although radically different in their approach, both artists explore our relationship with space. Berlin-based Baghramian investigates the domestic realm in her minimalist installations that evoke modernist architecture, while Barlow’s large installations, such as Untitled: plywood, fabric, timber, plaster, paint from 2007, pictured here at Amagerfaelledvej Art Project in Copenhagen, overwhelm their exhibition spaces with mass-produced materials.

LOS ANGELES

Strongly informed by Gothic and Islamic architectural styles, Diana Al-Hadid’s first solo museum exhibition, Hammer Projects: Diana Al-Hadid, at the Hammer Museum UCLA (May 15–August 15), engages with Biblical and mythological narratives. The artist’s baroque sculptures, like Edge of Critical Density (above), are constructed from industrial materials like plywood, metal, flock and polystyrene. For this exhibition, the young Brooklyn-based artist will create a new piece inspired by the Arab inventor and astronomer AlJazari’s 13th-century water clock tower and by Early Netherlandish paintings of the Northern Renaissance.

NEw yOrk

wASHINGTON

Julie Mehretu’s paintings like Middle Grey (2007– 09), pictured above, are investigations into architecture and the 21stcentury city. They fuse together influences from Constructivism, Futurism and graffiti. In her show at the Guggenheim New York (May 14– October 6), the Ethiopian-born artist draws inspiration from Berlin and the vestiges of war that can be found in the city, exploring the psychogeography of urban space and the effects of built environments on individuals. Her work evokes ephemeral traces of past and current urban transformations, ominous allusions to the lasting effects of war.

South African artist Paul Emmanuel’s exhibition at the National Museum of African Art (May 12–August 22) stems from his fascination with soldiers passively relinquishing their identity to the hands of the state. Transitions, a detail of which is shown here, consists of five painstakingly scratched photographic-drawings displayed alongside the video 3 SAI A Rite of Passage (2008). By capturing the moments during symbolic rites, such as a solider’s head-shaving, Emmanuel questions notions of masculinity and submission to authority. 63

AFRICA 1 pm SATURdAy 15 mAy 2010 NEW yORK

Lots 1 - 233 aCebes, h. 39 adegbOriOye, k. 216, 217 amOda, O. 126 amrOuChe, p. 179 aNaTsui, e. 121 aNkOmah, O. 78 areNsON, r. 208 baheuX, l. 221, 222 beard, p. 218 beardeN, r. 151 bell, d. 215, 219 bermaN, k. 205, 206, 207 berNaTzik, h. 170, 171, 172, 173 besTer, w. 23, 24, 25 biaO, z. 85 biggers, s. 152 bOOT, a. 34 bOTes, C. 42, 43, 44 braNdT, N. 223, 224 breiTz, C. 60 briTTO, r. 87 buraimOh, j. 98 burTON, j d. 32 Camp, s d. 110 CampOs-pONs, m m. 58 ChériN, C. 11 Cissé, s. 94 COffie, p. 57 COlesCOTT, r. 150 COX, r. 56 dakpOgaN, C. 197 deNmark, j. 127 di Nyama, g l. 9, 80, 107, 108, 199, 200, 201, 202 dilOmprizulike 26, 27 dumas, m. 45, 66, 68, 86 easTmaN, p. 92 erasmus, s. 209 evaNs, w. 117 fazziNO, C. 93 fiadzigbe, T. 124 gavrONsky, C. 15 geers, k. 76, 82 glOver, a. 129, 130 gOba, j. 196, 198 graff, s. 177, 178 graNT, d. 72, 73, 74 haas, e. 154, 155

halTer, d. 105 hassaN, k. 91, 203 hazOumé, r. 118 heNeN, T. 220 hOyT, s. 55, 81 huffmaN, d. 145 hughes, g. 77, 128 hugO, p. 226 isiChei, r. 100, 101 jaar, a. 8 kakudji 229, 230, 231, 232, 233 keïTa, s. 31, 37, 38, 182, 183, 184, 188 keiTa, s. 123 keNTridge, w. 63, 64, 65, 67, 71, 84, 142, 143, 144 kOlOaNe, d N. 210, 211 kOralik, C. 35 kOsrOf, w. 99 krams, i. 83 kwubiri, C. 21, 22 laNga, m. 147 leviNThal, d. 140 leviTas, a. 156 lilaNga arT 90 mahlaNgu, e. 114, 115, 116 marasela, s. 131 mashile, C. 204 maTTerN, y. 51 mbuNO, k. 106 mehreTu, j. 50 mOe, l. 28 mOké 190, 191 mpaNe, a. 6, 7 mTheThwa, z. 2, 3, 4, 5, 148, 149 murray, b. 47 musa, h. 88 muTu, w. 49

OkOre, N. 97 OlaguNju, a T. 79 OlugebefOla, a. 54 ONObrakpeya, b. 120, 137, 138, 139 ONyaNgO, r. 109 Osaghae, b. 102, 103 OsaheNye, k. 125 Osawe, b. 119 OsOdi, g. 157, 158 OwerkO, l. 176 pambu bOdO, C p. 10, 192, 193, 194 piper, a. 132 plaTTer, C. 89 riCCiardi, m. 174, 175 riefeNsTahl, l. 180, 181 rOdger, g. 164, 165, 166, 167, 168, 169 salgadO, s. 29, 30, 161, 162, 163 samba, C. 14, 17, 18 sCher, p. 104 sChreuders, C. 146 seveN-seveN, T. 135, 136 shONibare, y. 61, 62 sidibé, m. 1, 33, 36, 185, 186, 187, 189 simpsON, l. 75 siOpis, p. 213, 214 smail, j. 71 sTeele-perkiNs, C. 40, 41 sTOpfOrTh, p. 133 subOTzky, m. 160 ThOmas, m. 52 Tillim, g. 159 TOkOudagba, C. 195 TOm, N. 141 Tuggar, f. 227, 228 udé, i. 225 villalONgO, w. 95, 96

Newkirk, k. 153 NhleNgeThwa, s. 16, 134 Nsimba mika, j.p. 12, 13 NwOkOlO, a. 122 Ofili, C. 48

walker, k. 69, 70 weems, C m. 59 weNger, s. 111, 112, 113 wiley, k. 46, 53 williamsON, s. 19, 20 Xaba, N. 212

1 maliCk sidibé Mali b. 1936 Nuit de Noël (Happy-Club), 1963. Gelatin silver print, printed later. 10 5/8 x 10 1/2 in. (27 x 26.7 cm). Signed, titled and dated in ink in the margin. pROvENANcE Fifty One Fine art Photography, Brussels LiTERATURE Hasselblad Center/ Steidl, Malick Sidibé—Photographs, p. 82

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 67

2 zweleThu mTheThwa SOutH aFriCa b. 1960 Untitled from Sugar Cane Series, 2003. Fujicolor Crystal archive print, Diasec mounted. 66 3/4 x 48 7/8 in. (169.5 x 124.1 cm). Signed in ink on a label accompanying the work. this print is unique in this size.

Zwelethu Mthethwa’s photographs document the everyday lives of individuals living in post-apartheid South africa from a local’s perspective. Here, Mthethwa photographs workers harvesting sugar cane, an industry that has been the source of as much wealth as conflict in africa. While working within the context of social documentary photography, Mthethwa’s images are more nuanced and calculated, incorporating elements from his background in fine art—namely, the figure’s frontal, central pose—to create images that balance the documentary with the artistic. accordingly, the use of color, traditionally at odds with documentary photography in africa, is nonetheless an essential aspect of his work as it injects the images with the subjects’ vitality and vibrancy whilst attempting to dispel the generalized notions of widespread poverty throughout the region.

pROvENANcE Jack Shainman Gallery, New York

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 3 zweleThu mTheThwa SOutH aFriCa b. 1960 Untitled from Sugar Cane Series, 2003. Fujicolor Crystal archive print, Diasec mounted. 25 x 33 1/2 in. (63.5 x 85.1 cm). Signed in ink on a label accompanying the work. Number 1 from an edition of 3. pROvENANcE Jack Shainman Gallery, New York LiTERATURE aperture, Zwelethu Mthethwa, p. 42

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 68

4 zweleThu mTheThwa SOutH aFriCa b. 1960 Untitled, 1998-1999. Color coupler print. 49 x 66 3/4 in. (124.5 x 169.5 cm). Signed and numbered 3/3 in ink on a gallery label accompanying the work. pROvENANcE Galleria Marco Noire Contemporary art, turin Estimate $ 4 , 0 0 0 - 6 , 0 0 0

5 zweleThu mTheThwa SOutH aFriCa b. 1960 Untitled, 1998-1999. Color coupler print. 49 x 66 3/4 in. (124.5 x 169.5 cm). Signed and numbered 3/3 in ink on a gallery label accompanying the work. pROvENANcE Galleria Marco Noire Contemporary art, turin Estimate $ 4 , 0 0 0 - 6 , 0 0 0

6 aimé mpaNe DeMOCratiC rePuBliC OF CONGO/BelGiuM b. 1968 Congo—Face IX, 2008. Oil on carved wood. 12 5/8 x 11 7/8 in. (32.1 x 30.2 cm). Signed “aimé Mpane 2008” on the reverse. pROvENANcE Collection of the artist ExhibiTEd New York, Skoto Gallery,

7 aimé mpaNe DeMOCratiC rePuBliC OF CONGO/BelGiuM b. 1968 Congo— Face XV, 2008. Oil and wood collage on carved wood. 11 3/4 x 12 in. (29.8 x 30.5 cm).

Aimé Mpané: Faces/Recent Works, February 12 - March 21, 2009

Mpané: Faces/Recent Works, February 12 - March 21, 2009

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

pROvENANcE acquired directly from the artist ExhibiTEd New York, Skoto Gallery, Aimé

8 alfredO jaar CHile/uNiteD StateS b. 1956 Embrace, 1995-2003. lightbox with color transparency. 20 x 14 x 3 5/8 in. (50.8 x 35.6 x 9.2 cm). this work is from an edition of five. pROvENANcE Galerie lelong, New York Estimate $ 7, 0 0 0 - 9 , 0 0 0 71

9 geOrge lilaNga di Nyama taNZaNia 1934-2005 Untitled. Oil on canvas. 56 1/2 x 29 7/8 in. (143.5 x 75.9 cm). Signed “lilanga” lower center. pROvENANcE acquired directly

10 Camille-pierre pambu bOdO DeMOCratiC rePuBliC OF CONGO b. 1953 Forêt du Sape, 2009. acrylic on canvas. 31 1/2 x 39 1/2 in. (80 x 100.3 cm). Signed and dated “art Bodo 2009” lower right. pROvENANcE Private collection, Portugal Estimate $ 2 , 0 0 0 - 3 , 0 0 0

from the artist (1997)

Estimate $ 5 , 0 0 0 -7, 0 0 0

11 Chéri ChériN DeMOCratiC rePuBliC OF CONGO b. 1955 Le gouverne et ment de demain, 2009. Oil on canvas. 51 3/4 x 74 5/8 in. (131.4 x 189.5 cm). Signed and dated “Cheri-Cherin 2009” lower right. this work is accompanied by a certificate of authenticity from the artist. pROvENANcE acquired directly from the artist Estimate $ 5 , 0 0 0 -7, 0 0 0 73

12 jeaN paul Nsimba mika DeMOCratiC rePuBliC OF CONGO b. 1980 Coupe du Monde en Afrique du Sud, 2009. acrylic and mixed media on canvas. 27 1/4 x 38 5/8 in. (69.2 x 98.1 cm). Signed with the artist’s monogram and dated “2009” lower center. this work is accompanied by a certificate of authenticity from the artist. pROvENANcE acquired

13 jeaN paul Nsimba mika DeMOCratiC rePuBliC OF CONGO b. 1980 La mode à Hollywood adoption des enfants en afrique, 2009. acrylic and mixed media on canvas. 51 1/4 x 39 3/8 in. (130.2 x 100 cm). Signed with the artist’s monogram and dated “2009” lower center. this work is accompanied by a certificate of authenticity from the artist.

directly from the artist

pROvENANcE acquired directly from the artist

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 74

14 Chéri samba DeMOCratiC rePuBliC OF CONGO/FraNCe b. 1956 Le Secret d’un Petit Poisson Devenu Grand, 2003. Oil and glitter on canvas. 32 x 39 1/2 in. (81.3 x 100.3 cm). Signed, titled and dated “ Chéri Samba le SeCret D’uN Petit POiSSON DeVeNu GraND 2003” lower right. pROvENANcE acquired directly from the artist; Private collection,

15 Claire gavrONsky SOutH aFriCa/italY b. 1957 Subtle Phenomenon, 2009. Oil on cotton. 47 1/4 x 39 1/2 in. (120 x 100 cm). Signed “Claire Gavronsky” on the reverse. pROvENANcE Private Collection

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0

london

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0 My painting is concerned with peoples’ lives. I’m not interested in myths or beliefs. That’s not my goal. I want to change our mentality that keeps us isolated from the world. I appeal to peoples’ consciences. Artists must make people think. Chéri Samba 75

16 sam NhleNgeThwa SOutH aFriCa b. 1955 Let us Pray, 2007. Diptych. Oil and collage on canvas. 48 3/4 x 43 1/4 in. (124 x 110 cm) each. Signed and dated “Sam Nhlengethwa 07” lower edge of right panel. pROvENANcE Goodman Gallery, Cape town; Private Collection

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0 76

17 Chéri samba DeMOCratiC rePuBliC OF CONGO/FraNCe b. 1956 The Used Condoms (Les Capotes Utilisées), 1990. acrylic on canvas. 52 1/4 x 79 3/8 in. (132.7 x 201.6 cm). Signed and dated “Chéri Samba Zaire avril 1990” lower right. pROvENANcE annina Nosei Gallery, New York Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 Critics in Kinshasa have never accepted the phrases in my paintings, they think of painting in a more western manner. Yet the truth, in my paintings, is almost always expressed in the sentences inserted in the paintings. Often they contradict the scene represented…for example, for a person from Zaire, nudity is scandalous: I paint it, I make it visible, and then, with a phrase, I find a way of saying ‘don’t look’. I like these paradoxes. Chéri Samba 77

18 Chéri samba DeMOCratiC rePuBliC OF CONGO/FraNCe b. 1956 J’aime la couleur, 2007. acrylic and glitter on canvas. 84 1/2 x 53 1/4 in. (214.6 x 135.3 cm). Signed, dated and inscribed “Chéri Samba D.2007 N.B. C’est le dernier t. de la série” lower right. pROvENANcE Private collection, Paris; Magnin.a [art advisory], Paris Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0 the paintings of Chéri Samba, full of caustic humor, appear as a fierce critique of social and political life. as a midway between popular painting and comics, the favored themes of Chéri Samba are diverse and varied but always singular: corruption, war, underdevelopment, aiDS or adultery—and often the relationship between african cultures and the West and inevitable globalization. Samba’s strength as a painter is his power to deal with controversial issues from the representation of everyday life, pleasures and the paradoxes that we find in cultures in development. Samba’s paintings are always easily accessible and highly appreciated by all kinds of public audience which is a result of his belief that artists should not only reflect on but also appeal to the conscience of the viewer. 78

in J’aime la couleur Chéri Samba presents us with a fully frontal self-portrait which appears almost superimposed on the canvas. there is no perspective and depth is virtually nonexistent, it is only suggested by the opposition of warm and light colors. the powerful color palette, the simplification of the composition to its most essential elements, the selfrepresentation and its moralistic target, and importantly it’s monumental scale all make J’aime la couleur one of the most major works by the artist. Color is everywhere. I find that color is life. It must turn our heads like a spiral to recognize that everything around us is nothing but color. ‘I like the color’ not to say ‘I love painting.’ The color is the universe, the universe that’s life, painting that’s life. I made this painting also to stop saying that there are people of color and others do not. It’s a big mistake. As a painter, I feel that everything around me and also ‘people’ have a color. Chéri Samba

19 sue williamsON SOutH aFriCa b. 1941 The Truth Games: Stompie’s Mother confronts Winnie Madikiza Mandela, 1998. Color laser prints, wood, metal, plastic and lucite. 32 1/2 x 47 1/2 in. (82.6 x 120.7 cm). Signed and dated “Sue Williamson ‘98, numbered of 2 and titled “the truth games: Stompie’s mother confronts Winnie Madikiza Mandela” on the reverse. this work is from an edition of two. pROvENANcE axis Gallery, New York LiTERATURE S. Williamson, Sue Williamson: Selected Work, Cape town, 2003, pp. 44-47

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 It’s hard to make political art, in a sense, without being one-dimensional. You’re not just making a statement, you’re putting something out there, and the way you put it out there, transforms it in the process… Sue Williamson, 2001 80

20 sue williamsON SOutH aFriCa b. 1941 Pass the Parcel, Jacob, 2007. archival prints on tyvek, string and found objects with hand stamping. installation of 21 pieces. 74 1/2 x 151 3/4 in. (189.5 x 385.5 cm) overall. Signed “Sue Williamson” in the last frame. pROvENANcE Private Collection ExhibiTEd Cape town, Goodman Gallery, Nation State, 2009 Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0

21 Chidi Kwubiri Nigeria/germaNy b. 1966 Trance, 2009. acrylic on board. 35 1/2 x 67 in. (90.2 x 170.2 cm). Signed and dated ‘CHiDi KWUBiri 09’ lower right; also signed and titled ‘CHiDi KWUBiri TraNCe’ on the reverse. Provenance acquired directly from the artist

Estimate $ 7, 0 0 0 - 9 , 0 0 0 82

22 Chidi kwubiri NiGeria/GerMaNY b. 1966 Busy Doing Nothing, 2009. Cotton, leather, acrylic, steel and wood. 26 3/8 x 33 x 41 3/8 in. (67 x 83.8 x 105.1 cm). Signed ‘CHiDi KWuBiri 09’ on the trouser waistband. pROvENANcE acquired directly from the artist Estimate $ 7, 0 0 0 - 9 , 0 0 0 83

23 willie besTer SOutH aFriCa b. 1956 Water Pump, 2006. Oil on canvas with found objects. 16 1/2 x 34 1/4 in. (42 x 87 cm). Signed and dated “W Bester 06” lower left of canvas. pROvENANcE Goodman Gallery, Cape town; Private collection, Johannesburg

24 willie besTer SOutH aFriCa b. 1956 All that remains, 2007. Painted metal. 15 x 9 x 7 in. (38.1 x 22.9 x 17.8 cm). initialed and dated “WB 07” underside of the base.

ExhibiTEd Cape town, Goodman Gallery Cape, Lift Off 1, 2007

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

pROvENANcE Kyle Kauffman Gallery, New York

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 84

25 Willie Bester SOUTH AFRICA b. 1956 Dog II, 2008. Metal and mixed media assemblage. 33 x 53 x 15 3/4 in. (84 x 135 x 40 cm). Inscribed with initials. Provenance Goodman Gallery, Cape Town; Private collection, London exhibited Johannesburg, Goodman Gallery, Willie Bester, 2008; Cradle Of Mankind, Nirox Foundation, Sourcesâ&#x20AC;&#x201D; Contemporary Sculpture in the Landscape, 2009

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 85

26 dilOmprizulike NiGeria b. 1960 The Flirts from the installation Wear and Tear, 2000. Found materials and wooden stand. 74 3/4 x 61 in. (189.9 x 154.9 cm). pROvENANcE

“Junk is simply defined as what people have thrown away; what is nonsense, what doesn’t have value, what people can neglect or abuse without stepping on the toes of the law, what you can even pick and people will thank you for picking it. that’s what junk is all about. that’s what i work with. it began a long time ago. at least, my mother would still remember how she used to bring out pieces of different sort of things from my pockets in my early days in the primary school. and she would always express aloud, the fear of getting her fingers cut by some object while washing my clothes. at that stage, i was not using them for anything, except that i had this instinct to pick them. rollo May, in his book The Courage To Create, puts it this way: ‘a painter paints with the same instinct with which a criminal commits a crime. that instinct is the instinct of the creative mind, of the creative artist. this was the instinct i had for junk. then the picking developed into collecting. and now a bus is actually available to move junk to the junkyard anytime,’” (Dilomprizulike quoted in F. Macaulay, “…Why artists must be far from the madding crowd—Junkman,” The Sun—Voice of the Nation, 26 april 2006, reproduced online at http://www.sunnewsonline.com).

Collection of the artist ExhibiTEd london, Hayward Gallery, Salon Afrique: Wear and Tear Performance, March 8, 2005; london, Victoria and albert Museum, Contemporary Visual Culture of West Africa, 2005

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 27 dilOmprizulike NiGeria b. 1960 The Braggart’s Wife from the installation Wear and Tear, 2000. Found fabric and wooden stand. 59 x 57 1/8 in. (149.9 x 145.1 cm). pROvENANcE Collection of the artist ExhibiTEd london, Hayward Gallery, Salon Afrique: Wear and Tear Performance, March 8, 2005; london, Victoria and albert Museum, Contemporary Visual Culture of West Africa, 2005

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

28 ledelle mOe SOutH aFriCa/uNiteD StateS b. 1971 Untitled, 2006. 20 concrete heads with steel pins. 26 x 37 in. (66 x 94 cm) overall. this work is unique. pROvENANcE axis Gallery, New York Estimate $ 8 , 0 0 0 -1 0 , 0 0 0 87

29 SEBASTIÄO SALGADO Brazil b. 1944 Lake Faguibine, Mali from Africa, 1985. Gelatin silver print, printed later. 21 1/4 x 32 1/2 in. (54 x 82.6 cm). Signed, titled ‘Mali’ and dated in pencil on the verso. Provenance acquired directly from the artist

Estimate $ 9 , 0 0 0 -1 2 , 0 0 0

as a social documentary photographer, Sebastiäo Salgado uses photography as a means of identifying the political, economic and environmental hardships throughout the world. His photographs of africa, a strong focus of his work for the last thirty years, document displaced populations and landscapes throughout Kenya, Sudan, zimbabwe and Mali, among other locales. Embedding himself within various tribes and cultures, Salgado provides a first-hand visual account of the contemporary situations within these underdeveloped countries. From the isolated individual in the barren landscape, as seen in the present lot, to the group of children in the crowded classroom, as seen in lot 161, his photographs, like all historic examples of documentary photography, tell a unifying story indicative of a larger global narrative. 88

30 sebasTiÄO salgadO BraZil b. 1944 Victoria Falls, Zimbabwe from Genesis, 2008. Gelatin silver print. 21 1/4 x 29 1/2 in. (54 x 74.9 cm). Signed, titled ‘Zimbabwe’ and dated in pencil on the verso. pROvENANcE acquired directly from the artist

Estimate $ 9 , 0 0 0 -1 2 , 0 0 0 89

32 31 seydOu keïTa Mali/FraNCe 1923-2001 Untitled, 1956-1957. Gelatin silver print, printed 1998. 23 5/8 x 19 3/4 in. (60 x 50.2 cm). Signed and dated in ink in the margin.

32 jeaN-dOmiNiQue burTON BelGiuM b. 1952 Naaba op Kupiendiélé—Rei de Fada, 2005. Gelatin silver print, printed 2006. 21 7/8 x 17 5/8 in. (55.6 x 44.8 cm). Signed, titled, dated ‘2006’ and numbered 5/5 in ink in the margin. pROvENANcE Fifty One Fine art

pROvENANcE Bernard J Shapero rare Books, london

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

Photography, Brussels

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 90

33 maliCk sidibé Mali b. 1936 Regardez-Moi!, 1962. Gelatin silver print, printed 2000. 40 x 40 in. (101.6 x 101.6 cm). Signed, titled and dated ‘2000’ in ink in the margin. Estimate $ 3 , 0 0 0 - 5 , 0 0 0

34 adriaN bOOT uNiteD KiNGDOM Fela Kuti’s Wives, 1981. Selenium toned gelatin silver triptych, printed later. each 24 x 20 in. (61 x 50.8 cm). each signed, dated and numbered 1/3 in ink in the margin. pROvENANcE acquired directly from the artist Estimate $ 4 , 0 0 0 - 6 , 0 0 0 91

36 (actual size)

35 Cheryl kOralik uNiteD StateS Le Destin, Grand Bassam, Côte d’Ivoire, 1994. Gelatin silver print, printed later. 17 7/8 x 12 in. (45.4 x 30.5 cm). Signed and numbered 1/25 in pencil on the verso. pROvENANcE acquired directly from the artist Estimate $ 1, 5 0 0 - 2 , 5 0 0

36 maliCk sidibé Mali b. 1936 Je Ne Veux de Photo, circa 1975. Gelatin silver print. 4 5/8 x 3 in. (11.7 x 7.6 cm). Signed, titled and dated ‘2002’ on tape affixed to the frame. pROvENANcE Jack Shainman Gallery, New York

Estimate $ 1, 8 0 0 - 2 , 2 0 0 92

37 seydOu keïTa Mali/FraNCe 1923-2001 Jeune Mére et Son Bébé, 1952-1955. Gelatin silver print, printed 1998. 14 1/2 x 20 in. (36.8 x 50.8 cm). Signed and dated in ink in the margin. LiTERATURE Guggenheim Museum, in/sight: African Photographers, 1940 to the Present,

38 seydOu keïTa Mali/FraNCe 1923-2001 Homme Assis Avec Parapluie, Homme Debout En Blanc, 1952-1955. Gelatin silver print, printed 1996. 65 x 45 1/2 in. (165.1 x 115.6 cm). Signed and dated in ink in the margin. pROvENANcE Phillips de Pury & Company, New York,

p. 67; Scalo, Seydou Keïta, p. 30

9 November 2004, lot 177 LiTERATURE Scalo, Seydou Keïta, p. 30

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 93

39 heCTOr aCebes uNiteD StateS b. 1921 Unidentified Woman, Benin, 1953. Gelatin silver print, printed later. 23 7/8 x 19 7/8 in. (60.6 x 50.5 cm). Signed and numbered aP3 in pencil on the verso. One from an edition of 10 plus 3 artistâ&#x20AC;&#x2122;s proofs. pROvENANcE Bernard J Shapero rare Books, london Estimate $ 7, 0 0 0 - 9 , 0 0 0 94

40 Chris sTeele-perkiNs BurMa/uNiteD KiNGDOM b. 1947 Migrating camel herder in Ogaden Desert. Somalia, Africa, 1980. Gelatin silver print. 9 5/8 x 13 7/8 in. (24.4 x 35.2 cm). Signed in ink in the margin; signed, titled and annotated ‘from exhibition- vintage’ in ink on the reverse of the flush-mount. pROvENANcE acquired directly from the artist

41 Chris sTeele-perkiNs BurMa/uNiteD KiNGDOM b. 1947 Bread thrown off a vehicle to Ghanians expelled from Nigeria, Ghana, 1983. Gelatin silver print. 9 3/8 x 14 in. (23.8 x 35.6 cm). Signed in ink in the margin; signed in ink, titled, dated in pencil and Magnum copyright credit stamp on the verso. pROvENANcE acquired directly from the

ExhibiTEd Chris Steele-Perkins: Africa, Work in Progress, Visa pour l’image, Perpignan, 1992

artist ExhibiTEd Chris Steele-Perkins: Africa, Work in Progress, Visa pour l’image, Perpignan, 1992

Estimate $ 1, 5 0 0 - 2 , 5 0 0

Estimate $ 1, 5 0 0 - 2 , 5 0 0 95

42 Conrad Botes South AfricA b. 1969 Secret Language I, 2005. lithograph in colors, on Arches paper. 20 7/8 x 17 1/4 in. (53 x 43.8 cm). 17 3/4 x 15 in. (45.1 x 38.1 cm). Signed, titled, dated and numbered 30/30 in pencil, framed. Literature A. Kannemeyer

44 Conrad Botes South AfricA b. 1969 Good Shepherd, 2003. c-print with acrylic on fujicolor crystal Archive paper. 22 1/8 x 15 in. (56.2 x 38.1 cm) image; 24 x 17 in. (61 x 43.2 cm) sheet. Signed â&#x20AC;&#x153;coNrAD BotESâ&#x20AC;? lower right. provenance Kyle Kauffman Gallery,

and c. Botes, The Big Bad Bitterkomix Handbook, Johannesburg, 2006, p. 189 (illustrated)

New York

Estimate $ 1, 5 0 0 - 2 , 5 0 0

Estimate $ 5 , 0 0 0 -7, 0 0 0

43 Conrad Botes South AfricA b. 1969 Secret Language II, 2005. lithograph in colors, on Arches paper. 17 3/4 x 15 in. (45.1 x 38.1 cm). Signed, titled, dated and numbered 4/30 in pencil, framed. Literature A. Kannemeyer and c. Botes, The Big Bad Bitterkomix

45 MarLene dUMas South AfricA/thE NEthErlANDS b. 1953 Untitled, 1984. Screenprint and lithograph in colors. 29 7/8 x 22 in. (75.9 x 55.9 cm). Signed, dated and numbered 6/45 in pencil, framed. Estimate $ 1, 2 0 0 -1, 8 0 0

Handbook, Johannesburg, 2006, p. 189 (illustrated)

Estimate $ 1, 5 0 0 - 2 , 5 0 0 96

46 Kehinde Wiley United StateS b. 1977 Untitled, 2008. Large format polaroid print. 32 x 22 in. (81.3 x 55.9 cm). Provenance Free arts nYC annual art auction Benefit,

47 Brett Murray SOUtH aFRiCa b. 1961 Coat of Arms, 2008. Mild steel, acrylic and fools gold. 29 1/4 x 26 1/2 x 1 3/4 in. (74.5 x 67 x 4.5 cm). Provenance Private Collection

new York (april 2008)

exhibited Cape town, Goodman Gallery Cape, Crocodile Tears, 2008

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 97

48 Chris Ofili uNiteD KiNGDOM/triNiDaD b. 1968 Afro Lunar Lovers II, 2000. Screenprint and Giclee print in colors with embossing and gold leaf. 19 x 12 1/4 in. (48.3 x 31.1 cm). Signed, dated and numbered 114/250 in gold ink, unframed. Estimate $ 1, 2 0 0 -1, 8 0 0 98

49 WANGECHI MUTU Kenya/United StateS b. 1972 Howl, 2006. achival pigment print with screenprint in colors. 35 x 24 in. (88.9 x 61 cm). Signed, dated and numbered 6/40 in pencil (there were also 14 artistâ&#x20AC;&#x2122;s proofs), published by MoCa Projects Council, Los angeles, framed. Estimate $ 6 , 0 0 0 - 9 , 0 0 0 99

The structure, the architecture, the information and the visual signage that goes into my work changes in the context of what’s going on in the world and impacing me. Then there’s this other subconscious kind of drawing this other activity that takes place, that is interacting with everything that is changing, and it’s the relationship between the two that really pushes me. And why abstraction? There are so many other ways to make paintings about these conditions that I’m drawn to. But there’s something that’s hard to speak about that abstraction gives me access to. Julie Mehretu

100

50 JULIE MEHRETU Ethiopia/UnitEd StatES b. 1970 Entropia—Constuction, 2005. Lithograph and screenprint, on Chine collé to Somerset Satin paper. 29 1/2 x 40 in. (74.9 x 101.6 cm). Signed, dated and numbered in pencil, a printer’s proof (the edition was 30 and 7 artist’s proofs), published by highpoint Editions and the Walker art Center, Minneapolis (with their blindstamp), unframed. Estimate $ 9 , 0 0 0 -1 2 , 0 0 0 101

51 Yvette Mattern United StateS/Germany b. 1963 Mulatta, 2007. Silver aluminum and light bulbs accompanied by an electronic sequencer and music composition by don Byron, recorded and mixed by Scott Petito (duration: 12 min.). 23 5/8 x 70 7/8 x 4 1/4 in. (60 x 180 x 10.8 cm). Provenance Collection of the artist exhibited Oslo, Stenersen museum, Equatorial Rhythms, September 28 - december 30, 2007

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 102

52 miCkaleNe ThOmas uNiteD StateS b. 1971 MS. PU-SE-KAT #1, 2003. rhinestones and acrylic on wood panel. 36 x 24 1/8 in. (91.4 x 61.3 cm). Signed, titled and dated “Mickalene thomas ‘MS. Pu-Se-Kat #1’ 2003” on the reverse. pROvENANcE acquired directly from the artist; Private collection, los angeles ExhibiTEd los angeles, Steve turner Contemporary, NeoVernacular: Pop, Portraiture, Pulp and Porn, 2005

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 “Over the years, i have painted and photographed a lot of different kinds of women—from my mother, to women auditioned from Craigslist, to lovers, to transsexual women, to celebrities from Oprah to Condoleezza. But what they have all had in common is a sort of prowess, an incredible degree of self-awareness and self-possession that never ceases to fascinate me. Sometimes this manifests as a very sexy painting or photograph, but i am always taking my cues from the models and from the conventions of art historical figurative painting. My work is rooted in the tradition of portrait painting. this is essential to me because i want to insert these women into the history of art and to thereby shift the existing canon that has historically under- or misrepresented black women” (thomas quoted in conversation with leah Oates, in NY Arts, Fall 2009, reproduced at http://www.nyartsmagazine.com). 103

“that’s partly the success of my work—the ability to straddle both of those worlds, the ability to have a young black girl walk into the Brooklyn Museum and see paintings she recognizes not because of their art or historical influence but because of their inflection, in terms of colors, their specificity and presence” (Wiley quoted in conversation with M.i.a. in Interview Magazine, reproduced at http://www.interviewmagazine.com/art/kehinde-wiley/).

104

53 kehiNde wiley uNiteD StateS Luiz Carlos Neves Dos Reis Study II, 2008. Oil and wash on paper. 40 x 26 in. (101.6 x 66 cm). Signed and dated “Kehinde Wiley 08” lower right. pROvENANcE roberts and tilton Gallery, los angeles Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 105

54 ademOla OlugebefOla uNiteD StateS b. 1941 Healing Shields, 2009. Neon light, Plexiglas and electrical apparatus. 29 x 21 x 4 in. (73.7 x 53.3 x 10.2 cm). Signed â&#x20AC;&#x153;ademola Olugebefolaâ&#x20AC;? and numbered of four on the reverse. this work is from an edition of four. pROvENANcE Collection of the artist Estimate $ 5 , 0 0 0 -7, 0 0 0 106

55 55 Satch hoyt United Kingdom/germany b. 1957 Rimology, 2009. Chrome wheel rims with soundscape. 151 x 94 x 11 in. (383.5 x 238.8 x 27.9 cm). Provenance Private Collection, europe; galerie 13.Jeannettemariani, Paris exhibited Hartford, real art Ways, Rockstone & Bootheel: Contemporary West Indian Art, november 14, 2009 - march 14, 2010 Literature Satch Hoyt, â&#x20AC;&#x153;Hybrid navigator,â&#x20AC;? Small Axe: a caribbean journal of criticism, duke University, durham, north Carolina, July 2010

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 107

56 RENEE COX Jamaica/United StateS b. 1960 Yo Mama’s Last Supper, 1996. Five color coupler prints, flush-mounted to aluminum. each 19 7/8 x 19 7/8 in. (50.5 x 50.5 cm). Signed in ink on a label accompanying the work. Provenance acquired directly from the artist Estimate $ 3 0 , 0 0 0 - 5 0 , 0 0 0 Renee cox’s appropriation of iconic works of art through self-insertion and redefinition draws attention to latent forms of gender and racial discrimination in art history. By relying on “Yo mama,” one of two alter egos whom she employs in her imagery, cox calls into question the absence of women and people of color from the classical art historical canon. in Yo Mama’s Last Supper, cox reenacts da Vinci’s Last Supper, boldly positioning herself—exposed, poised and proud—in the role of Jesus. While the work, which was first shown at the 1999 Venice Biennale and later at the Brooklyn museum of art, was interpreted by some as anti-catholic, cox has defended it, stating that the image, in fact, was reflective of the catholic belief that all human beings were created in the likeness of God. as an artist and activist, cox continuously produces work that aims to dispel stereotypes and challenge misconceptions.

108

109

57 PATRICIA COFFIE Ghana/United StateS b. 1975 Untitled I, 2007. color coupler print. 20 x 20 in. (50.8 x 50.8 cm). Signed and annotated aP in ink on the reverse of the backing board. Provenance mary Boone Gallery, new York Estimate $ 2 , 0 0 0 - 3 , 0 0 0

58 MARĂ?A MAGDALENA CAMPOS-PONS cUBa/United StateS b. 1959 A Prayer for Obama from The Calling, 2008. color coupler diptych, flush-mounted. 30 7/8 x 24 3/4 in. (78.4 x 62.9 cm). Signed in ink on a certificate of authenticity accompanying the work. One from an edition of 5. Estimate $ 3 , 0 0 0 - 4 , 0 0 0 110

59 CARRIE MAE WEEMS United StateS b. 1953 You Became Mammie, Mama, Mother, Then, Yes, Confident-Ha / Descending the Throne You Became Foot Soldier & Cook from From Here I Saw What Happened and I Cried, 1995. two color coupler prints with sandblasted text on glass. 26 3/4 x 22 3/4 in. (67.9 x 57.8 cm). each signed, dated and numbered 8/10 in pencil on the reverse of the flush-mount. Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0

60 CANDICE BREITz SOUth aFRica/GeRmanY b. 1972 Queen for a day, 2005. c-print. 6 5/8 x 11 3/4 in. (16.8 x 29.8 cm) image; 7 x 12 1/4 in. (17.8 x 31.1 cm) sheet. Signed, titled and dated “candice Breitz Queen for a day (2006)” on the reverse; also numbered of 100 on the reverse. this work is from an edition of 100. Provenance Private collection, new York Estimate $ 1, 0 0 0 -1, 5 0 0

carrie mae Weems has claimed that, more than a photographer, she is an “image maker.” the distinction between the two is important in understanding Weems’s work, since the latter term connotes a more proactive construction of the final image as well as explicitly recognizes the manipulated nature of a photograph. early depictions of african americans in Photography, as exemplified by the images in the series, is vastly steeped in discrimination, and in retrospect reveals far more about the anxiety of the photographers who had taken them and the socio-cultural zeitgeist of the time than the subjects’ “true” nature. By re-presenting the images in a circular frame that mimics the camera lens and tinting the images in a jarring color that commands attention, Weems removes the original photographers’ control of the image and positions herself in their place instead. moreover, the inclusion of text imbues the image with an alternate narrative in which Weems, directly and emotively, addresses her subjects as victims and acknowledges their erstwhile status prior to their subjugation as slaves under the hands of their owners and “image makers” alike. 111

“For me Un Ballo in Maschera is about questioning certainties around the issue of power. i tried to look at the desire for power, an innate human desire, and the ultimate demise of that power in life. the world has had various empires— Roman, Ottoman, British—and today, questions around imperial hegemony are coming up again in relation to the United States. the parallel to Gustav iii is the Swedish king’s expansionist war against Russia and his ambitions to save the French aristocracy from the revolution. While he was living in the style of the French court, his country was extremely poor. a patron of the arts, he was himself an actor and established the Royal academy for the arts. the amount of money he spent on them eventually became controversial. the ballroom in which Un Ballo in Maschera takes place is just one sign of his family’s enormous wealth. When you have this kind of visible excess, there’s usually a less-fortunate stratum below, supporting it. So while on the one hand the film deals with Swedish history as a metaphor for imperialist expansion, on the other i criticize myself in the process, because i, too, desire power and pleasure. this is my own way of dealing with ideology. the use of excess, seduction, and pleasure in my work always remains political but without preaching politics, which is a different thing. i’m never moralistic. instead it’s a question of working through political issues as well as being seduced by the actual form, a question of provoking and seducing. there are current events, such as 9/11 and what is happening in iraq, that represent global struggles for power. however, i didn’t want to use direct references in the film: no Bush, no iraq, no afghanistan. in all their specificity these issues are too big to deal with in a literal way, which is why i have turned to historical metaphor. i don’t know who the good guys are and who the bad guys are. and i won’t know this in my lifetime. i don’t know if seeking the good guys and the bad guys is even an issue. What i am sure of, though, is that the human tendency to self-destruct won’t go away; it’s an ongoing historical tragedy, born of a territorial instinct. But i hope i retain a sense of optimism, in the beauty of the film. We are capable of destruction but also of incredible beauty. this we must not underestimate. my hope is that people will be broad-minded about the film, not reductive. Struggles for power are no different from what they were a thousand years ago. in Un Ballo in Maschera i show the desire for power and, at the same time, the desire to destroy that desire.” excerpt from Yinka Shonibare, “Yinka Shonibare talks about Un Ballo in Maschera, 2004,” Artforum International, January, 2005, pp. 172-173 112

61 YINkA ShONIBARE niGeRia/United KinGdOm b. 1962 Un Ballo in Maschera (I-X), 2004-2005. Giclee prints on hannemuhle rag paper in ten parts. 20 x 30 in. (50.8 x 76.2 cm) each. this work is from an edition of 10 and is accompanied by a certificate of authenticity signed by the artist. Provenance Stephen Friedman Gallery, London LITeraTUre Yinka Shonibare, â&#x20AC;&#x153;Yinka Shonibare talks about Un Ballo in Maschera, 2004,â&#x20AC;? Artforum International, January, 2005, pp. 172-173 (another example illustrated)

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0 113

“in my work, it is not fundamentally about the representation of politics, but the politics of representation,” (Shonibare, quoted in “absolute arts, Yinka Shonibare: entertaining, Seducing, Provoking”, in Art News, april 2004).

although Yinka Shonibare was born in London, his family moved to nigeria just five years after the country declared their independence from the United Kingdom. during the twenty years that he spent living in the country which was desperately trying to establish a regional identity, Shonibare experienced civil wars, ethnic massacres and various coups which greatly affected both his personal and artistic sensibilities. Upon returning to London, Shonibare enrolled at the Byam Shaw School of art where he put to use artistically his experiences in the post-colonial disastrous state. Using a visual language charged with beauty, humor and clarity, Shonibare, through his sculptures and photographs, invites us to scrutinize the manners in which society creates and shapes our personal as well as global and regional histories and thus affecting our own identities. While his photographic series such as Diary of a Victorian Dandy, 1998 and Un Ballo in Maschera, 2004 have received a tremendous amount of critical acclaim and success, it is perhaps his sculptures that have become the most iconic and celebrated. in these works Shonibare uses incredibly colorful Batik textiles which are often mis-identified as being african, but are in fax dutch in origin. his use of these fabrics comments on the common fallacy of cultural authenticity that the artists perceives through the first-rate tailoring, suggestive and often humorous poses and of course the supposed ethnicity. all of Shonibare’s artistic genius, vision, humor and poignancy come to fruition in his Man on Unicycle.

114

62 62 YINkA ShONIBARE niGeRia/United KinGdOm b. 1962 Man On Unicycle, 2005. Unicycle, life-size mannequin, dutch wax printed cotton textile and leather shoes. 91 1/2 x 62 x 18 in. (232.4 x 157.5 x 45.7 cm). Provenance James cohan Gallery, new York exhIbITed new York, James cohan Gallery, Yinka Shonibare: Mobility, October 2005; London, institute of contemporary arts & the South London Gallery, Around the World in Eighty Days, may - July 2006

Estimate $ 8 0 , 0 0 0 -1 2 0 , 0 0 0 115

63 WILLIAM kENTRIDGE SOUth aFRica b. 1955 Untitled (Stereopticon Suite), 2007. the complete set of six photogravures, and a mirror stereoscope (with instructions). all: 9 x 18 in. (22.9 x 45.7 cm). all signed and numbered 46/50 in pencil (there were also 3 artistâ&#x20AC;&#x2122;s proofs), published by the Judith K. and david J. Brodsky center for Print and Paper at mason Gross School of the arts, Rutgers University, newark, new Jersey (with their blindstamp), all the prints framed. Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 116

64 WILLIAM kENTRIDGE SOUth aFRica b. 1955 Learning the Flute (Encyclopedia), 2003. Letterpress and photolithograph, on 110 sheets of arches Johannot paper. each sheet: 10 1/4 x 14 3/8 in. (26 x 36.5 cm); overall: 110 1/2 x 139 1/2 in. (281 x 354 cm). Signed in pencil, from the edition of 18, published by Goodman Gallery, Johannesburg, contained in original box. Provenance collection of the artist exhIbITed Johannesburg, Goodman Gallery, 2008; new York, museum of modern art, William Kentridge: 5 Themes, February - may 2010 (another example exhibited)

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 117

65 WILLIAM kENTRIDGE SOUth aFRica b. 1955 Studio Portrait, 2004. Screenprint in colors, on arches paper. 36 3/4 x 25 7/8 in. (93.3 x 65.7 cm). Signed and numbered 27/120 in pencil, (there were also 10 artist’s proofs in Roman numerals), published by david Krut Fine art, Johannesburg, unframed. Estimate $ 2 , 0 0 0 - 4 , 0 0 0

67 WILLIAM kENTRIDGE SOUth aFRica b. 1955 Atlas Confession (Süd-Polar-Karte), 2002. Offset lithograph in colors. 20 3/8 x 21 5/8 in. (51.8 x 54.9 cm). Signed in pencil, from an unknown edition size (aside from the collaged edition of 45), framed. LITeraTUre Similar examples from the Atlas Confessions series in david Krut Publishing, William Kentridge Prints, new York, 2006, pp. 120 - 121 (illustrated)

Estimate $ 8 0 0 -1, 0 0 0 66 MARLENE DUMAS SOUth aFRica/the netheRLandS b. 1953 De muze is Moe, 1994. Screenprint in colors. 24 3/4 x 35 in. (62.9 x 88.9 cm). Signed, dated and numbered 47/100 in pencil, framed. Estimate $ 2 , 5 0 0 - 3 , 5 0 0

68 MARLENE DUMAS SOUth aFRica/the netheRLandS b. 1953 Portrait of a Young Nelson Mandela, 2008. Lithograph, on hahnemühle paper. 17 3/4 x 13 3/4 in. (45.1 x 34.9 cm). Signed, dated, numbered edition of 250 and annotated, “Would you trust this man with your daughters?” in pencil, framed. Provenance Kyle Kauffman Gallery, new York Estimate $ 3 , 0 0 0 - 5 , 0 0 0

118

69 KARA WALKER united states b. 1969 Testimony suite, 2005. the complet set of five photogravures, on HahnemĂźhle Copperplate paper. Various sizes. all signed, dated and numbered 40/40 in pencil (there were also 6 artistâ&#x20AC;&#x2122;s proofs), published by the Lower east side Printshop, new York (with their blindstamp), all framed. Estimate $ 9 , 0 0 0 -1 2 , 0 0 0

70 KARA WALKER united states b. 1969 Freedom, a Fable, 1997. Laser-cut paper pop-up book, bound in brown leather (as issued). Book: 9 3/8 x 8 3/8 x 5/8 in. (23.8 x 21.3 x 1.6 cm). Box: 12 3/8 x 11 3/8 x 1 3/4 in. (31.4 x 28.9 x 4.4 cm). From the edition of 4000, published by Peter norton Family Christmas Project, contained in original corrugated cardboard box. Estimate $ 1, 0 0 0 -1, 5 0 0 119

71 William Kentridge and Jo Smail South AfricA William Kentridge b. 1955 #3, 2002. torn paper collage and gouache on paper. 22 x 29 3/4 in. (55.9 x 75.6 cm). Signed and dated “Smail Kentridge ‘02” lower right and titled “#3” lower left. Provenance Axis Gallery, New York Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0

120

72 72 Deborah Grant Canada b. 1968 Golgotha, 2008. Oil, archival ink and wood enamel on shaped birch panel. 69 1/4 x 34 x 1 1/2 in. (175.9 x 86.4 x 3.8 cm). Signed, inscribed and dated “d. Grant Random Select © 2008” on the reverse; also titled twice “Golgotha” on wooden insert on the reverse. PROVENANCE acquired directly from the artist; Private collection, Los angeles

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 This work is part of the Bacon, Egg, Toast in Lard series. 121

747

73 DebORAh GRANt Canada b. 1968 Bond and Servitude (from the series How To Get Blood Out Of Sheets), 2007. Paper collage and Flashe paint on paper. 24 x 18 in. (61 x 45.7 cm). Signed, titled and dated “d. Grant ‘Bond & Servitude’ 2007” on the reverse.

75 LORNA SIMPSON United StateS b. 1960 Counting, 1991. Photogravure and screenprint. 67 3/4 x 35 in. (172.1 x 88.9 cm). Signed, titled, dated and numbered 34/60 in pencil in the margin, published by Brooke alexander editions, new York, framed. Estimate $ 2 , 0 0 0 - 3 , 0 0 0

Provenance Steve turner Gallery, Los angeles

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 74 DebORAh GRANt Canada b. 1968 Western Ways (from the series How To Get Blood Out Of Sheets), 2007. Paper collage and Flashe paint on paper. 24 x 17 7/8 in. (61 x 45.4 cm). Signed, titled and dated “d. Grant ‘Western Ways’ 2007” on the reverse. Provenance Steve turner Gallery, Los angeles

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 122

76 kENDELL GEERS SOUth aFRica/BeLGiUm b. 1968 There Be Monsters, 2004. india ink on paper in four parts. 81 3/4 x 52 in. (207.6 x 132.1 cm) overall. 40 7/8 x 25 7/8 in. (103.8 x 65.7 cm) each sheet. Signed “K Geers” lower right. Provenance Stephen Friedman Gallery, London

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 123

77 GEORGE ‘AFEDzI’ hUGhES Ghana/United StateS b. 1962 Dog, 2008. acrylic on canvas. 40 1/4 x 30 3/4 in. (102.2 x 78.1 cm). Signed and dated “hughes ‘08” lower center; also signed “George ‘afedzi’ hughes” on the reverse. Provenance Private collection, Portugal

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 124

78 OWUSU ANkOMAh Ghana/GeRmanY b. 1956 Movement No. 23, 2008. acrylic on canvas. 39 3/8 x 35 5/8 in. (100 x 90.5 cm). Signed, titled and dated “OWUSU – anKOmah ‘mOVement nO 23’ 2008” on the reverse. Provenance collection of the artist

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 125

79 adeniyi Tokunbo oLaGunju nigeria/UniTed STaTeS b. 1981 Project 50, 2009. Two painted basketballs and painted wooden pallets. 24 1/2 x 26 5/8 x 10 1/2 in. (62.2 x 67.6 x 26.7 cm). Provenance Collection of the artist Estimate $ 1, 5 0 0 - 2 , 0 0 0

80 GeorGe LiLanGa di nyama Tanzania 1934-2005 Footballer Shetani, 1998. Carved and painted wood. 25 1/4 x 10 1/4 x 10 1/2 in. (64.1 x 26 x 26.7 cm). inscribed â&#x20AC;&#x153;lilangaâ&#x20AC;? on front of base. Provenance Private collection, Portugal Estimate $ 3 , 0 0 0 - 4 , 0 0 0 126

81 SATCh hOYT United KinGdOm/GeRmanY b. 1957 Kick That, 2006. Steel, bronze, wood, swarvoski crystals, synthetic grass and acrylic box with original soundtrack by Satch hoyt. 16 1/8 x 13 3/8 x 13 3/8 in. (41 x 34 x 34 cm). Provenance collection of the artist Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 Satch hoytâ&#x20AC;&#x2122;s Kick That is a two-fold investigation into racism and opulence in modern day soccer or football. the artist addresses the history of black players within the sport through the accompanying soundtrack. Over a beat comprised of sounds of footballs and the frenzy of the crowds, the voice of the now retired legendary professional footballer and later television personality ian Wright announces a roll call of former great British black players who paved the way for his and the current generation of black players. the black ball studded with crystals and euro signs, comments on the extravagant amounts of money awarded to the players and the perceived respect given to these players while at the same time commenting on the irony that racism is still very much present in every aspect of the game. the bronze bananas which support the ball represent the overt fan racism, which is unfortunately still very much present in the UK and europe and signified by the sad truth that right-wing racist fans sometimes hurl bananas and peanuts at black players. Kick That is a layered, elegant work that celebrates race and diversity, while at the same time addresses some of the less palatable facts that still exist within the sport. 127

official art edition 2010 fifa world cup south africa On June 11, 2010, the 2010 FiFa World cup will kick off in Johannesburg, South africa. For the second time in its history the Football World cup is accompanied by a major official licensed art project. Seventeen artists, with a special relationship to africa, have been invited to create works based on the ever popular sport of soccer. Under the heading Official art edition 2010 FiFa World cup South africatm, each of these iconic images of football and africa has been reproduced 2010 times as a Limited World cup edition print. Phillips de Pury & company is proud to present the original works which are representative of a phenomenon which unifies people across international boundaries via an unparalleled athletic event.

among the series: an excellent work by marlene dumas who was born in cape town and who created “a homage to the emotions of the footballer that shows through the expression of the face: the strength, the concentration, the anticipation, the tension, the satisfaction of the player that plays the game well“; a piece by William Kentridge who turned a “Bicycle Kick” into a leap of joy and dedicated it to his son, a devoted football fan; a painting by zhong Biao, who is currently one of china’s most brilliant masters, that shows a player’s perfect moment bursting into a “Football miracle”; a work on cloth by hassan musa who became famous for his work “Great american nude” and who now translated the biblical scene of Jacob battling with the archangel into football; a “Red elephant“ holding a football in its trunk by isolde Krams, a German artist who spent most of her life in South africa.

the artists participating in the 2010 FiFa World cuptm art edition contribute to charity projects, among them “Football for hope” that is building 20 centers for disadvantaged youth throughout africa and a fundraising initiative for Roedene Girls’ School in Johannesburg.

lots 8 2 – 9 4

128

82 kENDELL GEERS SOUth aFRica/BeLGiUm b. 1968 Dirty Balls, 2009. color coupler print. 39 3/8 x 27 1/2 in. (100 x 69.9 cm). Signed, titled and dated “Kendell Geers ‘dirty Balls’ 2009” on the reverse. this work is unique. Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 129

83 Isolde Krams Germany b. 1961 Red Elephant, 2010. rubber latex, wood, string, miniature football and plastic eyes. 29 1/8 x 24 in. (74 x 61 cm). Signed, titled and dated â&#x20AC;&#x153;I. Krams red elephant 2010â&#x20AC;? on the reverse. Estimate $ 5 , 0 0 0 -7, 0 0 0 130

84 WILLIAM kENTRIDGE SOUth aFRica b. 1955 Bicycle Kick, 2009-2010. Paper collage, colored pencil and gouache on paper. 30 x 22 in. (76.2 x 55.9 cm). Signed and dated “Kentridge 2009/10” lower right; also signed “Kentridge” upper right. Estimate $ 5 0 , 0 0 0 -7 0 , 0 0 0 131

85 zhONG BIAO china b. 1968 Football Miracle, 2009. household gloss on canvas. 78 3/4 x 55 1/8 in. (200 x 140 cm). Signed, titled and dated â&#x20AC;&#x153;zhong Biao Football miracle [in english and chinese] 2009â&#x20AC;? on the reverse. Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 132

86 MARLENE DUMAS SOUth aFRica/the netheRLandS b. 1953 World Cup SA 2010, 2009. Watercolor, paper collage and tape on paper. 25 5/8 x 19 1/2 in. (65.1 x 49.5 cm). Signed and dated “m dumas 2009” lower right and titled “World cup Sa 2010” lower left. Estimate $ 3 5 , 0 0 0 - 4 5 , 0 0 0 133

87 ROMERO BRITTO BRaziL/United StateS b. 1963 For the Love of Soccer, 2010. Giclee on canvas. 36 x 48 in. (91.4 x 121.9 cm). Signed “Romero Britto” lower left. Provenance collection of anthony and alina Kennedy Shriver Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 134

88 Hassan Musa Sudan/France b. 1951 The Good Game, 2008. Mixed fabric. 82 5/8 x 56 1/4 in. (209.9 x 142.9 cm). Stitched monogram center left. Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 135

89 Cameron Platter South AfricA b. 1978 The Battle of 2010, 2009. Giclee print. 43 1/4 x 32 1/2 in. (109.9 x 82.6 cm) sheet; 39 1/4 x 25 in. (99.7 x 63.5 cm) image. Signed and dated “c. Platter 09” lower right and titled “the Battle of 2010” lower left. Estimate $ 1, 0 0 0 -1, 5 0 0 136

90 LILANGA ART tanzania Celebrations, 2009. Oil on canvas. 59 1/2 x 39 3/8 in. (151.1 x 100 cm). Signed and dated ‘Lilanga 09’ lower center. Estimate $ 3 , 0 0 0 - 4 , 0 0 0

137

91 kAY hASSAN SOUth aFRica b. 1956 Swanker Ball, 2009-2010. Giclee print. 24 1/8 x 27 1/2 in. (61.3 x 69.9 cm) sheet; 21 1/8 x 25 in. (53.7 x 63.5 cm) image. Signed and dated “Kay hassan 09-0.10” lower right and numbered of one lower left. this work is unique. Estimate $ 5 , 0 0 0 -7, 0 0 0 138

92 PETER EASTMAN SOUth aFRica b. 1976 Stadium, 2009. Lambda print on aluminum. 46 3/8 x 44 3/8 in. (117.8 x 112.7 cm) image. Signed “P. eastman” lower right, titled “’Stadium’” lower center and numbered “1/1” lower left. this work is unique. Estimate $ 4 , 0 0 0 - 6 , 0 0 0 139

93 ChARLES FAzzINO b. 1955 The World Watches…World Cup South Africa, 2010. three-dimensional mixed media on canvas. 17 x 24 1/2 in. (43.2 x 62.2 cm). Signed and dated “charles Fazzino 2010” lower right. Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 140

94 Soly CiSSé Senegal b. 1969 Football Continent, 2008. Ink and oil pastel on paper. 27 3/4 x 19 3/4 in. (70.5 x 50.2 cm). Signed and inscribed “World Cup – Subject Soly Cissé Soly Munich (all/De)” lower right. Estimate $ 1, 5 0 0 - 2 , 0 0 0 141

95 WILLIAM VILLALONGO United StateS b. 1975 He’s Misstra Know-It-All, 2007. acrylic, gold leaf, paper and velvet collage and artificial bird on velvet. 50 1/8 x 38 1/8 in. (127.3 x 96.8 cm). Signed and dated “W Villalongo 2007” on the reverse. Provenance esso gallery and books, new York Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 142

96 WILLIAM VILLALONGO United StateS b. 1975 Golden Lady, 2007. acrylic, gold leaf and paper collage on velvet. 50 1/8 x 38 1/8 in. (127.3 x 96.8 cm). Signed and dated â&#x20AC;&#x153;W Villalongo 2007â&#x20AC;? on the reverse. this work is accompanied by a certificate of authenticity. Provenance esso gallery and books, new York Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0 143

much of my inspiration stems from my childhood years at nsukka, a small university town in southeastern nigeria. as a child, i was fascinated by the social, natural, and man-made conditions in rural dwellings around the University campus. embedded within its landscape were evocative imageries captured within its rocky slopes, and architectural structures. i came across several stunning traditional art and architectural forms, such as, roofed shrines characterized by huge mounds of sand under a thatched structure, and yam barns and fences that traced the borders of peopleâ&#x20AC;&#x2122;s compounds. i was also drawn to simple sights of bare-footed children appropriating toys and hunting tools from scrap objects.

Other compelling views that appealed to my sensibilities were the carefully arranged wares borne on the heads of street peddlers, and household items in the market place lined up on the termite eaten tables and pews, plant tubers assembled in huge piles as well as sacks of grain stacked six to eight feet high and four to ten feet wide. Of course, the recycled cardboard boxes, newspapers and cement paper bags that served as insulation, bed padding, gift-wraps, mats, table coverings, and food wrappings within the market environment, were alluring to behold.

Of all the aspects of rural life that inspired me, the use of discarded objects and found materials in coping with poor economic conditions, had the most profound impact on me. it is reflected in the visual content and imagery of my works, which by virtue of these influences, celebrate the transformation of discarded materials into cultural objects, forms, and spaces, and bring a critical focus to bear on the consumption and recycling cultures in parts of nigeria. my materials include newspapers, wax, cloth, rope, clay and sticks and i apply various repetitive and labor-intensive techniques, like weaving, twisting, sewing, dyeing, waxing and rolling, which were learned by watching villagers perform everyday tasks. these processes accentuate colors, textures and other visceral qualities of my sculptures.

currently, i am invested in forms that explore, or are inspired by intimate spaces, shelters, architectural and natural environments, and ideas related to textures, colors, qualities and social values associated with african fabrics, using multiples and repetitive processes.

artist statement from www.nnennaokore.com

144

97 NNENNA OkORE niGeRia/United StateS b. 1979 Ulukububa, 2008. ceramic rings with string. 70 x 55 1/2 in. (177.8 x 141 cm). Provenance collection of the artist Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 145

98 JIMOh BURAIMOh niGeRia b. 1943 Butterfly of the Bird under Protection of the Big Animal, 1978. Oil and bead collage on board. 47 3/8 x 23 5/8 in. (120.3 x 60 cm). Signed and dated “buraimoh 1978” lower right; also titled “Butterfly of the Bird under Protection of the Big animal” on the reverse. Provenance Private collection, nigeria Estimate $ 6 , 0 0 0 - 9 , 0 0 0 146

99 WOSENE kOSROF ethiOPia/United StateS b. 1950 A Taste for Words, 2009. acrylic on canvas. 42 1/4 x 44 in. (107.3 x 111.8 cm). Signed and dated “Wosene 20/09” lower right; also signed three times, titled and dated “Wosene ‘a taste for Words’ 20/09 © 29.01” on the reverse. Provenance Private collection, nigeria exhIbITed new York, Skoto Gallery, Wosene Worke Kosrof: WordPlay, October 22 - november 28, 2009

Estimate $ 1 8 , 0 0 0 - 2 2 , 0 0 0 147

100

101

100 Rom IsIcheI Nigeria b. 1966 Now I See (3 canvas assemblage), 2009. Oil and acrylic on panel. 60 1/8 x 84 1/8 in. (152.7 x 213.7 cm) overall. Panel a signed and dated “rom isichei ‘09” upper left and signed, titled, dated and numbered “rom isichei ‘now i see’ 3 canvas assemblage 2009 Lagos Nigeria a” on the reverse; panel B signed and numbered “rom B” on the reverse; panel C signed “rom” lower right and signed and numbered “rom isichei C” on the reverse. PROVENANCE Collection of the artist Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0

101 Rom IsIcheI Nigeria b. 1966 Praise Singers, 2005. Oil on canvas. 48 x 52 in. (121.9 x 132.1 cm). Signed and dated “rom isichei ‘05” upper left edge; also signed, titled and dated twice “rom isichei ‘Praise Singers’ 2005 Lagos Nigeria 2005” on the reverse. PROVENANCE Collection of the artist EXHIBITED Lagos, Nigeria, National Museum, Chronicles, Journey of a Decade, 2007

Estimate $ 5 , 0 0 0 -7, 0 0 0

148

102

103

102 BEN OSAGhAE niGeRia b. 1962 LOVE TESTAMENT (2), 2009. Oil on canvas. 36 1/8 x 36 1/8 in. (91.8 x 91.8 cm). Signed and dated “Ben Osaghae 09” lower left; also signed, titled and dated “Ben Osaghae LOVe teStament (2) 2009” on the reverse.

103 BEN OSAGhAE niGeRia b. 1962 Harvest of Pestles, 2009. Oil on canvas. 48 1/4 x 48 1/4 in. (122.6 x 122.6 cm). Signed and dated “Ben Osaghae ‘09” lower center; also signed, titled and dated “Ben Osaghae a haRVeSt OF PeStLeS 2009” on the reverse.

Provenance collection of the artist

Estimate $ 5 , 0 0 0 -7, 0 0 0

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 149

104

104 PAULA SChER United StateS b. 1948 Africa, 2007. hand-pulled screenprint in colors, on archival museum Board. 46 1/2 x 54 in. (118.1 x 137.2 cm). Signed, dated and numbered 18/90 in pencil (there were also 10 artistâ&#x20AC;&#x2122;s proofs), published by Stendhal Gallery, new York, framed. Estimate $ 3 , 5 0 0 - 4 , 5 0 0 150

105

105 DANIEL hALTER zimBaBWe/SOUth aFRica b. 1977 When days are dark friends are few, 2006. Land classification map of zimbabwe woven with alphabetical listing (a through K) of all white farmers whose farms were expropriated by the zimbabwean government, then stitched with quote from Joseph conrad’s heart of darkness. 35 x 32 in. (88.9 x 81.3 cm). Signed “d halter” lower right. Provenance Kyle Kauffman Gallery, new York Estimate $ 3 , 0 0 0 - 5 , 0 0 0 151

106

106 kIVUThI MBUNO KenYa b. 1947 Manyaa, 2006. colored pencil and felt-tip pen on paper. 16 5/8 x 22 3/4 in. (42.2 x 57.8 cm). Signed â&#x20AC;&#x153;Kivuthi mbunoâ&#x20AC;? lower right. Provenance Private collection, Portugal Estimate $ 7 0 0 - 9 0 0 152

107

108

107 GEORGE LILANGA DI NYAMA tanzania 1934-2005 Watu Wanajiandaa Kwa Kunvnva Mahitati Ya Mwaka Mpya Mda Mchache Ujao, 2002. acrylic on masonite. 48 x 32 1/8 in. (121.9 x 81.6 cm). Signed “Lilanga” lower right and titled “Watu Wanajiandaa Kwa Kunvnva mahitati Ya mwaka mpya mda mchache Ujao” on the reverse. Provenance Private

108 GEORGE LILANGA DI NYAMA tanzania 1934-2005 HAWA VIJANA NDIO WAKORU FI HAPA KIJIJINI LAZIMA TUWANNMISHE, 2002. Oil on canvas. 47 1/4 x 27 1/2 in. (120 x 69.9 cm). Signed “Lilanga” lower left and titled “haWa ViJana ndiO WaKORU Fi haPa KiJiJini Lazima tUWannmiShe” on the reverse. Provenance Private collection, italy Estimate $ 5 , 0 0 0 -7, 0 0 0

collection, italy

Estimate $ 5 , 0 0 0 -7, 0 0 0 153

109

109 RichaRd OnyangO Nigeria/UNited KiNgdom b. 1960 Deb, Drosie and I in the palace, 2007. acrylic on canvas. 47 1/4 x 63 in. (120 x 160 cm). Signed â&#x20AC;&#x153;richard malindi Kenyaâ&#x20AC;? lower right. PROVENANCE acquired directly from the artist Estimate $ 6 , 0 0 0 - 8 , 0 0 0 in this work onyango presents us with a meeting between the artist and the late drosie deedes, his former lover from the 1980s, and deb teighler his fantasy lover. once described as the fattest woman in america, onyango came to know of her through a magazine he saw on a visit to europe. His obsession with deb grew out of his passionate love affair with drosie who died only nine months in to the affair. this relationship contained all the elements of an african rags to riches romance with the wealthy and physically powerful Western drosie dominating the younger, innocent object of her desire , the artist mesmerised by her physicality and the worlds that she opens up for him in a still racist post colonial Kenya. onyango (who has never married) started to paint his memories of drosie a few years after her death, and has continued to honor her memory ever since through his work. His new muse, teighler, whom he has never met, and whose fate remains a mystery, became the subject of individual fantasy works until the two large women began to share the same canvas in a kind of uneasy polygamy. in this unusual work onyango incorporates and parodies the colonial trappings of african political power. His work is entirely instinctive and he has no interest in the conceptual framework that can be seen to surround it. His instincts are utopian. His works draw the viewer in to his life where their preconceptions and prejudices are robustly challenged. 154

110

110 SOkARI DOUGLAS CAMP niGeRia/United KinGdOm b. 1958 Snap Sierra Leone, 2007. Steel and found metal. 20 1/8 x 21 1/4 x 8 1/4 in. (51.1 x 54 x 21 cm). Provenance collection of the artist Estimate $ 7, 0 0 0 - 9 , 0 0 0 155

111

112

113

111 Suzanne Wenger AustriA/NigeriA 1916-2009 Iwin Series No. 5, 1960. screenprint. 19 5/8 x 23 1/4 in (50 x 59 cm). signed in ink, this work is presumably unique, framed. Estimate $ 1, 5 0 0 - 2 , 5 0 0

113 Suzanne Wenger AustriA/NigeriA 1916-2009 Iwin Series No. 3, 1960. screenprint. 19 5/8 x 23 1/4 in (50 x 59 cm). signed in ink, this work is presumably unique, framed. Estimate $ 1, 5 0 0 - 2 , 5 0 0

112 Suzanne Wenger AustriA/NigeriA 1916-2009 Iwin Series No. 2, 1960. screenprint. 19 5/8 x 23 1/4 in (50 x 59 cm). signed in ink, this work is presumably unique, framed. Estimate $ 1, 5 0 0 - 2 , 5 0 0 156

114

115

116

114 eSther Mahlangu south AfricA b. 1935 Untitled, 2006. Acrylic on canvas. 24 x 32 in. (61 x 81.3 cm). signed and dated “esther Mahlangu 2006” lower left. gallery, Esther Mahlangu: Reacquiring, March 27 - May 10, 2008 literature K. Kauffman, Esther

116 eSther Mahlangu south AfricA b. 1935 Security is a Moving Target, 2006. Acrylic on vintage scale model of Apartheid-era armored personnel carrier. 6 x 12 1/2 x 4 1/2 in. (15.2 x 31.8 x 11.4 cm). signed “esther Mahlangu” on the lower front and dated “2006” lower left side. provenance Kyle Kauffman gallery, New York exhibited New

Mahlangu: Reacquiring, New York, 2008, p.11 (illustrated)

York, Kyle Kauffman gallery, Esther Mahlangu: Reacquiring, March 27 - May 10, 2008 literature

provenance Kyle Kauffman gallery, New York exhibited New York, Kyle Kauffman

Estimate $ 2 , 0 0 0 - 3 , 0 0 0

K. Kauffman, Esther Mahlangu: Reacquiring, New York, 2008, p.21 (illustrated)

Estimate $ 1, 0 0 0 -1, 5 0 0 115 eSther Mahlangu south AfricA b. 1935 Untitled, 2002. Acrylic on canvas. 35 3/4 x 55 1/2 in. (90.8 x 141 cm). signed and dated “esther Mahlangu 2002” lower left. provenance 34 Long fine Art, cape town

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 157

117

118

117 WalKER EVaNS uniTed STATeS 1903-1975 Head of Antelope, French Sudan Bambara, 1935. Gelatin silver print. 9 5/8 x 7 3/4 in. (24.4 x 19.7 cm). lunn Archive credit stamp on the verso. Provenance phillips de pury & company, new York, 26 April 2006, lot

118 Romuald Hazoumé Republic of bénin b. 1962 Barro, 1999. Hot water bottle, paint brush and toy airplane tail collage. 13 1/2 x 7 7/8 x 5 1/4 in. (34.3 x 20 x 13.3 cm). Signed, titled and dated “T.R. Hazoume ‘barro’ 1999” on the reverse. Provenance Art

213

& public, Geneva

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

Estimate $ 5 , 0 0 0 -7, 0 0 0 158

119

119 Ben oSaWe NigeriA b. 1931 Untitled, 1986. bronze. 30 x 10 1/2 x 12 1/8 in. (76.2 x 26.7 x 30.8 cm). inscribed â&#x20AC;&#x153;osawe 86â&#x20AC;? lower left side. provenance private collection Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 159

120

120 Bruce onoBraKpeya NigeriA b. 1932 Totems of the Delta, 2004. copper foil relief on board. 61 3/8 x 77 1/2 in. (155.9 x 196.9 cm). signed and dated “bruce onobrakpeya 2004” lower right; also titled “totems of the delta” lower left. provenance collection of the artist literature chris spring, Angaza Afrika: African Art Now, London, 2008, p. 251 (illustrated)

Estimate $ 1 8 , 0 0 0 - 2 2 , 0 0 0 160

161

121

“As an artist, I think that I should work with processes and media that are immediately around me. And in Africa, just like everywhere in the world—like yester night, we went on a little walk and saw the huge quantities of waste that people brought out and put on the street for the trucks to come and collect. And I thought, ‘We create…we create waste.’ But I think there’s more waste created in other parts than we do, you know. And as an artist, I think—have always even advised to my students to work with materials that you don’t have to spend anything to—where they have the freedom to play around. You know, most of the times, art has a huge element of play, has a huge level of play in it. And you can’t play with something which is expensive,” (El Anatsui quoted in conversation with Alisa LaGamma, 21 January 2008, reproduced at http://www.metmuseum.org). 162

121 El AnAtsui Ghana b. 1944 Flight, 1989. Wood in ten panels. 47 1/4 x 22 3/4 in. (120 x 57.8 cm). Signed and dated â&#x20AC;&#x153;EL 89.â&#x20AC;? Provenance acquired directly from the artist (1994) Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 163

122

122 alex nWoKolo NigeriA b. 1963 Fragmented Hope, 2009. Newsprint collage, acrylic and pastel on canvas. 41 7/8 x 40 in. (106.4 x 101.6 cm). signed and dated “Nwokolo Alex 2009” lower right; also signed, titled and dated “Alex Nwokolo fragmented hope 2009” on the reverse. provenance private collection literature Joe Agbro Jr., “A muse on display,” The Nation, January 10, 2009

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

164

123

123 SouleyMane Keita seNegAL b. 1947 Synthese 3, 2005. oil, canvas collage and string on canvas. 49 1/2 x 53 3/4 in. (125.7 x 136.5 cm). signed and dated “s. Keita 005” lower right; also inscribed “scarification N 4 echos st. Louis” on the stretcher. provenance collection of the artist exhibited New York, skoto gallery, Souleymane Keita: Ndokalé Gorée/ Homage to Gorée, May 7 - June 13, 2009

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 this work is accompanied by a certificate of authenticity. 165

124

125

124 tafa fiadzigBe ghANA/uNited stAtes b. 1963 Beauty and Illusions, 2007-2009. oil and sand on canvas. 50 x 50 in. (127 x 127 cm). signed, titled and dated “tafa beauty and illusions 2007-09 NYc” on the reverse. provenance private collection Estimate $ 7, 0 0 0 - 9 , 0 0 0

125 KaineBi oSahenye NigeriA b. 1964 Fleshly, 2009-2010. Acrylic and flattened can collage on canvas laid down on wood in six parts. 76 x 70 1/4 in. (193 x 178.4 cm) overall. signed and dated “osahenye Kainebi 09-10” lower right; also signed, titled and dated “osahenye Kainebi fleshly 2009-10” on the reverse. provenance collection of the artist Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 166

126 126

olu aModa NigeriA b. 1959 Ball Costume, 2008. Welded steel and keys. 18 1/2 x 11 3/4 x 9 in. (47 x 29.8 x 22.9 cm).

provenance collection of the artist

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0 Nails are used in my work as a metaphor. They have survived generations and remain one of the most ideal and enduring pieces of engineering. Nails depend on the notion of shared responsibilities, like ants. Small but lethal, a nail is able to defend itself, but yields to the will of the craftsman. What we call little things are merely the causes of great things: they are the beginning, the embryo and the point of departure, which generally speaking, decides the whole future of existence. 167

127

128

127 JAMES DENMARK United StateS b. 1936 Kumu Mask. acrylic on paper. 17 3/4 x 23 7/8 in. (45.1 x 60.6 cm). Signed “denmark” lower right. provenance H&M art Gallery

128 GEoRGE ‘AfEDzi’ HuGHES GHana/United StateS b. 1962 Don’t Shake My Drink, 2002. Oil and photograph collage on canvas. 69 x 50 in. (175.3 x 127 cm). Signed and dated “Hughes ‘02” lower right; also signed, titled and dated “George Hughes don’t shake my drink ‘02” on the reverse. provenance Private Collection Estimate $ 5 , 0 0 0 -7, 0 0 0

of Harlem, inc., new York

Estimate $ 2 , 0 0 0 - 3 , 0 0 0

168

129

130

129 aBlade gloVer ghANA b. 1934 Market Lane, 2008. oil on canvas. 40 1/8 x 50 1/8 in. (101.9 x 127.3 cm). signed and dated “glover 08” center of right edge. provenance

130 aBlade gloVer ghANA b. 1934 Blue Orayer, 2008. oil on canvas. 47 7/8 x 47 7/8 in. (121.6 x 121.6 cm). signed and dated “glover 08” lower right; also inscribed “p. N° 4” on the reverse. provenance private collection Estimate $ 6 , 0 0 0 - 8 , 0 0 0

private collection

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 169

131

132

131 Senzeni MArASelA SOUth afriCa b. 1977 Stompie Seipei, Died 1989, Age 14, 1998. Screenprint on calico with lace. 10 3/8 x 10 3/8 in. (26.4 x 26.4 cm). this work is unique in a series of 40. Signed “esther mahlangu” on the lower front. PROVENANCE

132 AdriAn PiPer United StateS/Germany b. 1948 Forget It, 1991. Offset lithograph in colors. 10 3/4 x 21 1/4 in. (27.3 x 54 cm). Signed and numbered 69/100 in pencil on the reverse, published by Brody’s Gallery, Washington d.C., unframed. Estimate $ 6 0 0 - 9 0 0

axis Gallery, new york

Estimate $ 1, 0 0 0 -1, 5 0 0 170

133

134

133 paul Stopforth south AfricA/uNited stAtes b. 1945 ‘The Island’ #7 (Cabinets) Nelson Mandela’s Prison Cell—Robben Island, 2004. Milk paint, charcoal and gouache on wood panel. 24 x 80 in. (61 x 203.2 cm). signed and dated “paul stopforth 04” lower right; also signed twice, titled and dated “paul stopforth ‘the island’ #7 (cabinets) Nelson Mandela’s prison cell—robben island 2004” on the reverse. provenance david

134 SaM nhlengethWa south AfricA b. 1955 two works: The Blue Frame and My Grandmothers Kitchen in the ‘60s, 1998. Lithographs. 19 7/8 x 25 7/8 in. (50.5 x 65.7 cm) each sheet; 11 3/4 x 17 7/8 in. (29.8 x 45.4 cm) each image. signed and dated “sam Nhlengethwa 98” lower right, titled “the blue frame” lower center and numbered of 50 lower left; signed and dated “sam Nhlengethwa 98” lower right, titled “My grandmothers Kitchen in the ‘60s” and numbered of 50 lower left. these works are from an edition of 50, both framed. provenance Axis gallery, New York Estimate $ 9 0 0 -1, 2 0 0

Krut projects, New York

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 this is one of a series of works done after stopforth spent a two-week period as the Artist in residence on robben island in 2004. the image references the steel cabinets in the cell occupied by Nelson Mandela for 17 years, and as a result of their close proximity to him this mundane object becomes a metaphorical container of memory and time. for stopforth “the cabinets half open, half closed doors call simultaneously to a past and a future, as if caught in the cross winds of history.” (Leora Maltz from the forthcoming taxi Art books publication: Paul Stopforth) 171

136

135

135 tWinS SeVen-SeVen NigeriA b. 1944 Black & White, 1990. ink on canvas. 31 x 21 3/4 in. (78.7 x 55.2 cm). signed and dated “twins seven seven 1990” lower right and inscribed lower left. provenance collection of the artist Estimate $ 2 , 5 0 0 - 3 , 5 0 0

136 tWinS SeVen-SeVen NigeriA b. 1944 Color verticle. Watercolor, ink and wood collage on fiberboard. 35 3/8 x 15 7/8 in. (89.9 x 40.3 cm). signed “twins seven seven” lower right and inscribed lower left. provenance collection of the artist Estimate $ 2 , 0 0 0 - 3 , 0 0 0 172

137

138

139

137 Bruce onoBraKpeya NigeriA b. 1932 Dance to Enchanted Songs II, III, IX, IV, 2006. plastograph. 47 5/8 x 89 5/8 in. (121 x 227.6 cm). signed and dated “bruce onobrakpeya Lagos 2006” lower right; also titled “dance to enchanting song panel of ii, iii, iX, iV” and numbered of seven lower left. this work is from an edition of seven. provenance

138 Bruce onoBraKpeya NigeriA b. 1932 Omo Voni (Mother and Child) Large Blue Base, 1986. Additive plastograph. 38 3/8 x 29 5/8 in. (97.5 x 75.2 cm). signed and dated “bruce onobrakpeya Lagos, March 1986” lower right; also dated “omo Voni (Mother and child) Large blue base” and numbered of 45 lower left. this work is from an edition of 45.

collection of the artist literature bruce onobrakpeya, Jewels of Nomadic Images, 2009, p. 130,

provenance collection of the artist literature bruce onobrakpeya, Jewels of Nomadic

no. 378

Images, 2009, p. 119, no. 369

Estimate $ 5 , 0 0 0 -7, 0 0 0

Estimate $ 3 , 0 0 0 - 4 , 0 0 0 139 Bruce onoBraKpeya NigeriA b. 1932 House of Stone II, 1999. Additive plastograph. 38 5/8 x 29 5/8 in. (98.1 x 75.2 cm). signed and dated “bruce onobrakpeya Lagos August, 1999” lower right; also titled “house of stone ii” and numbered of seven lower left. this work is from an edition of seven. provenance collection of the artist literature richard singletary, Bruce Onobrakpeya, 2002, n.n.

Estimate $ 3 , 0 0 0 - 4 , 0 0 0 173

140

141

140 daVid leVinthal uNited stAtes b. 1949 Uncle Tom’s Cabin suite, 1999. the complete set of eight photogravures, on rives bfK paper. portfolio: 20 7/8 x 17 5/8 in. (53 x 44.8 cm). All signed, dated ‘2000’ and numbered ‘Lp 2’ in pencil (a Landfall proof, the edition was 25 and 10 artist’s proofs), published by Landfall press, chicago, contained in original black linen-covered portfolio with title embossed and printed in silver on the front. Estimate $ 3 , 0 0 0 - 4 , 0 0 0

141 nyanda toM south AfricA b. 1964 two works: Coming from Ghetto (S’phum ekasi) and Giving a Chance to Disadvantaged, 2003. Linocut. 12 5/8 x 15 1/8 in. (32.1 x 38.4 cm) sheet and 9 1/2 x 12 5/8 in. (24.1 x 32.1 cm) image; 14 1/4 x 19 1/8 in. (36.2 x 48.6 cm) sheet and 10 1/2 x 16 in. (26.7 x 40.6 cm) image. signed and dated “Nyanda tom 03” lower right, titled “‘coming from ghetto’ (s’phum ekasi)” lower center and numbered of 50 lower left; signed and dated “Nyanda tom 03” lower right, titled “giving a chance to disadvantaged” lower center and numbered of 30 lower left. provenance Axis gallery, New York

Estimate $ 5 0 0 -7 0 0 174

142

143

144

142 William Kentridge South AfricA b. 1955 River Swing; and Vaal River Landscape, 2001. two drypoint etchings, on Vélin d’Arches crème paper. Various sizes. All signed, dated ‘2000’ and numbered 6/10 and 5/10 in pencil (the edition was 25 and there were also 10 artist’s proofs, the edition was 25 for both), published by the artist, both framed. Literature David Krut p. 98 Estimate $ 2 , 0 0 0 - 3 , 0 0 0

144 William Kentridge South AfricA b. 1955 Medusa, 2001. Lithograph in black and red with mirror-finished steel cylinder, on chine collé of sheet pages from Le Nouveau Larousse Illustré Encyclopedia (1906) to rives BfK paper. Print: 23 1/4 x 23 1/4 in. (59.1 x 59.1 cm). the print signed and numbered 29/60 in pencil (there were also 20 artist’s proofs in roman numerals), published by Parkett Editions, Zurich and New York, unframed. Literature Edition for Parkett 63; David Krut p. 116

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 143 William Kentridge South AfricA b. 1955 Black Box/Chambre Noire, 2005. the complete set of eight cards and stereoscope comprised of velvet wood, metal and lenses. Box: 8 x 15 1/4 x 4 3/4 in. (20.3 x 38.7 x 12.1 cm). Signed and numbered 45/100 in white pencil on the colophon card, published by Deutsche Guggenheim, Berlin, contained in original box. Estimate $ 8 0 0 -1, 2 0 0 Deutsche Guggenheim Edition No. 33 175

145

146

145 DAviD HUffmAn united StAteS b. 1963 Land of the New Rising Sun, 2004. Acrylic on mixed ground on canvas. 60 x 47 3/4 in. (152.4 x 121.3 cm). Signed, titled and dated “david huffman ‘Land of the new rising sun’ 04” on the reverse; also signed and dated “david huffman 04” on the stretcher. PROVENANCE Acquired directly from the

146 CLAUDETTE SCHREUDERS South AfricA b. 1973 Untitled series, 2001. Six etchings. All 9 7/8 x 7 3/4 in. (25.1 x 19.7 cm). All signed, dated and annotated ‘B.A.t.’ in pencil (a Bon-A-tirer proof, the edition was 25 and 5 artist’s proofs), published by the artist, all unframed. Estimate $ 1, 5 0 0 - 2 , 0 0 0

artist; Private collection, Los Angeles EXHIBITED Los Angeles, Lizabeth oliveria Gallery, david huffman: Land of the new rising Sun, 2004

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 176

147

148

149

147 MoSheKWa langa south AfricA/the NetherLANds b. 1975 Untitled 3, 2008-2009. Mixed media on paper. 55 x 39 1/2 in. (140 x 100 cm). signed “M Langa” on the reverse. provenance private collection Estimate $ 8 , 0 0 0 -1 2 , 0 0 0

149 zWelethu MthethWa south AfricA b. 1960 A Couple Outside, 2002. etching with hand-coloring. 42 1/8 x 39 1/8 in. (107 x 99.4 cm). signed, titled, dated and numbered ‘pp 1/3’ in black pencil, unframed. Estimate $ 1, 8 0 0 - 2 , 5 0 0

148 zWelethu MthethWa south AfricA b. 1960 Lovers III, 1998. etching with hand-coloring. 19 x 14 3/4 in. (48.3 x 37.5 cm). signed, titled, dated and annotated ‘printer’s proof’ in pencil, unframed. Estimate $ 9 0 0 -1, 2 0 0 177

150

151

150 roBert coleScott uNited stAtes b. 1925 Amore (Love), 1989. painted and glazed ceramic. 12 1/2 in. (31.8 cm) diameter. signed and dated “r. colescott 1989” lower left; also inscribed “Amore” on the reverse. this work is unique. provenance private

151 roMare Bearden uNited stAtes 1911-1988 Slave Ship, 1977. screenprint in colors. 28 1/2 x 18 in. (72.4 x 45.7 cm). signed and numbered 79/144 in pencil, unframed.

collection, tucson

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

literature gail gelburd and Alex rosenberg 61

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 178

152

153

152 SANFORD BIGGERS United StateS b. 1970 Afropick, 2005. Woodcut, on Japanese paper. 67 x 11 1/4 in. (170.2 x 28.6 cm). Signed and numbered 23/30 in pencil, with red stamps, framed. Estimate $ 6 , 0 0 0 - 8 , 0 0 0

153 KORI NEwKIRK United StateS b. 1970 Tully, 2005. encaustic on wood panel. 24 x 30 in. (61 x 76.2 cm). Signed, inscribed and dated “Kori newkirk WHJ 2005” on the reverse. PROVENANCE William H. Johnson Foundation for the arts Fundraising Gala, 2005; Private collection, Los angeles

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 179

154

155

154 ernSt haaS AustriA/uNited stAtes 1921-1986 Aerial Flamingos, Kenya, 1970. dye transfer print, printed 1992. 17 5/8 x 26 3/4 in. (44.8 x 67.9 cm). signed, titled, dated, numbered 4/30 by Alexander’s haas, the photographer’s son, in pencil and ernst haas copyright credit stamp on the verso. provenance Acquired directly from the estate of

155 ernSt haaS AustriA/uNited stAtes 1921-1986 Elephant, Kenya, 1970. dye transfer print, printed 1992. 17 5/8 x 26 3/4 in. (44.8 x 67.9 cm). signed, titled, dated, numbered 4/50 by Alexander haas, the photographer’s son, in pencil and ernst haas copyright credit stamp on the verso. provenance Acquired directly from the estate of

ernst haas literature Viking press, Ernst Haas: The Creation, p. 74

ernst haas literature Viking press, Ernst Haas: The Creation, p. 88

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 180

156

156 andreW leVitaS uNited stAtes b. 1977 Leopard, Botswana, 2007. Metalwork photograph. 47 1/2 x 71 1/2 in. (120.7 x 181.6 cm). signed and numbered 2/10 in ink on the reverse of the aluminum flush-mount. provenance Acquired directly from the artist

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 developed by Andrew Levitas, metalwork photography is a process involving the transfer of photographs into transparencies that are in turn melted onto hand detailed metal sheets. the result is a work that combines the imagery of a photograph with the presence of a sculpture. While these works are printed as editions, they function, in fact, as unique objects since each print differs, depending on the level of hand tooling on the metal. 181

157

157 george oSodi NigeriA/uNited KiNgdoM b. 1974 Niger Boy from Oil Rich Niger Delta, 2006. fujicolor crystal Archive print. 47 1/4 x 31 1/2 in. (120 x 80 cm). signed, titled, dated and numbered 3/5 in ink on a label affixed to the reverse of the mount. Accompanied by a signed certificate of Authenticity. provenance Acquired directly from the artist Estimate $ 4 , 0 0 0 - 6 , 0 0 0 182

158

158 george oSodi NigeriA/uNited KiNgdoM b. 1974 Delta Rebel from Oil Rich Niger Delta, 2006. fujicolor crystal Archive print. 47 1/4 x 31 1/2 in. (120 x 80 cm). signed, titled, dated and numbered 4/5 in ink on a label affixed to the reverse of the mount. Accompanied by a signed certificate of Authenticity. provenance Acquired directly from the artist Estimate $ 6 , 0 0 0 - 8 , 0 0 0 183

159

159 guy tilliM south AfricA b. 1962 Supporters of Jean-Pierre Bemba line the road as he walks to a rally from the airport, Kinshasa, July 2006. digital print on cotton rag. 35 3/4 x 52 1/4 in. (91 x 133 cm) sheet; 32 x 48 1/2 in. (81 x 123 cm) image. signed lower right. this work is from an edition of five. provenance Michael stevenson gallery, cape town; private collection, Johannesburg

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 184

160

160 Michael SuBotzSKy south AfricA b. 1981 Cell, Voorberg Prison, 2004. digital print in pigment inks on cotton rag paper. 19 3/4 x 27 1/2 in. (50 x 70 cm). this work is from an edition of nine. provenance goodman gallery, cape town (2008)

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 185

161

162

161 SeBaStiÄo Salgado brAZiL b. 1944 School in the Lake Victoria Region, Kenya from Africa, 1986. gelatin silver print, printed 2007. 14 3/8 x 21 5/8 in. (36.5 x 54.9 cm). blindstamp credit in the margin; signed, titled ‘Kenya’ and dated in pencil on the verso. provenance Acquired directly from the artist

162 SeBaStiÄo Salgado brAZiL b. 1944 Fishing in the marshes of the Gel Canal, which is filled with waters from the Nile River, Southern Sudan from Genesis, 2006. gelatin silver print. 14 1/2 x 20 1/8 in. (36.8 x 51.1 cm). blindstamp credit in the margin; signed, titled ‘sud-soudan’ and dated in pencil on the verso. provenance Acquired directly from the

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

artist

Estimate $ 5 , 0 0 0 -7, 0 0 0 186

163

164

163 SeBaStiÄo Salgado brAZiL b. 1944 Dinka man at the cattle camp of Kei. People cover themselves with ash from burned cowpats to sterilize the skin against insects and parasites, Southern Sudan from Africa, 2006. gelatin silver print, printed 2008. 20 1/8 x 14 1/2 in. (51.1 x 36.8 cm). blindstamp credit in the margin; signed, titled ‘sud-soudan’ and dated in pencil on the verso. provenance Acquired directly from the artist Estimate $ 5 , 0 0 0 -7, 0 0 0

164 george rodger uNited KiNgdoM 1908-1995 Korongo Nuba tribesman, Kordofan, Southern Sudan, 1949. gelatin silver print, printed 1975. 14 1/2 x 11 in. (36.8 x 27.9 cm). signed, annotated ‘Korongo Nuba tribesman in the doorway to his house’ in ink and copyright credit stamp on the verso. provenance bernard J shapero rare books, London literature thanet press Ltd., Tribal Portraits: Vintage and Contemporary Photographs from the African Continent, cover and pl. 17

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 187

165

166

167

168

165 george rodger uNited KiNgdoM 1908-1995 Dance of the Latuka, Southern Sudan, circa 1949. gelatin silver print. 6 1/4 x 9 3/8 in. (15.9 x 23.8 cm). collection and illustration stamps on the verso; printed title and description on a label affixed to the verso. Estimate $ 1, 5 0 0 - 2 , 5 0 0

167 george rodger uNited KiNgdoM 1908-1995 Firey Burn in Kau, Kordofan, 1949. gelatin silver print. 7 1/2 x 11 3/8 in. (19.1 x 28.9 cm). collection and illustration stamps on the verso; printed title and description on a label affixed to the verso. Estimate $ 1, 5 0 0 - 2 , 5 0 0 168 george rodger uNited KiNgdoM 1908-1995 Niile Tug of War, September, 1947. gelatin silver print. 9 3/8 x 7 3/8 in. (23.8 x 18.7 cm). Annotated â&#x20AC;&#x2DC;Africa Ne/ Anglo egyptian sudanâ&#x20AC;&#x2122; in ink and collection, illustration stamps on the verso; printed title and description on a label affixed to the verso. Estimate $ 1, 5 0 0 - 2 , 5 0 0

166 george rodger uNited KiNgdoM 1908-1995 Dance of the Latuka, Southern Sudan, circa 1951. gelatin silver print. 9 x 7 3/8 in. (22.9 x 18.7 cm). collection and illustration stamps on the verso; printed title and description on a label affixed to the verso. Estimate $ 1, 5 0 0 - 2 , 5 0 0 188

169

169 george rodger uNited KiNgdoM 1908-1995 The Champion of a Korongo Nuba Wrestling Match is Carried Shoulder High, Kordofan, Southern Sudan, 1949. gelatin silver print, printed 1999. 14 x 9 1/2 in. (35.6 x 24.1 cm). titled in an unidentified hand in pencil and copyright credit stamp on the verso. Estimate $ 3 , 0 0 0 - 4 , 0 0 0 189

170 (actual size)

170 HUGO A. BERNATZIK AustriA 1897-1953 A Dinka bridegroom bargaining for bridal ornaments, 1927. Gelatin silver print. 7 1/8 x 5 in. (18.1 x 12.7 cm). Copyright credit reproduction limitation stamp on the verso. Estimate $ 3 , 0 0 0 - 5 , 0 0 0 190

171

172

173

171 hugo a. BernatziK AustriA 1897-1953 Two Shilluk men preparing their costumes for the dance, 1927. gelatin silver print. 5 1/8 x 6 3/4 in. (13 x 17.1 cm). copyright credit reproduction limitation stamp on the verso. Estimate $ 2 , 0 0 0 - 3 , 0 0 0

173 hugo a. BernatziK AustriA 1897-1953 Shilluk props for dance, 1927. gelatin silver print. 5 3/8 x 7 5/8 in. (13.7 x 19.4 cm). copyright credit reproduction limitation stamp on the verso. Estimate $ 1, 5 0 0 - 2 , 5 0 0

172 hugo a. BernatziK AustriA 1897-1953 Nuba women, 1927. gelatin silver print. 7 1/8 x 5 1/8 in. (18.1 x 13 cm). Annotated in pencil on the verso. Estimate $ 1, 5 0 0 - 2 , 5 0 0 191

174

175

174 Mirella ricciardi KeNYA/uNited KiNgdoM b. 1931 Transitions: Traditional Eunoto Ceremony, Kenya, 1967. fujicolor crystal Archive print, printed later. 28 x 38 1/2 in. (71.1 x 97.8 cm). blindstamp credit on the recto; signed, dated and numbered 1/8 in ink in the margin. Accompanied by a signed certificate of Authenticity. provenance Acquired

175 Mirella ricciardi KeNYA/uNited KiNgdoM b. 1931 Running Man, 2006. fujicolor crystal Archive print. 28 x 40 3/4 in. (71.1 x 103.5 cm). blindstamp credit on the recto; signed, dated and numbered 1/8 in ink in the margin. Accompanied by a signed certificate of Authenticity. Estimate $ 5 , 0 0 0 -7, 0 0 0

directly from the artist

Estimate $ 5 , 0 0 0 -7, 0 0 0 Maasai warriors (Morani) wear their hair long and must remain single. When their service to the community is finished, their heads are shaved in a solemn ceremony and they begin the transition to marriage and becoming community elders. 192

176

176 lyle oWerKo cANAdA/uNited stAtes b. 1968 Lelesit from The Samburu, 2006. gelatin silver print. 75 x 58 in. (190.5 x 147.3 cm). signed and numbered 1/10 in ink on the recto. provenance clic gallery, New York Estimate $ 5 , 0 0 0 -7, 0 0 0 193

177

178

177 Stephane graff frANce/uNited KiNgdoM b. 1965 Antelope Dance, 1991. toned gelatin silver print. 6 7/8 x 6 5/8 in. (17.5 x 16.8 cm). signed, numbered 1/10 in pencil and copyright credit stamp on the verso. provenance private collection, London Estimate $ 8 0 0 -1, 2 0 0

178 Stephane graff frANce/uNited KiNgdoM b. 1965 Masked Nude Lying on Satin, 1995. gelatin silver print. 8 1/8 x 8 in. (20.6 x 20.3 cm). signed and annotated â&#x20AC;&#x2DC;unique printâ&#x20AC;&#x2122; in pencil and copyright credit stamp on the verso. provenance private collection, London

Estimate $ 1, 5 0 0 - 2 , 0 0 0 194

179

181

180

179 PIERRE AMROUCHE france b. 1948 Odette, 2005. Gelatin silver print. 35 7/8 x 23 1/2 in. (91.1 x 59.7 cm). Signed and numbered 1/5 in ink and credit stamp on the reverse of the aluminum flush-mount. Provenance Private collection, france exhibited Scènes

180 LENI RIEFENSTAHL GerMany 1902-2003 Nuba from the Masakin-Qisar tribe, Sudan, 1962-1969. color coupler print, printed circa 1975. 20 x 16 in. (50.8 x 40.6 cm). Literature

Primitives, Galerie area, Paris, 18 October 2004 - 15 January 2005; Désordres d’Eros #3, african

carries the flag of his village during the festival. The remainder of the time it is kept with other

Taschen, Leni Riefenstahl: Five Lives, pl. 145 there annotated ‘The best wrestler—here, natu—

Muse Gallery – Luc Berthier, Paris, 21 January- 17 february 2007; Biennale Off, Venice Biennale,

preperations for the festival in a house in the village dedicated to this purpose.’

Venice, 2007; Passare Collection, fortezza del Priamar, Savona, December 2007- March 2008; Vénus

Estimate $ 2 , 0 0 0 - 3 , 0 0 0

aspects de luttes et créations, Galerie area, Paris July - august 2005; Vénus, Musée de Périgeux, espace culturel françois Mitterrand, 8 July - 1 October 2005, at all venues, another example

181 LENI RIEFENSTAHL GerMany 1902-2003 Untitled (Leopard Spots) from Nuba, 1970. color coupler print. 20 x 16 in. (50.8 x 40.6 cm). Estimate $ 2 , 0 0 0 - 3 , 0 0 0

exhibited

Estimate $ 1, 5 0 0 - 2 , 5 0 0

195

182

PROPERTY FROM THE JEAN PIGOZZI COLLECTION 182 SEYDOU KEÏTA MALI/FRANCE 1923-2001 Untitled, 1958. Gelatin silver print, printed 1999. 23 1/2 x 19 1/2 in. (59.7 x 49.5 cm). Signed and dated in ink in the margin. Provenance Acquired directly from the artist exhibited Africa Art Now: Masterpieces from the Jean Pigozzi Collection, Museum of Fine Arts, Houston, traveled to The National Museum of African Art, Smithsonian Institution, Washington, DC, January 2005 - February 2006; 100% Africa, Guggenheim Museum, Bilbao, October 2006 – February 2007 Literature Scalo, Seydou Keïta, p. 20

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 196

183

PROPERTY FROM THE JEAN PIGOZZI COLLECTION 183 SEYDOU KEÏTA MALI/FRANCE 1923-2001 Untitled, 1941-1951. Gelatin silver print, printed 1998. 23 1/2 x 19 1/2 in. (59.7 x 49.5 cm). Signed and dated in ink in the margin. Provenance Acquired directly from the artist exhibited 100% Africa, Guggenheim Museum, Bilbao, October 2006 - November 2007; Why Africa?, Pinacoteca Giovanni e Marella Agnelli, Turin, October 2007 - February 2008; Seydou Keïta, Tate Modern, London, March 2008 - March 2009 Literature Scalo, Seydou Keïta, p. 229

estimate $9,000-12,000 197

184

185

PROPERTY FROM THE JEAN PIGOZZI COLLECTION 185 MALICK SIDIBÉ MALI b. 1936 Les nouveux circonci, 1983. Gelatin silver print, printed 1995. 23 1/2 x 19 1/2 in. (59.7 x 49.5 cm). Signed, titled and dated in ink in the margin.

PROPERTY FROM THE JEAN PIGOZZI COLLECTION 184 SEYDOU KEÏTA MALI/FRANCE 1923-2001 Untitled, circa 1941-1951. Gelatin silver print, printed 1998. 23 1/2 x 19 1/2 in. (59.7 x 49.5 cm). Signed and dated in ink in the margin. Provenance Acquired directly from the artist exhibited Africa Art

Provenance Acquired directly from the artist Literature Hasselblad Center/Steidl, Malick

Now: Masterpieces from the Jean Pigozzi Collection, Museum of Fine Arts, Houston, traveled

Sidibé, p. 59

to The National Museum of African Art, Smithsonian Institution, Washington, D.C., January

Estimate $ 2 , 2 0 0 - 2 , 8 0 0

2005 - February 2006; 100% Africa, Guggenheim Museum, Bilbão, October 2006 - February 2007 Literature Scalo, Seydou Keïta, p. 19

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 198

186

187

PROPERTY FROM THE JEAN PIGOZZI COLLECTION 187 MALICK SIDIBÉ MALI b. 1936 Surprise Party, 1954. Gelatin silver print, printed 1995. 23 1/2 x 19 1/2 in. (59.7 x 49.5 cm). Signed, titled and dated in ink in the margin. Estimate $ 2 , 2 0 0 - 2 , 8 0 0

PROPERTY FROM THE JEAN PIGOZZI COLLECTION 186 MALICK SIDIBÉ MALI b. 1936 Pick Neyk à la Chausse, 1976. Gelatin silver print, printed 1994. 23 1/2 x 19 1/2 in. (59.7 x 49.5 cm). Signed, titled and dated in ink in the margin. Provenance Acquired directly from the artist exhibited 100% Africa, Guggenheim Museum, Bilbao, October 2006 - February 2007 Literature Hasselblad Center/Steidl, Malick Sidibé, p. 89

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 199

188

189

propertY froM the JeAN pigoZZi coLLectioN 188 Seydou KeÏta MALi/frANce 1923-2001 Untitled, 1952-1955. gelatin silver print, printed 1998. 23 1/2 x 19 1/2 in. (59.7 x 49.5 cm). signed and dated in ink in the margin.

propertY froM the JeAN pigoZZi coLLectioN 189 MalicK SidiBé MALi b. 1936 Ils avaient sommeil après une soiré bien remplie, 1963. gelatin silver print, printed 1995. 23 1/2 x 19 1/2 in. (59.7 x 49.5 cm). signed, titled and dated in ink in the margin. provenance Acquired directly from the artist Estimate $ 1, 8 0 0 - 2 , 2 0 0

provenance Acquired directly from the artist exhibited 100% Africa, guggenheim Museum, bilbao, october 2006 - february 2007; Seydou Keïta, tate Modern, London, March 2008 - March 2009 literature scalo, Seydou Keïta, p. 52

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 200

190

191

PROPERTY FROM THE JEAN PIGOZZI COLLECTION 190 Moké DEMOCRATIC REPubLIC OF CONGO b. 1950 Anniversaire de Mariage, 1999. Acrylic on canvas. 67 x 51 1/2 in. (170.2 x 130.8 cm). Signed and dated “Peintre Moké 99” lower right. Provenance Acquired directly from the artist Estimate $ 5 , 0 0 0 -7, 0 0 0

PROPERTY FROM THE JEAN PIGOZZI COLLECTION 191 Moké DEMOCRATIC REPubLIC OF CONGO b. 1950 Mama, Docteur Africain, 1999. Acrylic on canvas. 70 1/2 x 59 1/2 in. (179.1 x 151.1 cm). Provenance Acquired directly from the artist

Estimate $ 5 , 0 0 0 -7, 0 0 0 201

192

193

PROPERTY FROM THE JEAN PIGOZZI COLLECTION 193 camille-pierre pambu bodo dEMOCRATIC REPubLIC OF CONGO b. 1953 Femme, une chose ou un être semblable (Normal?), 2001. Acrylic on canvas. 56 3/4 x 78 in. (144.1 x 198.1 cm). Signed and titled “Art bodo Femme, une chose ou un être semblable?” lower right. Provenance Acquired directly from the artist Estimate $ 6 , 0 0 0 - 8 , 0 0 0

PROPERTY FROM THE JEAN PIGOZZI COLLECTION 192 camille-pierre pambu bodo dEMOCRATIC REPubLIC OF CONGO b. 1953 Untitled, 2001. Acrylic on canvas. 56 3/4 x 78 1/4 in. (144.1 x 198.8 cm). Signed and dated “Art bodo 2001” lower right. Provenance Acquired directly from the artist Estimate $ 6 , 0 0 0 - 8 , 0 0 0

202

194

195

PROPERTY FROM THE JEAN PIGOZZI COLLECTION 194 camille-pierre pambu bodo dEMOCRATIC REPubLIC OF CONGO b. 1953 Le voyage du pélerin, 2001. Acrylic on canvas. 54 x 74 3/4 in. (137.2 x 189.9 cm). Signed, titled and dated “Art bodo Le Voyage du Pèlerin 2001” lower right. Provenance Acquired

PROPERTY FROM THE JEAN PIGOZZI COLLECTION 195 cYprieN ToKoudaGba bENíN Woudji Woudjigbe, 1995. Acrylic on canvas. 71 1/4 x 100 3/4 in. (181 x 256 cm). Signed “Tokoudagba Cyprien” lower left. Provenance

directly from the artist

Estimate $ 7, 0 0 0 - 9 , 0 0 0

Acquired directly from the artist

Estimate $ 5 , 0 0 0 -7, 0 0 0 203

196

PROPERTY FROM THE JEAN PIGOZZI COLLECTION 196 JOHN GOBA SIERRA LEONE b. 1944 Hunter’s Zone. Painted wood with porcupine quills. 59 3/4 x 58 1/2 x 56 1/4 in. (151.8 x 148.6 x 142.9 cm). Provenance Acquired directly from the artist Estimate $ 8 , 0 0 0 -1 0 , 0 0 0 204

197

198

propertY froM the JeAN pigoZZi coLLectioN 197 calixte daKpogan beNĂN b. 1958 Night Bird, 2002. steel, plastic, iron, glass and other found materials. 29 x 19 1/2 x 17 in. (73.7 x 49.5 x 43.2 cm). provenance Acquired

propertY froM the JeAN pigoZZi coLLectioN 198 John goBa sierrA LeoNe b. 1944 Chief Borm-Bormlai, 1995. painted wood with porcupine quills. 40 x 42 x 12 1/4 in. (101.6 x 106.7 x 31.1 cm). provenance Acquired

directly from the artist

Estimate $ 5 , 0 0 0 -7, 0 0 0

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 205

199

200

PROPERTY FROM THE JEAN PIGOZZI COLLECTION 199 GEORGE LILANGA DI NYAMA TANZANIA 1934-2005 Trying to get assistance through cellue phone, 2002. Enamel on wood. 29 1/2 x 8 3/4 x 9 3/4 in. (74.9 x 22.2 x 24.8 cm). Signed “Lilanga” at the edge of the base. Provenance Acquired directly from the artist

PROPERTY FROM THE JEAN PIGOZZI COLLECTION 200 GEORGE LILANGA DI NYAMA TANZANIA 1934-2005 Old Katembo and Mr. Chicken, 2002. Enamel on wood. 24 3/4 x 8 1/4 x 8 1/4 in. (62.9 x 21 x 21 cm). Signed “Lilanga” top of the base. Provenance Acquired directly from the artist exhibited Paris, Centre George

exhibited Paris, Centre George Pompidou; Tokyo, Mori Art Museum; Düsseldorf, Museum

Pompidou; Tokyo, Mori Art Museum; Düsseldorf, Museum Kunst Palast; London, The Hayward

Kunst Palast; London, The Hayward Gallery, Africa Remix, July 2004 - August 2007

Gallery, Africa Remix, July 2004 - August 2007

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 206

201

202

PROPERTY FROM THE JEAN PIGOZZI COLLECTION 202 GEORGE LILANGA DI NYAMA TANZANIA 1934-2005 Twins Have One Body, Two Head, They Carry Luggage it is Easy and Balanced, (“MAPACHA WAWILI...”). Enamel on ceiling board. 48 1/2 x 96 1/2 in. (123 x 245 cm). Signed “Lilanga” lower right. Provenance

PROPERTY FROM THE JEAN PIGOZZI COLLECTION 201 GEORGE LILANGA DI NYAMA TANZANIA 1934-2005 These people have an evening walk by the sea side (“HAWA WATU WANATEMBEA”). Enamel on ceiling board. 48 1/2 x 96 1/2 in. (123 x 245 cm). Signed “Lilanga” lower right. Provenance Acquired directly from the artist

Acquired directly from the artist

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 207

203

204

203 Kay haSSan south AfricA b. 1956 two works: Untitled (Portrait I) and Untitled (Portrait II), 2004. Watercolor on paper. 15 3/4 x 11 3/4 in. (40 x 29.8 cm) each. signed and dated “Kay hassan 04” lower left and lower right respectively. Estimate $ 1, 2 0 0 -1, 8 0 0

204 colBert MaShile south AfricA b. 1972 Tsikenyane; and Pitsa, 2003. two etching and aquatints. Various sizes. both signed, titled, dated and annotated ‘proof’ and numbered 5/15 respectively in pencil, both unframed. Estimate $ 1, 4 0 0 -1, 8 0 0 208

205

206

207

205 KiM BerMan south AfricA b. 1960 Through the Wire, Lowveld Fire I, 2004. Lithograph. 22 1/2 x 30 in. (57.2 x 76.2 cm). signed and dated “Kim berman ‘04” lower right, titled “through the Wire, Lowveld fire i” lower center and numbered of 45 lower left, unframed. Estimate $ 9 0 0 -1, 2 0 0

207 KiM BerMan south AfricA b. 1960 Through the Wire, Lowveld Fire III, 2004. Lithograph. 22 1/2 x 30 in. (57.2 x 76.2 cm). signed and dated “Kim berman ‘04” lower right, titled “through the Wire, Lowveld fire iii” lower center and numbered of 45 lower left. this work is from an edition of 45, unframed. Estimate $ 9 0 0 -1, 2 0 0

206 KiM BerMan south AfricA b. 1960 Through the Wire, Lowveld Fire II, 2004. Lithograph. 22 1/2 x 30 in. (57.2 x 76.2 cm). signed and dated “Kim berman ‘04” lower right, titled “through the Wire, Lowveld fire ii” lower center and numbered of 45 lower left. this work is from an edition of 45, unframed. Estimate $ 9 0 0 -1, 2 0 0 209

208

209

208 RYAN ARENSON South AfricA/frAnce b. 1970 Engraved; and Portrait of Ruth, 2008. one linocut with etching and one etching with engraving, drypoint and pochoir. Various sizes. Both signed and numbered 4/10 and 11/20 respectively in pencil, published by David Krut fine Art, Johannesburg (with their blindstamp), both unframed. Estimate $ 1, 2 0 0 -1, 5 0 0

209 StEphAN ERASmuS South AfricA b. 1976 Donker Bloeisel (Dark Blossom) and Mandala/Mantra, 2009. two screenprints. 27 3/4 x 19 5/8 in. (70.5 x 49.8 cm) each. Both signed, dated, titled and numbered 5/5 and 4/5 respectively,unframed. PROVENANCE Axis Gallery, new York

Estimate $ 8 0 0 -1, 2 0 0

210

211

212

210 daVid nthuBu Koloane south AfricA b. 1938 Commuters, 2008. drypoint in umber. 15 3/4 x 19 1/2 in. (40 x 49.5 cm). signed, titled, dated and numbered 10/25 in pencil, published by david Krut fine Art, Johannesburg (with their blindstamp), unframed. Estimate $ 6 0 0 - 8 0 0

212 nhlanhla xaBa south AfricA d. 2003 The Dusk and Dawn of Humanity (II)â&#x20AC;&#x201D; The Kigali Genocides, 2002. Lithograph in colors. 21 3/8 x 17 3/8 in. (54.3 x 44.1 cm) sheet; 18 7/8 x 15 in. (47.9 x 38.1 cm) image. titled and numbered 22/40 in pencil, unframed. provenance Axis gallery, New York

Estimate $ 6 0 0 - 9 0 0

211 daVid nthuBu Koloane south AfricA b. 1938 Studio Inside/Out, 2008. Aquatint etching in umber, on cream paper. 19 3/8 x 25 3/8 in. (49.2 x 64.5 cm). signed, titled, dated and numbered 4/35 in pencil, published by david Krut fine Art, Johannesburg (with their blindstamp), unframed. Estimate $ 7 0 0 - 9 0 0 211

213

214

213 penny SiopiS south AfricA b. 1953 Series of Ten, 2004. the complete set of ten etchings with aquatint, burnishing, scraping and photocopy transfer in colors. All: 5 1/2 x 7 3/4 in. (14 x 19.7 cm). All signed, titled, dated and numbered 10/20 in pencil, published by david Krut fine Art, Johannesburg (with their blindstamp), all unframed. Estimate $ 3 , 5 0 0 - 4 , 5 0 0

214 penny SiopiS south AfricA b. 1953 Siestog, 2003. Aquatint etching with burnishing and scraping in colors. 27 1/4 x 38 7/8 in. (69.2 x 98.7 cm). signed, titled, dated ‘04’ and numbered 10/15 in pencil, published by david Krut fine Art, Johannesburg (with their blindstamp), unframed. Estimate $ 1, 4 0 0 -1, 8 0 0

including: Hush Little Baby; Get Well Soon; Home; Where Your Mom Is; I’m Sorry; To a Special Father; Shame; Shame Again; Sorry; and Don’t You Cry 212

215

215 deBorah Bell south AfricA b. 1957 untitled (Where i come from is a long thin thread), 2003. Mixed media on paper. 63 x 47 1/4 in. (160 x 120 cm). signed â&#x20AC;&#x153;deborah bellâ&#x20AC;? lower right. provenance private collection exhibited Johannesburg, goodman gallery, 2003; potchesfstroom, Aardklop festival of the Arts, 2006; bloemfontein, oliewenhuis Museum, Crossing and Monuments, 2006

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 213

216

216 Kunle adegBorioye NigeriA/uNited KiNgdoM b. 1966 Fragility of Victory, 2004. screenprint and acrylic on paper. 36 x 27 in. (91.4 x 68.6 cm). signed and dated “K. Adegborioye 2004” lower right. this work is unique. provenance collection of the artist

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 214

217

217 Kunle adegBorioye NigeriA/uNited KiNgdoM b. 1966 Signs of the Time, 2004. Nine screenprints with spraypaint and acrylic on paper. 10 1/2 x 8 in. (26.7 x 20.3 cm) each. signed and dated “K. Adegborioye 2004” lower right of one sheet. this work is unique. provenance collection of the artist Estimate $ 4 , 0 0 0 - 6 , 0 0 0 215

218

219

220

218 peter Beard uNited stAtes/KeNYA b. 1938 Untitled, 1998. ink, wash and blood on paper. 8 3/8 x 11 in. (21.3 x 27.9 cm). dated and dedicated “April 9th ‘98 to Jayme” along left edge. provenance private collection, New York Estimate $ 1, 0 0 0 -1, 5 0 0

219 deBorah Bell south AfricA b. 1957 Eternity II; and Fury II, 2008. two drypoint and roulette etchings, on hahnemühle paper. both: 9 3/8 x 8 7/8 in. (23.8 x 22.5 cm). both signed, titled, dated and numbered 26/40 in pencil, published by david Krut fine Art, Johannesburg (with their blindstamp), both unframed. Estimate $ 7 0 0 - 9 0 0 220 traSi henen south AfricA b. 1981 Julia at Johannesburg General; and Chairs, 2005. two etchings in colors. both: 19 5/8 x 29 1/4 in. (49.8 x 74.3 cm). both signed, dated, and numbered 4/15 and 8/15 respectively in pencil (Julia also titled), published by david Krut fine Art, Johannesburg (with their blindstamp), both unframed. Estimate $ 9 0 0 -1, 2 0 0 216

221

223

222

224

221 laurent Baheux frANce b. 1970 Waiting for Breakfast, 2004. Archival inkjet print. 20 x 20 in. (50.8 x 50.8 cm). signed in ink on a label accompanying the work. Number 1 from an edition of 25. Estimate $ 1, 5 0 0 - 2 , 0 0 0

223 nicK Brandt uNited KiNgdoM/uNited stAtes b. 1966 Portrait of Giraffe, Serengeti, 2006. Archival pigment print. 44 1/2 x 36 in. (113 x 91.4 cm). signed, dated and numbered 2/12 in pencil in the margin. Estimate $ 3 , 0 0 0 - 4 , 0 0 0

222 laurent Baheux frANce b. 1970 Crossing the Plain, 2006. Archival inkjet print. 20 x 20 in. (50.8 x 50.8 cm). signed in ink on a label accompanying the work. Number 1 from an edition of 25. Estimate $ 1, 5 0 0 - 2 , 0 0 0

224 nicK Brandt uNited KiNgdoM/uNited stAtes b. 1966 Portrait of Lion Standing in Wind, Maasai Mara, 2006. Archival pigment print. 19 5/8 x 24 5/8 in. (49.8 x 62.5 cm). signed, dated and numbered 6/25 in pencil in the margin. Estimate $ 4 , 0 0 0 - 6 , 0 0 0 217

225

226

225 iKé udé NigeriA/uNited stAtes b. 1964 Town and Country, 1994. cibachrome. 20 x 16 in. (50.8 x 40.6 cm) sheet; 18 x 13 1/4 in. (45.7 x 33.7 cm) image. signed, titled and dated “iké udé town + country 1994” and numbered of 10 on the reverse. provenance

226 pieter hugo south AfricA b. 1976 Steven Mohapi, Johannesburg, 2003. pigment print, on cotton paper. (add comma between) 22 1/8 x 17 7/8 in. (56.2 x 45.4 cm). 18 1/4 x 14 3/4 in. (46.4 x 37.5 cm). signed, titled, dated and numbered 3/5 in pencil, framed.

private collection, New York exhibited New York, exit Art, Let the Artist Live!, september 17

provenance Kyle Kauffman gallery, New York exhibited Lisbon, fabrica features The

- october 22, 1994 (another example exhibited); portland, Maine, institute of contemporary Art;

Albino Project, 2004; The Albino Project, rome, Museum of Modern Art, 2004; rome, Portraits of

Vienna, MAK contemporary Art; Montreal, oboro contemporary Art; cambridge, Massachusetts,

People with Albinism Museo d’arte Contemporaneo, 2004; Lausanne, Musee de l’elysee, reGeneration:

sert gallery, carpenter center, harvard university Art Museums; riverside, california, university

50 photographers of tomorrow 2005; New York, Aperture foundation, reGeneration: 50 photographers

of california at riverside, california Museum of photography, Beyond Decorum: The Photography of

of tomorrow 2006 Los Angeles; stephen cohen gallery, Looking Aside, 2006; Johannesburg, Warren

Iké Udé, 2002-2004 (another example exhibited) literature M. bessire, ed., Beyond Decorum:

siebrits contemporary, Looking Aside, 2006; New York, Kyle Kauffman gallery, Not so black

The Photography of Iké Udé, Massachusetts, 2000, p. 41 (another example illustrated)

and white, 2007. literature W. ewing, N. herschdorfer, and J-c blaser, reGeneration: 50

Estimate $ 2 , 0 0 0 - 3 , 0 0 0

photographers of tomorrow, New York, 2005 p. 102 (illustrated); p. hugo, Looking Aside, rome, 2006, cover image of catalog and pp. 8-9 (illustrated).

Estimate $ 1, 5 0 0 - 2 , 5 0 0 Lot sold with signed and dated (20/3/07) copy of p. hugo, Looking Aside, 2006 for which this lot is the cover image. 218

227

228

227 fatiMah tuggar NigeriA/uNited stAtes b. 1967 At the Meat Market I, 2000. ink jet print on vinyl in three parts. 50 x 143 in. (127 x 363.2 cm) overall. each panel is numbered 1-3 respectively on the reverse. the third panel also signed and dated “fatimah tuggar © 2000” on the reverse. provenance Art & public, geneva Estimate $ 3 , 0 0 0 - 4 , 0 0 0

228 fatiMah tuggar NigeriA/uNited stAtes b. 1967 Two Wives, A Husband & Children, 1998. ink jet print on vinyl. 48 x 86 3/4 in. (121.9 x 220.3 cm). signed and dated “fatimah tuggar © 1998” on the reverse. this work is from an edition of three. provenance Art & public, geneva

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 219

229

230

232

231

233

229 KaKudJi deMocrAtic repubLic of coNgo/uNited stAtes b. 1978 Resistance of Temptation, 2005. pen, felt-tip pen and magazine collage on paper. 8 3/8 x 11 5/8 in. (21.3 x 29.5 cm). dated “23:47 June 14.05” lower right; also signed “Kakudji” on the reverse. provenance galerie Motte & rouart, paris Estimate $ 5 0 0 -7 0 0

232 KaKudJi deMocrAtic repubLic of coNgo/uNited stAtes b. 1978 Nostalgia, 2005. graphite and magazine collage on paper. 11 5/8 x 8 3/8 in. (29.5 x 21.3 cm). dated “3:37 25.10.05” lower right; also signed “Kakudji” on the reverse. provenance galerie Motte & rouart, paris

Estimate $ 4 0 0 - 6 0 0

230 KaKudJi deMocrAtic repubLic of coNgo/uNited stAtes b. 1978 Soldier, 2005. graphite, felt-tip pen and magazine collage on paper. 11 5/8 x 8 3/8 in. (29.5 x 21.3 cm). dated “14.37 2.11.05” lower right; also signed “Kakudji” on the reverse.

233 KaKudJi deMocrAtic repubLic of coNgo/uNited stAtes b. 1978 Female Attraction, 2005. silver pen and magazine collage on paper. 8 3/8 x 11 5/8 in. (21.3 x 29.5 cm). dated “22:15 June 14.05” lower right; also signed “Kakudji” on the reverse.

provenance galerie Motte & rouart, paris

Estimate $ 5 0 0 -7 0 0

231 KaKudJi deMocrAtic repubLic of coNgo/uNited stAtes b. 1978 She Gives me Hell part 2, 2005. felt-tip pen and magazine collage on paper. 11 5/8 x 8 3/8 in. (29.5 x 21.3 cm). dated “3:42 June 12.05” lower right; also signed “Kakudji” on the reverse. provenance galerie Motte & rouart, paris

Estimate $ 5 0 0 -7 0 0 220

AFRICA Lots 1 - 36

lot 1 MAlICK SIDIBÉ ESt $2,000-3,000

lot 2 ZWElEtHU MtHEtHWA ESt $10,000-15,000

lot 3 ZWElEtHU MtHEtHWA ESt $ 4,000-6,000

lot 4 ZWElEtHU MtHEtHWA ESt $ 4,000-6,000

lot 5 ZWElEtHU MtHEtHWA ESt $ 4,000-6,000

lot 6 AIMÉ MpAnE ESt $3,000-5,000

lot 7 AIMÉ MpAnE ESt $3,000-5,000

lot 8 AlfrEDo JAAr ESt $7,000-9,000

lot 9 GEorGE lIlAnGA DI nyAMA ESt $5,000-7,000

lot 10 CAMIllE-pIErrE pAMBU BoDo ESt $2,000-3,000

lot 11 CHÉrI CHÉrIn ESt $5,000-7,000

lot 12 JEAn pAUl nSIMBA MIKA ESt $3,000-5,000

lot 13 JEAn pAUl nSIMBA MIKA ESt $3,000-5,000

lot 14 CHÉrI SAMBA ESt $12,000-18,000

lot 15 ClAIrE GAvronSKy ESt $8,000-12,000

lot 16 SAM nHlEnGEtHWA ESt $12,000-18,000

lot 17 CHÉrI SAMBA ESt $25,000-35,000

lot 18 CHÉrI SAMBA ESt $60,000-80,000

lot 19 SUE WIllIAMSon ESt $10,000-15,000

lot 20 SUE WIllIAMSon ESt $10,000-15,000

lot 21 CHIDI KWUBIrI ESt $7,000-9,000

lot 22 CHIDI KWUBIrI ESt $7,000-9,000

lot 23 WIllIE BEStEr ESt $2,000-3,000

lot 24 WIllIE BEStEr ESt $3,000-5,000

lot 25 WIllIE BEStEr ESt $20,000-30,000

lot 26 DIloMprIZUlIKE ESt $6,000-8,000

lot 27 DIloMprIZUlIKE ESt $6,000-8,000

lot 28 lEDEllE MoE ESt $8,000-10,000

lot 29 SEBAStIÄo SAlGADo ESt $9,000-12,000

lot 30 SEBAStIÄo SAlGADo ESt $9,000-12,000

lot 31 SEyDoU KEÏtA ESt $6,000-8,000

lot 32 JEAn-DoMInIQUE BUrton ESt $2,000-3,000

lot 33 MAlICK SIDIBÉ ESt $3,000-5,000

lot 34 ADrIAn Boot ESt $ 4,000-6,000

lot 35 CHEryl KorAlIK ESt $1,500-2,500

lot 36 MAlICK SIDIBÉ ESt $1,800-2,200

221

AFRICA Lots 37 - 72

lot 37 SEYDoU KEÏtA ESt $ 4,000-6,000

lot 38 SEYDoU KEÏtA ESt $6,000-8,000

lot 39 HECtoR ACEBES ESt $7,000-9,000

lot 40 CHRIS StEElEPERKINS ESt $1,500-2,500

lot 41 CHRIS StEElEPERKINS ESt $1,500-2,500

lot 42 CoNRAD BotES ESt $1,500-2,500

lot 43 CoNRAD BotES ESt $1,500-2,500

lot 4 4 CoNRAD BotES ESt $5,000-7,000

lot 45 MARlENE DUMAS ESt $1,200-1,800

lot 46 KEHINDE WIlEY ESt $3,000-5,000

lot 47 BREtt MURRAY ESt $3,000-5,000

lot 48 CHRIS oFIlI ESt $1,200-1,800

lot 49 WANGECHI MUtU ESt $6,000-9,000

lot 50 JUlIE MEHREtU ESt $9,000-12,000

lot 51 YvEttE MAttERN ESt $ 4,000-6,000

lot 52 MICKAlENE tHoMAS ESt $15,000-20,000

lot 53 KEHINDE WIlEY ESt $10,000-15,000

lot 54 ADEMolA olUGEBEFolA ESt $5,000-7,000

lot 55 SAtCH HoYt ESt $ 40,000-60,000

lot 56 RENEE CoX ESt $30,000-50,000

lot 57 PAtRICIA CoFFIE ESt $2,000-3,000

lot 58 MARÍA MAGDAlENA CAMPoS-PoNS ESt $3,000-4,000

lot 59 CARRIE MAE WEEMS ESt $12,000-18,000

lot 60 CANDICE BREItz ESt $1,000-1,500

lot 61 YINKA SHoNIBARE ESt $60,000-80,000

lot 62 YINKA SHoNIBARE ESt $80,000-120,000

lot 63 WIllIAM KENtRIDGE ESt $15,000-20,000

lot 64 WIllIAM KENtRIDGE ESt $25,000-35,000

lot 65 WIllIAM KENtRIDGE ESt $2,000-4,000

lot 66 MARlENE DUMAS ESt $2,500-3,500

lot 67 WIllIAM KENtRIDGE ESt $800-1,000

lot 68 MARlENE DUMAS ESt $3,000-5,000

lot 69 KARA WAlKER ESt $9,000-12,000

lot 70 KARA WAlKER ESt $1,000-1,500

lot 71 WIllIAM KENtRIDGE AND Jo SMAIl ESt $12,000-18,000

lot 72 DEBoRAH GRANt ESt $15,000-20,000

222

AFRICA Lots 73 - 108

lot 73 Deborah Grant est $3,000-5,000

lot 74 Deborah Grant est $3,000-5,000

lot 75 lorna sIMPson est $2,000-3,000

lot 76 KenDell Geers est $10,000-15,000

lot 77 GeorGe ‘afeDzI’ huGhes est $ 4,000-6,000

lot 78 owusu anKoMah est $10,000-15,000

lot 79 aDenIyI toKunbo olaGunju est $1,500-2,000

lot 80 GeorGe lIlanGa DI nyaMa est $3,000-4,000

lot 81 satch hoyt est $15,000-20,000

lot 82 KenDell Geers est $10,000-15,000

lot 83 IsolDe KraMs est $5,000-7,000

lot 84 wIllIaM KentrIDGe est $50,000-70,000

lot 85 zhonG bIao est $ 40,000-60,000

lot 86 Marlene DuMas est $35,000-45,000

lot 87 roMero brItto est $20,000-30,000

lot 88 hassan Musa est $10,000-15,000

lot 89 caMeron Platter est $1,000-1,500

lot 90 lIlanGa art est $3,000-4,000

lot 91 Kay hassan est $5,000-7,000

lot 92 Peter eastMan est $ 4,000-6,000

lot 93 charles fazzIno est $8,000-12,000

lot 94 soly cIssé est $1,500-2,000

lot 95 wIllIaM VIllalonGo est $10,000-15,000

lot 96 wIllIaM VIllalonGo est $12,000-18,000

lot 97 nnenna oKore est $25,000-35,000

lot 98 jIMoh buraIMoh est $6,000-9,000

lot 99 wosene Kosrof est $18,000-22,000

lot 100 roM IsIcheI est $10,000-15,000

lot 101 roM IsIcheI est $5,000-7,000

lot 102 ben osaGhae est $5,000-7,000

lot 103 ben osaGhae est $6,000-8,000

lot 104 Paula scher est $3,500-4,500

lot 105 DanIel halter est $3,000-5,000

lot 106 KIVuthI Mbuno est $700-900

lot 107 GeorGe lIlanGa DI nyaMa est $5,000-7,000

lot 108 GeorGe lIlanGa DI nyaMa est $5,000-7,000

223

africa Lots 109 - 144

lot 109 RichaRd onyango Est $6,000-8,000

lot 110 sokaRi douglas camp Est $7,000-9,000

lot 111 suzannE WEngER Est $1,500-2,500

lot 112 suzannE WEngER Est $1,500-2,500

lot 113 suzannE WEngER Est $1,500-2,500

lot 114 EsthER mahlangu Est $2,000-3,000

lot 115 EsthER mahlangu Est $3,000-5,000

lot 116 EsthER mahlangu Est $1,000-1,500

lot 117 WalkER EVans Est $ 4,000-6,000

lot 118 Romuald hazoumé Est $5,000-7,000

lot 119 BEn osaWE Est $10,000-15,000

lot 120 BRucE onoBRakpEya Est $18,000-22,000

lot 121 El anatsui Est $30,000-40,000

lot 122 alE x nWokolo Est $6,000-8,000

lot 123 soulEymanE kEita Est $15,000-20,000

lot 124 tafa fiadzigBE Est $7,000-9,000

lot 125 kainEBi osahEnyE Est $10,000-15,000

lot 126 olu amoda Est $12,000-18,000

lot 127 JamEs dEnmaRk Est $2,000-3,000

lot 128 gEoRgE ‘afEdzi’ hughEs Est $5,000-7,000

lot 129 aBladE gloVER Est $6,000-8,000

lot 130 aBladE gloVER Est $6,000-8,000

lot 131 sEnzEni maRasEla Est $1,000-1,500

lot 132 adRian pipER Est $600-900

lot 133 paul stopfoRth Est $6,000-8,000

lot 134 sam nhlEngEthWa Est $900-1,200

lot 135 tWins sEVEn-sEVEn Est $2,500-3,500

lot 136 tWins sEVEn-sEVEn Est $2,000-3,000

lot 137 BRucE onoBRakpEya Est $5,000-7,000

lot 138 BRucE onoBRakpEya Est $3,000-4,000

lot 139 BRucE onoBRakpEya Est $3,000-4,000

lot 140 daVid lEVinthal Est $3,000-4,000

lot 141 nyanda tom Est $500-700

lot 142 William kEntRidgE Est $2,000-3,000

lot 143 William kEntRidgE Est $800-1,200

lot 14 4 William kEntRidgE Est $2,000-3,000

224

africa Lots 145 - 180

lot 145 DaviD Huffman Est $ 4,000-6,000

lot 146 ClauDEttE sCHREuDERs Est $1,500-2,000

lot 147 mosHEkwa langa Est $8,000-12,000

lot 148 ZwElEtHu mtHEtHwa Est $900-1,200

lot 149 ZwElEtHu mtHEtHwa Est $1,800-2,500

lot 150 RoBERt ColEsCott Est $2,000-3,000

lot 151 RomaRE BEaRDEn Est $3,000-5,000

lot 152 sanfoRD BiggERs Est $6,000-8,000

lot 153 koRi nEwkiRk Est $8,000-12,000

lot 154 ERnst Haas Est $6,000-8,000

lot 155 ERnst Haas Est $6,000-8,000

lot 156 anDREw lEvitas Est $10,000-15,000

lot 157 gEoRgE osoDi Est $ 4,000-6,000

lot 158 gEoRgE osoDi Est $6,000-8,000

lot 159 guy tillim Est $3,000-5,000

lot 160 miCHaEl suBotZsky Est $ 4,000-6,000

lot 161 sEBastiÄo salgaDo Est $3,000-5,000

lot 162 sEBastiÄo salgaDo Est $5,000-7,000

lot 163 sEBastiÄo salgaDo Est $5,000-7,000

lot 164 gEoRgE RoDgER Est $2,000-3,000

lot 165 gEoRgE RoDgER Est $1,500-2,500

lot 166 gEoRgE RoDgER Est $1,500-2,500

lot 167 gEoRgE RoDgER Est $1,500-2,500

lot 168 gEoRgE RoDgER Est $1,500-2,500

lot 169 gEoRgE RoDgER Est $3,000-4,000

lot 170 Hugo a. BERnatZik Est $3,000-5,000

lot 171 Hugo a. BERnatZik Est $2,000-3,000

lot 172 Hugo a. BERnatZik Est $1,500-2,500

lot 173 Hugo a. BERnatZik Est $1,500-2,500

lot 174 miRElla RiCCiaRDi Est $5,000-7,000

lot 175 miRElla RiCCiaRDi Est $5,000-7,000

lot 176 lylE owERko Est $5,000-7,000

lot 177 stEPHanE gRaff Est $800-1,200

lot 178 stEPHanE gRaff Est $1,500-2,000

lot 179 PiERRE amRouCHE Est $1,500-2,500

lot 180 lEni RiEfEnstaHl Est $2,000-3,000

225

africa Lots 181 - 216

lot 181 lENI RIEFENStAHl ESt $2,000-3,000

lot 182 SEYDoU KEÏtA ESt $8,000-12,000

lot 183 SEYDoU KEÏtA ESt $9,000-12,000

lot 184 SEYDoU KEÏtA ESt $8,000-12,000

lot 185 MAlICK SIDIBÉ ESt $2,200-2,800

lot 186 MAlICK SIDIBÉ ESt $2,500-3,500

lot 187 MAlICK SIDIBÉ ESt $2,200-2,800

lot 188 SEYDoU KEÏtA ESt $8,000-12,000

lot 189 MAlICK SIDIBÉ ESt $1,800-2,200

lot 190 MoKÉ ESt $5,000-7,000

lot 191 MoKÉ ESt $5,000-7,000

lot 192 CAMIllE-pIERRE pAMBU BoDo ESt $6,000-8,000

lot 193 CAMIllE-pIERRE pAMBU BoDo ESt $6,000-8,000

lot 194 CAMIllE-pIERRE pAMBU BoDo ESt $5,000-7,000

lot 195 CYpRIEN toKoUDAGBA ESt $7,000-9,000

lot 196 JoHN GoBA ESt $8,000-10,000

lot 197 CAlIXtE DAKpoGAN ESt $5,000-7,000

lot 198 JoHN GoBA ESt $ 4,000-6,000

lot 199 GEoRGE lIlANGA DI NYAMA ESt $3,000-5,000

lot 200 GEoRGE lIlANGA DI NYAMA ESt $3,000-5,000

lot 201 GEoRGE lIlANGA DI NYAMA ESt $12,000-18,000

lot 202 GEoRGE lIlANGA DI NYAMA ESt $15,000-20,000

lot 203 KAY HASSAN ESt $1,200-1,800

lot 204 ColBERt MASHIlE ESt $1,400-1,800

lot 205 KIM BERMAN ESt $900-1,200

lot 206 KIM BERMAN ESt $900-1,200

lot 207 KIM BERMAN ESt $900-1,200

lot 208 RYAN ARENSoN ESt $1,200-1,500

lot 209 StEpHAN ERASMUS ESt $800-1,200

lot 210 DAVID NtHUBU KoloANE ESt $600-800

lot 211 DAVID NtHUBU KoloANE ESt $700-900

lot 212 NHlANHlA XABA ESt $600-900

lot 213 pENNY SIopIS ESt $3,500-4,500

lot 214 pENNY SIopIS ESt $1,400-1,800

lot 215 DEBoRAH BEll ESt $8,000-12,000

lot 216 KUNlE ADEGBoRIoYE ESt $2,500-3,500

226

AFRICA Lots 217 - 233

lot 217 KUnlE ADEGBorIoyE ESt $ 4,000-6,000

lot 218 pEtEr BEArD ESt $1,000-1,500

lot 219 DEBorAH BEll ESt $700-900

lot 220 trASI HEnEn ESt $900-1,200

lot 221 lAUrEnt BAHEUX ESt $1,500-2,000

lot 222 lAUrEnt BAHEUX ESt $1,500-2,000

lot 223 nICK BrAnDt ESt $3,000-4,000

lot 224 nICK BrAnDt ESt $ 4,000-6,000

lot 225 IKÉ UDÉ ESt $2,000-3,000

lot 226 pIEtEr HUGo ESt $1,500-2,500

lot 227 fAtIMAH tUGGAr ESt $3,000-4,000

lot 228 fAtIMAH tUGGAr ESt $2,000-3,000

lot 229 KAKUDJI ESt $500-700

lot 230 KAKUDJI ESt $500-700

lot 231 KAKUDJI ESt $500-700

lot 232 KAKUDJI ESt $ 400-600

lot 233 KAKUDJI ESt $500-700

227

ARTIST BIOGRAPHIES Hector Acebes (United States, b. 1921) is an internationally travelled documentary

peter beArd (United States/Kenya, b. 1938) is a world famous artist, anthropologist,

filmmaker and photographer. His travels, which include extensive expeditions to Africa and South America, resulted in 43 films and thousands of photographs that depict the diverse cultures and topographies throughout the world. He has published one book on his African images, Hector Acebes: Portraits in Africa,1948-1953, and was the subject of the 2004 traveling exhibition Engaging the Camera: African Women, Portraits and the Photographs of Hector Acebes.

historian and socialite. He is most known for his collages and journals, using photography and often blood, paint and various objects affixed to the surface. Influenced by Africa and its animals, his work is critical of the European colonial influence on African society. He has also worked commercially photographing celebrities.

romAre beArden (United States, 1911-1988) was an important American artist of African-American heritage. Known for his personal and historical subject, he worked in various mediums including watercolors, oils, collages, photomontages and prints. Bearden is well represented in private and public collections including the Whitney Museum, the Metropolitan Museum of Art and the Philadelphia Museum of Art. He was a founder of The Studio Museum in Harlem and the Cinque Gallery.

Kunle Adegborioye (Nigeria/United Kingdom, b. 1966) draws from his Nigerian heritage and personal experiences. He focuses on the beauty and culture within the ever-changing economic and political times. He works in mix media combining painting and printmaking. He has been in many international solo and group exhibitions.

olu AmodA (Nigeria, b. 1959) is a sculptor, designer and teacher at Yaba College of deborAH bell (South Africa, b. 1957) is an artist who uses multiple mediums including painting, drawing, printmaking, animation and ceramic sculpture. Working with multilayered imagery of subjects from ancient civilizations found in museum collections, her work is a personal spiritual exploration of current and past worlds. She has participated in group and solo exhibitions within South Africa and abroad.

Technology in Lagos. He creates sculptures using found objects from various sources and incorporating the old aesthetic and meaning into the new form. He received an HND in Sculpture from Auchi Polytechnic and an MFA from Georgia Southern University. His work is in permanent collections including the Newark Museum in New Jersey and has been exhibited internationally throughout Africa, Europe, Asia and the America.

Kim bermAn (South Africa, b. 1960) is an artist, activist, curator, and lecturer. She pierre AmroucHe (France, b. 1948) is a Tribal art expert, writer and photographer.

works with printmaking as a means to transform the political and social fabric of South Africa. She uses smoke and fire as strong metaphors to enhance her transformative process and symbolize the growth of South Africa. She has received many awards, fellowships, and commissions. She has been in solo and group shows throughout the world including the National Museum of African Art, Smithsonian Institution, the University of the Witwatersrand in Johannesburg, and is in many public and private collections.

In 1976 he began photographing people and objects throughout Africa specifically focusing on Benin and Togo. Since 1990 his aesthetic has transformed from ethnographic to more artistic portraits, nudes and street scenes and in 2005 he began a series of nudes entitled Juste au Corps, the picture presented here, Odette, is part of this series. Amrouche has published catalogues of major collections (including Andre Breton, Vérité, Hubert Goldé, René Gaffé), books on art anthropology and written numerous journal articles.

Hugo A. bernAtziK (Austria, 1897-1953) was a photojournalist who, in the 1920s, el AnAtsui (Ghana, b. 1944) is an internationally acclaimed artist whose work uses

traveled from his native Austria to photograph the people of Southern Sudan. At the time one of the most remote regions on the African continent, his photographs serve as ethnographic documents of the native cultures and their rituals and architecture. Early examples of this work are extremely rare as most of his prints and negatives were destroyed by fire during World War II. Several books of his photographs have been published including Bernatzik: Africa.

wood, clay, and various other found objects to create visually captivating and striking works. His sculptures reference and link ancient forms but using modern objects. He has exhibited around world and is in many private and public collections including the Metropolitan Museum of Art, the British Museum and the Pompidou Center. He was in the 1990 and 2007 Venice Biennales, the Liverpool Biennial, exhibitions at the Metropolitan Museum of Art, the Hayward Gallery and the National Museum of African Art in Washington, D.C. He teaches at the University of Nigeria.

willie bester (South Africa, b. 1956) is a sculptor known for his installations of found objects, which are influenced by and comment on political and social resistant issues, particularly within South Africa. He has exhibited in group and solo shows in South Africa and beyond including at the Goodman Gallery in Johannesburg, the Contemporary Art Center in Belgium, Africa Remix, among others.

owusu AnKomAH (Ghana/Germany, b. 1956) creates large scale canvases that thematically deal with a diverse range of geographical and historical references and often address issues of identity and the body. He incorporates Adkinra symbols from Asanteman system. Each sign relates to a particular proverb or saying, and Ankomah weaves these layers of meaning into his works like poetry, juxtaposing each sign with the next to create a graphic whole. His work has been shown throughout Germany, Senegal, South Africa, Cuba, the United Kingdom and the United States. He was invited to create work for the 2006 World Cup FIFA Art Editions Project and collaborates with Giorgio Armani for the Red Campaign that helps fund the Global Fund to fight AIDS in Africa.

zHong biAo (China, b. 1968) graduated from the Chinese Fine Arts Academy in Hangzhou and began exhibiting work in Europe, Asia, and the Americas. His work fuses the past and present with an authentic philosophical understanding of how the historical and contemporary relate. He has received numerous accolades, exhibited at Shanghai’s Art Scene Warehouse, a summer exhibition in Aspen, group show at the Singapore Art Museum, Art Miami, among other notable group and solo shows. Biao is an associate professor at the Sichuan Fine Art Institute.

ryAn Arenson (South Africa/France, b. 1970) is a detailed printmaker who focuses on clarity of line and form within a highly intense production scheme. Arenson has exhibited in both group and solo shows internationally, he received first prize in the Absa L’Atelier Award, and his work is included in private and public collections such as the Durban Art Gallery, the Johannesburg Art Gallery and JCI.

sAnford biggers (United States, b. 1970) works in installation, performance, video, printmaking and sculpture with a mix of influences from Dada to Eastern religion to hip hop. He is an artist who defies categorization. His work is both personal and encompasses the vastness of the African Diaspora. Biggers has participated in numerous fellowships and residencies. He has shown in many prestigious institutions and galleries from the Tate Britain and Tate Modern, the Whitney Musuem and Studio Museum of Harlem to the Contemporary Art Museum in Houston as well as exhibits in Asia and Europe.

lAurent bAHeux (France, b. 1970) began his career as a sports photographer but a trip to Tanzania in 2002 spurred a shift to documenting scenes of African wildlife. Since then, he has travelled the continent capturing intimate portraits of animals in their native habitat. His photographs complement his collaborations with organizations devoted to biodiversity and nature preservation.

AdriAn boot (United Kingdom) is a music photographer known for his photographs of legendary figures and events, including Live Aid; Nelson Mandella—Freedom at 90 and Greenpeace in the Soviet Union. He has published numerous books and collaborated on international projects such as the Bob Marley Exhibition and the Jimi Hendrix Exhibition.

228

ARTIST BIOGRAPHIES conrAd botes (South Africa, b. 1969) is a comic artist who works with many media. He has shown in South Africa and internationally, most recently at the Studio Museum in Harlem, New York in “Africa Comics”. He participated in the 9th Havana Biennale in Cuba, shows in Italy along with other collaborations.

cHéri cHérin (JosepH KinKondA) (Democratic Republic Congo, b. 1955) is an artist and teacher in Kinshasa. He studied at the Academie des Beaux Arts with the Austrian ceramics-artist, Peter Weihs. He began painting murals around the city in bars, boutiques and barbershops that presented daily life with intense visual contents. He has been included in group and solo shows in Africa and Europe including at the Tate Modern in a group show called “Popular Painting” from Kinshasa, the Guggenheim Museum, Bilbao Spain and travelling “Africa Remix” exhibition. His work is also included in many important collections such as the Contemporary African Art Collection.

nicK brAndt (United Kingdom/United States, b. 1966) first gained recognition for his work as a music video director before exclusively devoting his career to photographing African wildlife, for he has become widely known. His photographs are exhibited in institutions throughout the world, including London, New York, Paris, Los Angeles and Berlin, and he has published two books devoted to African wildlife: On This Earth: Photographs from East Africa and A Shadow Falls.

soly cissé (Senegal, b. 1969) lives and works in Dakar. His paintings address themes of identity, duality between tradition and modern, and the realities of societal consequences. Through his works he hopes his audience will understand and reflect on the essential meanings of life. He has represented Senegal in many biennials including São Paulo, Havana and Dakar, and he has been in many international solo and group shows.

cAndice breitz (South Africa/Germany, b. 1972) is an artist and professor. She is best known for her video works and installations, which present visual narratives of popular cultural stereotypes. She has participated widely including at the Johannesburg, São Paulo, Istanbul, Kwangju, Taipei and Venice Biennales, she has exhibited at Castello di Rivoli, Turin, Palais de Tokyo, Paris among other major exhibitions.

pAtriciA coffie (Ghana, United States b. 1975) is a recent graduate of the School of Visual Arts and had her first solo exhibition at the Mary Boone Gallery, New York, in 2009. Her photographs appropriate, deconstruct and re-construct notions and myths regarding African masculinity through playful role-playing.

romero britto (Brazil/United States, b. 1963) is an artist influenced by early and modern masters. His works are brightly colored with thematically pop culture compositions that reflect his expressions of his surroundings. He has exhibited around the world including at the Salle de Norte, Louvre Museum in 2008 and he has participated in many projects including an Absolut Vodka campaign in 1989 and with the Super Bowl XLI. He is included in many private and public collections and considers himself an artistic activist who celebrates all aspects of life.

robert colescott (United States, 1925-2009) was a figurative painter who explored powerful themes of racial, sexual, and political stereotypes through large, satirized compositions. He was the first African-American to represent the United States at the 1997 Venice Biennale. He exhibited widely and is in the permanent private and public collections including the Museum of Modern art in New York, the San Francisco Museum of Modern Art and the Hirshhorn Museum and Sculpture Garden.

JimoH burAimoH (Nigeria, b. 1943) is an influential Nigerian artist whose work incorporates beads and vibrant colors and unites traditional and western motifs. He attended the experimental Oshogbo School in the 1960s and is inspired by the Yoruba tradition. He is credited for developing his specific type of bead-paintings. He exhibits in solo and group shows internationally and represented Nigerian artists at the First All African Trade Fair in Kenya in 1972 and at the Second World Blacks Arts Festival in Lagos in 1977. He is in the permanent collection of the Smithsonian Museum of African Art in Washington DC.

renee cox (Jamaica/New York, b. 1960) is a mixed-media artist who employs classical art historical images to address and deconstruct representations of black women in contemporary culture. She has exhibited at the Studio Museum of Harlem, New York; the Smithsonian Institute, Washington, D.C.; the Whitney Museum of American Art, New York; the New Museum of Contemporary Art, New York and was included in the Venice Biennale in 1999.

JeAn dominique burton (Belgium, b. 1952) studied printing, graphic art and photography in Brussels before traveling to Burkina Faso in Western Africa to embark on a project documenting the Naabas- the country’s tribal leaders. His images evoke traditional Western royal portraiture depicting the leaders seated on their thrones, confidently returning the gaze of viewers.

cAlixte dAKpogAn (Benín, b. 1958) is a sculptor grounded in his Voudon heritage and metalworking family traditions. His installations are sourced from found objects that transform into recognizable anthropomorphic creatures. Dakpogan draws from the imagination of children. He has exhibited within Benín at the Centre Culturel Français, at the Dakar and Johannesburg Biennales, and throughout Europe and the United States.

soKAri douglAs cAmp (Nigeria/United Kingdom, b. 1958) is a sculptor who mainly produces large-scale, steel works that draw upon her Nigerian heritage, the Kalabari culture and current global issues. Her work can be seen in the permanent collections at the Smithsonian and the British Museum and in international exhibitions at museums and galleries throughout Europe the United States, and Asia. She has won awards and honors from institutions and foundations including the Henry Moore Foundation and was shortlisted for Trafalgar Square’s fourth plinth project. She received her BA from the Central School of Art and Design in London and her MFA from the Royal College of Art.

JAmes denmArK (United States, b. 1936) is a multi media artist who works with watercolors, charcoal, collage, and sculpture. He was exposed to and practiced art from a young age and studied under an accomplished African-American art historian who taught him the traditions of the African-American art movement. Through his unique style, his collages are bright and compositionally universal. He has exhibited widely in over sixty solo shows and throughout the Americas, Africa, Europe, and Japan and he is in public and private collections including the Metropolitan Museum of Art in New York.

mAríA mAgdAlenA cAmpos-pons (Cuba/United States, b. 1959) is an artist, professor george lilAngA di nyAmA (Tanzania, 1934-2005) was a Makonde artist who began carving cassava root and joined a group of sculptors carving the hard black wood. He was employed at a low level job at the Nyerere Cultural Center (originally the Nymba ya Sanaa) where he showed his work to the staff who encouraged him to become a serious full time artist. He has been included in numerous exhibitions around the world. He is well known for his cartoon-like creations and received his big break in a group show in Washington D.C in 1978. His work greatly influenced pop culture and is representative of contemporary African Art by many specialists. His family continues the legacy of George Lilanga through Lilanga Art.

and curator. The artist, of Nigerian ancestry, creates work that addresses issues of memory, identity and African Diaspora communities. Specifically, her photographs deal with the complex narratives of black individuals in her homeland of Cuba, going as far back as the slave trade during the 18th century. Her work is included in private and institutional collections such as the Museum of Fine Arts, Boston and the Museo de Bellas Artes in Havana.

229

ARTIST BIOGRAPHIES dilomprizuliKe (Nigeria, b. 1960) considers himself the official ‘Junkman of Africa’,

Kendell geers (South Africa/Belgium, b. circa 1968) is an artist, musician and film-

however, his full name is Dil Humphrey-Umezulike. He is a sculptor and performance artist, creating work that connects traditional and postmodern ideas. Drawing materials from the piles of used surplus clothes found on the streets in African cities, he fashions installations and performances that look at what he describes as the “alienated situation of the African in his own society.” Using recyclable materials he created a permanent performance installation in his Lagos Junkyard Museum of Awkward Things. Recently his work was included in the “Africa Remix” travelling exhibition.

maker. Known as an alchemist, he explores multiple ideas that usually involve political and social issues. Through experimentation, his work creates dynamic visual dialogues. He studied fine arts at the University of Witwatersrand in Johannesburg. After university, to avoid service in the South African Defence Force, he fled the country and moved to New York to become one of Richard Prince’s studio assistants. Upon Nelson Mandela’s release from prison in 1990, he returned to South Africa. His work has been shown at numerous biennials including the 1993 Venice Biennial, Havana Biennia, and Taipei Biennial to name a few, in Documenta, the Carnegie International, and other group and solo shows.

mArlene dumAs (South Africa/the Netherlands, b. 1953) is an artist and teacher who creates iconic images of the body and its psychological state. Her work delves into conceptual art theory emphasizing classical references while critiquing modern ideals. Dumas’ works stress both the physical reality of the human body and its psychological value. She received her BA Fine Art at the University of Cape Town; she studied at the Institute de Atelier 63, Haarlem, Netherlands and at the Institute of Psychology, University of Amsterdam. She has exhibited extensively internationally in both major institutions and galleries, including her most recent retrospective last year at the Museum of Modern Art, New York.

AblAde glover (Ghana, b. 1934) creates works that encompass his passion for as he says, “life, activity and color.” His subjects vary, but all exude a vibrant, energetic sense of his country and his people. He was on the faculty of the University of Science and Technology in Ghana for many years. He holds numerous honors and distinctions including the top award for Arts in Ghana, the FLAGSTAR Award; the Distinguished AFGRAD Alumni Award by the African-American Institute in New York, and he is a Life Fellow of the Royal Society of Art in London. He received his formal training in Ghana, the United Kingdom and the United States.

peter eAstmAn (South Africa, b. 1976) is a painter who uses unconventional practices blending various media to produce, encourage and confront direct relationships with the viewer. The subject matter projects reflective states to create dynamic interpretations and meanings with the viewer. He paints works that only exist as paintings and positions them in representational forms with imagery and meaning. He has exhibited throughout South Africa and Europe.

JoHn gobA (Sierra Leone, b. 1944) is a sculptor who began his artistic career making

stepHAn erAsmus (South Africa, b. 1976) is known as a contemporary romantic who uses symbols and patterns to unravel a surprisingly minimalistic dialogue between lover and muse. He gains inspiration through his writing and transforms these emotions and text into visual constructed works. He has exhibited internationally, received awards, and is in prominent public and private collections.

stepHAne grAff (France/United Kingdom, b. 1965) is a self-taught photographer

masks for the Ode-lay initiation rituals in the 1970s. His creations are inspired by the traditions and mysteries of his world. He has exhibited in Africa, Europe and the United States including at the Museum of Fine Art in Houston, the 2001 Venice Biennale, the Saatchi Collection among other notable private and public institutions, galleries, and collections.

whose body of work ranges from the ‘Constriction’ series nudes, to the more recent ‘Invisible Ink’ series abstractions. Between 2001 and 2005, Graff lived and worked in Morocco, producing a large body of figural works. His work can be found in private and public collections alike, including the First Republic Bank, New York; Pfizer UK; the British Standards Institution; and the International Asset Management, London, among others. Graff’s images have been exhibited at the Royal Photographic Society, Bath, England; and the Musée de Marrakech, Morocco. His most recent publication is titled Black Box.

wAlKer evAns (United States, 1903-1975) is best known for his American social-realist photographs of the Great Depression. In 1935 he was commissioned by the Museum of Modern Art in New York to create a portfolio of photographs documenting African sculptures and artifacts in conjuncture with their groundbreaking exhibition on African art. The resulting portfolio included over 8,000 images, a selection of which was on view in Perfect Documents: Walker Evans and African Art, 1935 at the Metropolitan Museum of Art in 2000.

deborAH grAnt (Canada, b. 1947) uses appropriation to create her works that reference the work of canonical male artists including Picasso, Basquiat and Traylor and compositionally rework their images into her own experiences and identity. She references through form and function the past into present, relevant events. She has had solo and group exhibitions most recently at the Bronx Museum of Arts in New York. She has received numerous awards, grants and residences including the Joan Mitchell Painters and Sculptors Grant and The Studio Museum in Harlem’s residency.

cHArles fAzzino (United States, b. 1955) focuses on 3D pop art, best known for his limited edition silkscreen serigraphs. He has exhibited nationally and internationally in over twenty countries. He has received many commissions and is in important private and public collections. He has participated in many art campaigns for festivals and events including multiple Super Bowls for the National Football League, Major League Baseball, the United States Olympic Team, the National Hockey League, the Grammy, Country Music, and Emmy Awards.

ernst HAAs (Austria/United States, 1921-1986) was an acclaimed photographer, most revered for his innovative and early use of color photography. As a former member of Magnum Photos, Haas extensively traveled throughout the world, documenting the livelihood and landscapes of Vietnam, Indonesia, Mexico, India and Kenya, among other locales. His photographs appeared regularly in Life magazine and his work has been shown in international publications and museums including the Museum of Modern Art, New York.

tAfA fiAdzigbe (Ghana/United States, b. 1963) tells stories through his work. Known as “TAFA”, he lives and works in Harlem and is greatly inspired by the Harlem Renaissance. His work directly deals with current political and social issues such as race, peace, and justice. His work has won many awards and has been exhibited in galleries and institutions in Africa, Europe and the United States.

clAire gAvronsKy (South Africa/Italy, b. 1957) is an artist and professor who lives

dAniel HAlter (Zimbabwe/South Africa, b. 1977) is a mixed media artist who focuses on appropriating materials through cultural connections. He is currently in the public collections of the South African National gallery and UNISA (University of South Africa). He has shown throughout South Africa, in Australia, and in Germany.

between South Africa and Italy. She works with the contradictions inherent in layered images to create an intricate, blurred narrative. She has shown throughout South Africa and Italy, Australia, the United Kingdom and the United States. She received many awards and merits, participated in lectures, workshops, residencies and teaching opportunities and is in the public and private collections including in the collection of the City of Pettineo, Italy the Cleveland County Council, United Kingdom, the Durban Art Gallery, and the South African National Gallery.

KAy HAssAn (South Africa, b. 1956) creates bold, massive works made from various materials to reconstruct and depict the ever-changing world. Hassan has shown in solo and group exhibitions in Africa, Europe and the United States. His work is in public and private collections including at the Smithsonian Institution in Washington, DC and the Johannesburg Art Gallery.

230

ARTIST BIOGRAPHIES seydou KeïtA (Mali/France, 1921-2001) was a self-trained photographer made famous romuAld HAzoumé (Bénin, b. 1962) is a leading visual artist who works with varied

for his portraits of Malian society in the 1950s. By allowing his sitters to choose their own attic—be it Western or traditional as well as their accessories and pose, Keïta offered his subjects the freedom and sense of empowerment in choosing how to present themselves. His work is included in private and public collections, and has been exhibited at the National Museum of African Art, Smithsonian Institution, Washington, D.C.; Centre National de la Photographie, Paris; and Fondation Cartier pour l’art contemporain, Paris.

media from discarded petrol canisters, oil paint and canvas, to installation works, video and photography. He has achieved many awards including the Arnold Bode prize at Documenta 12, Kassel, and has received much acclaim for his installations. He has had group and solo exhibitions around the world including at the British Museum in London, the Menil collection in Houston, the Musée Quai Branly, Paris, and in “100% Afrique” at the Guggenheim Bilbao and in “Uncomfortable Truths”.

trAsi Henen (South Africa, b. 1981) works in painting and mixed media to create

souleymAne KeitA (Senegal, b. 1947) creatively aims to produce works from his dreams. He includes nature, spiritualism, and music through abstract, figurative impressions that symbolize freedom and the creative thought. He has exhibited throughout Africa, in Europe and the United States.

heavily reworked abstractions of her personal experiences. She uses material in expressive ways with paint drips, erasure and scratchy drawn lines to represent recognizable objects. She has been awarded honors and has exhibited both within South Africa and internationally, including at the Stellenbasch Modern and Contemporary, David Krut, Gertrude Posel Gallery. Henen has curated many projects and participated in the Residence Project at Johannesburg Art Gallery.

williAm Kentridge (South Africa, b. 1955) is an internationally acclaimed artist and one of South Africa’s most prominent artists. He works in a variety of diverse mediums including drawing, sculpture, theatre and mime, often allowing dialogue between mediums. Kentridge is interested in this interplay between two and three dimensions, optics and perception, history and time. He has exhibited internationally, including his current retrospective at the Museum of Modern Art, New York, and he has been a recipient of numerous awards and prizes.

sAtcH Hoyt (United Kingdom/Germany, b. 1957) makes sculptures, installations, works on paper and paintings. Before pursing visual arts, he was a professional musician and continues to incorporate sound into his installations. His work reflects his dualistic nature and the African Diaspora. He has exhibited internationally, including exhibitions at the Brooklyn Museum, at the Tate Liverpool Biennial, and the New Museum of Contemporary Art.

dAvid ntHubu KoloAne (South Africa, b. 1938) is a painter, writer, and curator whose works are shaped by the South African urban landscape. His work has been shown internationally in group and solo shows and is included in public and private collections. He is an active art advocate and participated in workshops in Johannesburg and New York.

dAvid HuffmAn (United States, b. 1963) paints allegorical scenes of the human experience on canvases and walls. His works metaphorically explore identity and socio-political history. He has received awards and fellowships and has exhibited in the United Sates and Europe.

cHeryl KorAliK (United States) is a photographer whose editorial work has been published in Harper’s Bazaar, Rolling Stone, Marie Claire, Vibe and Deutsch Vogue. For the past two decades, Koralik has documented West African tribes, rituals and ceremonies, and selections from her Masque Series have appeared in several magazines and exhibitions throughout the world, including the permanent collection at the Musée de l’Elysée in Lausanne, Switzerland.

george HugHes (Kwesi Afedzi) (Ghana/United States, b. 1962) is an artist and a professor. His paintings and performance art thematically discuss violence, colonialism and contemporary world issues. His art has been shown internationally in Africa, the United Kingdom and the United States.

pieter Hugo (South Africa, b. 1976) produces images that highlight the idiosyncrasies within numerous populations in Africa that are seldom seen in mainstream media. Eschewing common traps of exoticization and sentimentalism, Hugo’s images are concerned with the complexities of racial and cultural identities. The notion of what constitutes being of African descent—with implications of colonialism, miscegeny, albinism, Westernization, and role-playing, is consistently deconstructed and assessed. Hugo is the 2008 Discovery Award recipient at the Rencontres d’Arles Festival, and the 2008 KLM Paul Huf Award. His work has been exhibited at the Foam Fotografiemuseum, Amsterdam, and included in the collections of the Metropolitan Museum of Art, New York; the San Francisco Museum of Modern Art; and the GEM/ Fotomuseum den Haag, Netherlands.

wosene Kosrof (Ethiopia/United States b. 1950) is a painter and mixed-media artist who explores the aesthetics of his native language, Amharic, in compositional forms. His art transforms into a script of visual metaphors that speak on a universal level. He has exhibited internationally and is in the permanent collections of institutions including the United Nations, the Volkerkunde Museum in Zurich and the National Museum of African Art at the Smithsonian in Washington DC.

isolde KrAms (Germany, b. 1961) is a sculptor and performance artist. She studied and lectured at the University of Witwatersrand in Johannesburg and has lived and worked in Paris at the Citè International des Arts. She has exhibited throughout South Africa and is in several South African collections including at the National gallery in Cape Town and the Johannesburg Art Museum. She is part of the FIFA 2010 South Africa art series.

rom isicHei (Nigeria, b. 1966) is an artist who began his career in the commercial advertising world before dedicating his time to fine art practice. His work stylistically crosses genres and uses colors and texture in a figurative manner. He has shown in Nigeria, Europe, and the United States.

cHidi Kwubiri (Nigeria/Germany) is a contemporary artist who builds on his Nigerian roots through colorful painting and traditional motifs. He studied at the Arts Academy in Germany and has exhibited in Europe and the United States.

Alfredo JAAr (Chile/United States, b. 1956) is an artist, architect and filmmaker. He is well known for his installations and intervention works, which often discuss socio-political issues through multimedia, usually incorporating photography. He has received the Guggenheim and MacArthur fellowships and has participated in many biennials and group and solo shows around the world.

mosHeKwA lAngA (South Africa/The Netherlands, b. 1975) works in varied media, creating drawings, photographs, videos and installations that have a solid discourse with the world of politics and popular culture. Born in South Africa but now living in the Netherlands, his art challenges the status quo of the South African art world. He has had solo exhibitions at museums around the world including the Centre d’art contemporain, Geneva, Switzerland in 1999 and the Rembrandt van Rijn Gallery, Johannesburg, South Africa in 1995. In 2001 he was awarded the FNB Vita Art Prize in South Africa.

KAKudJi (Democratic Republic of Congo/United States/France, b. 1978) is an unconventional artist whose work is considered “anti-art” because of his constructions that appropriate, critique and the create extreme aesthetic responses. He has participated in artist residencies including SPARCK in Cape Town. He has shown internationally including in Cape Town’s Blank Projects and the Gugulective.

231

ARTIST BIOGRAPHIES dAvid leventHAl (United States; b. 1949) is a photographer best known for his

Aime mpAné (Democratic Republic of Congo/Belgium, b. 1968) creates emotionally charged works presenting solemn, poetic stories of hope and dreams, courage, injustice, terror and an examination of the relationship between Africa and the West. His work plays with light and darkness expressed through shadows. He also teaches in Belgium and in Kinshasa. He has exhibited internationally including at the DAK’ART biennial, the Havana Biennial, and the Palais des Beaux-Arts in Bruxelles among others and he has been awarded the Jean Paul Blachére Foundation’s Critics Prize.

large format Polaroid prints. He uses dramatic lighting on small props and toys from subjects ranging from baseball to plastic dolls. His use of ordinary everyday objects highlights political and racial issues in American culture. His work is included in many public collections and is shown internationally.

Andrew levitAs (United States, b. 1977) is a multi-media artist working across the mediums of drawing, painting, photography and sculpture. Using photography as the starting point for his ambitious projects, Levitas’s photographs are made into transparencies and subsequently melted onto hand-cut metals creating unique objects that give weight and dimensionality to the images. He has exhibited throughout the United States and was included in Art Basel Miami in 2009.

zweletHu mtHetHwA (South Africa, b. 1960) is a painter and photographer renowned for his large-scale color photographs of post-apartheid South Africa. He has exhibited around the world, including South Africa, Europe and New York. His academic background includes the Michaelis School of Fine Art, the University of Cape Town and Fulbright Scholarship to study at the Rochester Institute of Technology, where he received a Master’s degree in Imaging Arts.

estHer mAHlAngu (South Africa, b. 1935) transposes the traditional Ndebele wall painting to canvas. She began her artistic career painting wall murals, which is considered an exclusively woman’s role in the Ndebele community taught at a young age as a ceremonial rite into womanhood. She continues this tradition and builds upon her compositions into a unique systemized narrative of symbols and signs. She has exhibited in South Africa, Australia, the United States, Japan and Europe including shows at the Centre Georges Pompidou in Paris, the Bocum Museum in Germany, the Virgin Atlantic’s Music Store in Times Square, New York, the National Museum of Women in the Arts in Washington, D.C. and at the Civic Theater in Johannesburg. Mahlangu has received awards and is represented in public and private collections.

ledelle moe (South Africa/United States) is a sculptor and professor. She is a founding member of FLAT Gallery, which is an alternative space in Durban, South Africa where she studied. She continued studying in the United States and received a Joan Mitchell Award in 2002. She has exhibited her large scale sculptures that speak of the destruction and erosion of history and structures internationally.

brett murrAy (South Africa, b. 1961) is a sculptor known for his steel and mixed media installations. His work deals with serious cultural issues surrounding South Africa and beyond through satirical references of popular culture.

senzeni mtHwAKAzi mArAselA (South Africa, b. 1977) uses photography, photocopy transfers, silkscreening and handicraft. She believes artists are a crucial element in the political and cultural narrative. Her work explores issues of identity and memory that tie into her personal journey. Her work has been selected for numerous exhibitions within South Africa, Europe and the United States including at the South African National Gallery and at Haus der Kulturen der Welt in Berlin.

HAssAn musA (Sudan/France b. 1951) is an artist, art critic, and teacher. He is a performance artist in addition to working in many media. He has exhibited in Africa, Asia, Europe and the United States including the Saatchi Collection and White Chapel Art Gallery in London and the Center for African Art in New York.

colbert mAsHile (South Africa, b. 1972) deals with the customs and rituals of his

wAngecHi mutu (Kenya/New York, b. 1972) is a trained sculptor and anthropologist. Her collages consist of layers of found and appropriated images compiled with original elements to create distorted and surreal female figures and portray the dualistic nature of identity. She participated in the Prospect 1 Biennial in New Orleans, the Gwangju Biennale in South Korea, P.S.1 Contemporary Art and the Museum of Modern Art’s “Greater Than New York” show and the “USA Today” show at The Royal Academy in London.

traditional upbringing. His art surrealistically touches on the psychological scars of his personal experiences.

yvette mAttern (United States/Germany) is a visual artist and professor who specializes in video and filmmaking through performance, cinema, and opera. She has been in artist residency programs including at the BALTIC Center for Contemporary Art in Gateshead, group and show exhibitions around the world and performed in festivals, museums, galleries, and theaters.

Kori newKirK (United States, b. 1970) uses multimedia to produce paintings, sculptural installations and photographs. His work references his African American heritage and contextualizes the past with the present in strong, didactically, charged elements that signify and inspire discussion and investigation. He has exhibited throughout the United States including multiple shows at the Studio Museum in Harlem and the Whitney Museum in the 2006 biennial.

KivutHi mbuno (Kenya, b. 1947) incorporates vivid colors to his dramatic scenes of wildlife and man in dramatic expressions and situations. He draws inspiration from his travels and heritage. He has exhibited at the Stadsgalerie Heerlen in Germany, the Center of African Art in New York, the Saatchi Collection in London and other notable galleries and museums around the world.

sAm nHlengetHwA (South Africa, b. 1955) began his career with FUBA (Federative Union of Black Artists), which is a collective of black artists. He has expanded his style and artistic content to include varied themes that explore jazz and everyday life. His works are collages and prints. He has exhibited, received awards and workshops in Senegal, Cuba and New York and is represented at the Goodman Gallery in Johannesburg, in public and corporate international collections.

Julie meHretu (Ethiopia/United States, b. 1970) is best known for her large, abstract layered paintings and prints that incorporate geometric, dynamic references of art history, geography, and architectural motifs. She has been the recipient of many awards, participated in the Istanbul Biennial, Whitney Biennial, São Paolo Biennial, among others and has had solo exhibitions at the Walker Center in Minneapolis and the St. Louis Art Museum. Her work is included in many important collections including the Museum of Modern Art.

JeAn pAul nsimbA miKA (Democratic Republic of Congo, b. 1980) is one of the most active of the next generation of popular contemporary artists. He recently exhibited in Europe and received a scholoarship from BBK Elcano Exhibition Hall.

moKé (Democratic Republic of Congo, 1950-2001) is considered a “painter reporter” who taught himself how to illustrate his surroundings. He was a prominent artist of the school of popular painting in Kinshasa. His artistic perspective creates animated compositions of everyday scenes. He has exhibited widely including at the Musée d’Art Moderne et Contemporain in Geneva, the Guggenheim Museum in Bilbao, Cartier Fondation for Contemporary Art among other public and private institutions and collections.

Alex nwoKolo (Nigeria, b. 1963) works with painting, sculpture, ceramics, and other media. He has exhibits in Africa, Europe and has won awards for achievement in painting.

232

ARTIST BIOGRAPHIES cHris ofili (United Kingdom/Trinidad, b. 1968) established himself internationally with his exploratory works that reference among other things, his Nigerian heritage. Ofili experiments in traditional artistic mediums from Europe and Africa, such as oil paint and elephant dung, and draws upon vast historical references, from pre-historic cave paintings in Zimbabwe to gansta rap.

ben osAwe (Nigeria, 1931-2007) was a sculptor who worked in wood, cement, cast and welded metal to create formalistically abstract sculptures. His intention was to liberate the wood to generate dialogues and stories. He has been in international exhibitions in Africa, Europe and the United States and achieved numerous accolades and recognition for his work. He is included in the collections of the National Gallery of Modern Art in Lagos.

nnennA oKore (Nigeria/United States, b. 1975) is an artist and professor who studied george osodi (Nigeria/United Kingdom, b. 1974) is a freelance photojournalist whose most widely recognized project depicts the co-existence of deprivation and joy in communities throughout the Niger Delta region of his native Nigeria. This body of work was included in Documenta12 in Kassel, Germany, in 2007. His photographs have appeared in international publications including the New York Times and Time Magazine. In 2004, Osodi won first prize for the Fuji African Photojournalist of the Year.

and worked under the guidance of El Anatsui. She captures the essence of waste and basic commodities in her recycled works. She materializes basic objects into revitalized, restructured forms that resonant with her childhood experiences in Nusukka, Nigeria. Her pieces focus on our consumer driven value system and the transformative power and potential of objects. She has exhibited internationally at institutions and museums including the Museum of Art and Design in New York and the October Gallery in London.

lyle owerKo (Canada/United States, b. 1968) is a photographer and filmmaker who Adeniyi (‘niyi’) toKunbo olAgunJu (Nigeria/United States, b. 1981) was raised in

closely follows Western and non-Western cultural events alike with a careful balance of humanitarian sensitivity and photojournalistic precision. His work ranges from the September 11, 2001 Time Magazine cover image to projects on MTV and the Sundance Channel. His latest body of work, the Samburu project, documents the humble tribe with a level of understated dignity, pride, and reverence following his years-long personal familiarity with the individuals portrayed in his images. His work is included in the permanent collection of the Library of Congress in Washington, DC.

Sagamu, in the southwest region of Nigeria and attended his first art school in inner city Lagos, where he gained his first formal art knowledge and experience. He later spent four and half years in the British Army as a soldier, trained as a combat engineer and military photographer, and served in two operational environments, Basra in Iraq and Belfast in Northern Ireland. He holds a bachelor of art degree in Fine Art from Oxford University, UK. He has been in exhibitions in Africa, Europe and the United States and has won many scholarships and awards including the Outstanding Achievement in Photography at the International Society of Photographers, Oxford University Photography Society’s prize and Military Medals and the Celeste Art Prize in the United Kingdom. He is affiliated with the Society of Nigerian Artists, the Nigeria Leadership Initiative and the Royal Engineer Association.

cAmille-pierre pAmbu bodo (Democratic Republic of Congo, b. 1953), or “Bodo” as likes to be known and how he signs his work, is a Kinshasa based painter and pastor. Along with Moké and Chéri Samba, he is a founder and strong proponent of the Zaïre school of popular painting which tries to illustrate vigorously and candidly their belief in their capacity to create art that could change the course of history. His work is surreal in nature and inspired by his experiences that improve and change his life. His work has been shown internationally in institutions such as the Tate Modern and the Guggenheim Bilbao. His work is also included in many impressive permanent collections including the Contemporary African Art Collection.

AdemolA olubebefolA (United States, b. 1941) is a widely collected artist whose medium of choice ranges from paintings to graphics to multimedia. Born in the U.S. Virgin Islands and raised in New York City, he is perhaps best known for his murals painted on the sides of buildings in Soho, Harlem, Detroit and Chicago. His work is brightly colored and minimalistic with strong lines and shapes. Also an NGO member of the United Nations, Olubebefola’s work has been exhibited in galleries across the United States.

AdriAn piper (United States/Germany, b. 1948) is a conceptual artist, analytic philosopher and published academic. Involved in first-generation Conceptual Art, Piper has created art with an emphasis on process, concept and material. Later her work evolved to include performance art and installation. Throughout Piper has progressed an academic career, in 1987 becoming the fist African-American woman to receive tenure in the field of philosophy, and has maintained a committed yoga practice, using both as influences in her art projects. Since 2002 Piper has maintained the Adrian Piper Research Archive (APRA), an organization archiving her personal history, achievements and documents pertaining to her involvement in Philosophy, Art and Yoga.

bruce onobrAKpeyA (Nigeria, b. 1932) is an innovative yet conservative sculptor, printmaker, and painter. His work uses creative techniques with dramatic results that are embedded with scenes of the rich essential Nigerian culture. Throughout his notable career, he has exhibited internationally at institutions such as the Tate Modern in London, the National Museum of African Arts at the Smithsonian Institution in Washington DC and received an honorable mention at the 1990 Venice Biennale. He has received many fellowships and awards including the Pope John Paul II award, a Fulbright, and the Fellowship of the Society of Nigerian Artists. He is considered a living legend who holds Urhobo folklore and culture close to his work and began a foundation in his name and studios and work shops in Nigeria and abroad.

cAmeron plAtter (South Africa, b. 1978) works with sculpture, video, drawing and print to create fascinating visions of urban contemporary Africa. His technique draws from craft and wood carving with urban cutting-edge culture. He has shown in South Africa, Europe and the United States. He has shown at Art Basel 39, and in the Rotterdam International Film Festival.

ricHArd onyAngo (Nigeria/United Kingdom, b. 1960) is a painter greatly influenced by his surroundings. He grew up in an industrially developing area, which he illustrates in drawings. These thematic elements of industry, technology, and disaster continue in his current theatrically characterized works, which distort perspectives and heighten dramatization. He has the very rare ability of almost perfect recall and most of his works depict people or objects (mostly vehicles) of emotional and spiritual significance to him. His powers of memory extend to recalling some of the number plates of buses from his childhood. In some cases he combines memory with fantasy. His works have been featured in all major African Contemporary art shows of the last decade including Africa Now, Seven Stories of African Art and Africa Remix. He participated in the 2003 50th Venice Biennale.

mirellA ricciArdi (Kenya/United Kingdom, b. 1931) began photographing the local tribesman in her homeland of Kenya in 1968. With the intent of documenting her surroundings with a local’s perspective, her photographs, taken over a period spanning 30 years, capture the diversity in people, animals and topography with a delicate and personal touch. Over the years, she has published five books on her photographs: Vanishing Africa, Vanishing Amazon, African Saga, African Rainbow and African Visions. She works between Kenya and the United Kingdom.

ben osAgHAe (Nigeria, b. 1962) is a multi-media artist and teacher who favors oil on leni riefenstAHl (Germany, 1902-2003) was an accomplished film director, photographer, actress and dancer who gained notoriety for directing the infamous propaganda film Triumph of the Will. At a more advanced stage in her career, she turned her attention to photography. In the 1970s, Riefenstahl traveled to Sudan where she photographed the Nuba tribe, subsequently publishing two books on this body of work: The Last of the Nuba and The People of Kau.

canvas as his primary medium. He is influenced by our cultural society, specifically, socio-political themes that impact globally. He has been in many solo and group exhibitions.

KAinebi osAHenye (Nigeria, b. 1964) shows an experimental artistic practice of appropriation and pushes conceptual boundaries in his paintings. Life, politics, religion, globalization, consumerism and everyday happenings resonate through his work. He has exhibited international in solo and group shows. He is in public and private collections in Nigeria and beyond. 233

ARTIST BIOGRAPHIES GeorGe rodGer (United Kingdom, 1908-1995) was a celebrated British photojournalist known for his images following the liberation of the Bergen-Belsen concentration camp and, later, for his photographs of African tribes taken over the course of 30 years and 15 expeditions to the continent. He was a founding member of Magnum Photos and his work has been included in numerous exhibitions including a 1995 retrospective at the Barbican Art Gallery, London.

yinka Shonibare mbe (Nigeria/United Kingdom, b. 1962) explores constructed cultural themes and issues of race and class through rich visual symbols in his painting, sculpture, installations, and moving images. He was nominated for the Turner Prize in 2004 and has exhibited internationally.

Jo Smail (South Africa) is an artist and teacher who has shown in group and solo shows internationally. She has won many awards and is included in private and public collections including the Johannesburg Art Gallery, the Chase Manhattan Bank, the Mobil Corporation and The United States Embassy in Johannesburg.

SebaStiäo SalGado (Brazil, b. 1944) is a social documentary photographer best known for his images of displaced populations in underdeveloped countries throughout the world. His collaborations with UNICEF, the Office of the United Nations High Commissioner on Refugees (UNHCR), the World Health Organization (WHO) and Amnesty International highlight his continued interest in using photography as a means to bring attention and assistance to struggling civilizations. His numerous publications include Migrations, Sahel: The End of the Road and Africa.

ChriStoPher Steele-PerkinS (Burma/United Kingdom, b. 1947) is a documentary photographer who has extensively worked in the United Kingdom and developing countries such as Somalia, Ghana and Afghanistan. For his work in Afghanistan, he embedded himself with the Taliban to document the political and civil unrest from the natives’ perspective. He is a member of Magnum Photos and has achieved several awards including The Tom Hopkinson Prize for British Photojournalism, and the Robert Capa Gold Medal.

Chéri Samba (Democratic Republic of Congo/France, b. 1956) blends his concerns and observations on Africa and contemporary culture in his bright paintings imbued with text. He is the self-proclaimed president of the Zaïre school of popular painting, which he founded with Moké and Camille-Pierre Pambu Bodo. His paintings are concerned with everyday life of contemporary Africa and he inserts his literal comments through text bubbles in French and Lingala. He is in the collections of the Centre Georges Pompidou in Paris and the Museum of Modern Art in New York and has exhibited widely, including participating in the 2007 Venice Biennale.

Paul StoPforth (South Africa/United States) is a painter, graphic artist and teacher who confronts issues of injustice and the many dualistic reflections of society. He has exhibited in shows in South Africa, Europe and the United States. He has received many awards and is held in numerous international collections.

Paula SCher (United States, b. 1948) is an accomplished graphic designer and artist. Scher has developed identities and packaging for a broad range of clients and is known for her iconic and populist designs. As an artist she is known for her large-scale paintings of maps, covered with dense hand-painted labeling and information. She has received numerous awards and is included in many important public collections including the Museum of Modern Art and the Cooper-Hewitt National Design Museum.

mikhael Subotzky (South Africa, b. 1981) is a documentary photographer. He is a

Claudette SChreuderS (South Africa, b. 1973) is an artist who works in sculpture,

miCkalene thomaS (United States, b. 1971) is a mixed media artist well known for her elaborate paintings consisting of acrylic, enamel, and rhinestones. Her work embraces and critiques black narrative signs and symbols of gender and sexual behavior that explore culturally conceived notions. She has exhibited internationally and was an Artist-in-Residence at the Studio Museum in Harlem.

member of Magnum and has exhibited nationally and internationally. His work is in the collections of the Museum of Modern Art, New York, the South African National Gallery, Cape Town, the Johannesburg Art Gallery, and FOAM (FotoMuseum Amsterdam). He has received awards including the 2008 ICP Infinity Award and the 2007 KLM Paul Huf Award.

creating carved wood portraiture and figures. She is influenced by traditional woodcarving of Africa and Europe, drawing on her personal identity as Afrikaans in post-apartheid South Africa. She has shown in South Africa and internationally.

twinS Seven Seven (Nigeria, b. 1944) is a painter, sculptor, musician and teacher. Guy tillim (South Africa, b. 1962) is a contemporary photographer best known for his black and white and later digital works. He began as a photojournalist, and continues to draw from this as seen in his re-contextualized photographs. He was a member of a South African photography collective called Afrapix, worked freelance with many companies including Reuters. He received awards including the Prix SCAM (Societe Civile des Auteurs Multimedia) Roger Pic, the Daimler Chrysler Award for South African photography in 2004, the Leica Oskar Barnack Award for his Jo’burg series among many others. He has published a book and exhibited internationally at the São Paulo Biennale, “Africa Remix,” and in Rome at Extraspazio and at RotoGrafia, Rome’s International Festival.

He began his artistic career in the 1960s at the Osogbo School. His work draws from Yoruba mythology and culture using various media He was named the UNESCO Artist for Peace in 2005 for his recognition to promote “dialogue and understanding among peoples, particularly in Africa and the African Diaspora.” He has exhibited in Africa, Europe, Asia, Australia and the United States including the Smithsonian Institution and the Philadelphia Museum of Art.

maliCk Sidibé (Mali, b. 1935 or 1936) is known for his portraits of the vibrant Malian youth culture in the 1950s, 60s and 70s. Often capturing individuals while dancing, playing or celebrating Sidibé’s photographs reflect the vitality and excitement of a generation in chronological and cultural transitions. Among his many accolades are the 2007 Golden Lion for Lifetime Achievement at the Venice Biennale and the 2008 Infinity Award for Lifetime Achievement from the International Center of Photography. He exhibits around the world and his work can be found in institutional collections, including the Studio Museum of Harlem and the Museum of Modern Art, New York.

CyPrien tokoudaGba (Benin, b. 1939) is a painter and sculptor inspired by his upbringing within an artistic family. He went through an initiation with a voodoo priest, which resonates and influences his work. Cyrien’s first abroad show was at the exhibition “Magiciens de la Terre in Paris. Since, he has exhibited at the National Museum of African Art at the Smithsonian Institution, the traveling “Africa Remix” exhibition, Dak’art, and the São Paulo Biennale.

lorna SimPSon (United States, b. 1960) began her artistic career as a documentary photographer but has since transitioned to conceptual work that fuses text and imagery to focus and define images that push and challenge mainstream’s perception of the norm. Simpson’s work is exhibited internationally and in 1990 she became the first African-American woman to have work included in the Venice Biennale. Most recently, she received the International Center of Photography’s Infinity Award for Art in 2010.

nyanda tom (South Africa, b. 1964) is known for his compelling and beautiful linocuts. He works in Grahamstown, South Africa.

fatimah tuGGar (Nigeria/United States, b. 1967) creates dynamically alluring digital photomontages showing scenes from African and American daily life. Her scenes present juxtaposing images that comments on issues of ethnicity, technology, and postcolonial culture. She has exhibited throughout Africa, Europe and the United States including at the Centre Georges Pompidou, The Bronx Museum, and the Museum of Modern Art, New York.

Penny SioPiS (South Africa, b. 1953) is an eclectic and established artist and academic whose work ranges from painting, installations, film, and video. Her work deals with South African history and autobiographical narratives. She exhibits within South Africa and internationally including at the International Print Center in New York, the Field Museum in London and the Wits Art Galleries in Johannesburg.

234

ARTIST BIOGRAPHIES iKĂŠ udĂŠ (Nigeria/United States, b. 1964) is an artist, writer and publisher. He began his artistic career as a painter and has since moved into photography to explore the dual nature of identity and representation. He has exhibited around the work in many exhibitions including the Guggenheim Museum, New York and the Johannesburg Second Biennial.

williAm villAlongo (United States, b. 1975) creates works which are multidimensional in form and content through dream-like, imaginative visions that illustrate what our world is like and will become. He has exhibited in institutions and galleries throughout the United States including The Studio Museum in Harlem and PS1 Museum of Modern Art. He received the Joan Mitchell Award.

KArA wAlKer (United States, b. 1969) is a painter and printmaker best known for her Victorian styled figural silhouettes imbued with references to race, gender, sexuality, history and power. At 28, Walker was the youngest to recieve the MacArther Fellowship and has since been included in many important collections including the Museum of Modern Art, the Walker Art Center and the Museum of Contemporary Art in Chicago.

cArrie mAe weems (United States, b. 1953) incorporates text and visual images to document important cultural perceptions involving gender, race, and class. Her narrative tableaux which incorporate an array of media, speak of the rich, broad history of African-American culture on both a personal and universal levels. She has been honored with many awards including the 2005 Distinguished Photographers Award from Women in Photography International, and has exhibited at the Museum of Modern Art, New York; Whitney Museum of American Art, New York; the Metropolitan Museum of Art, New York; J. Paul Getty Museum of Art, Los Angeles; The National Museum of Women in the Arts, Washington D.C.; The Studio Museum in Harlem, New York; The Bronx Museum of the Arts, New York; the Hammer Museum, Los Angeles; the International Center of Photography, New York; and the Tokyo Metropolitan Museum of Photography.

suzAnne wenger (Austria/Nigeria, 1915-2009) was considered a high priestess of the Osun grove in Osogbo, Osun State, Nigeria for her efforts to revive the grove that was designated as an UNESCO World Heritage Site in 2005. Her work has been exhibited in solo and group exhibitions in Europe and the United States.

KeHinde wiley (United States, b. 1977) is a visual artist who is well known for his art historical portraiture style. He juxtaposes contemporary subjects with traditional settings. He was an artist-in-resident at the Studio Museum in Harlem and is in many private and public collections including the Hammer Museum, The Walker Art Center, and the Studio Museum of Harlem. He has shown internationally.

sue williAmson (South Africa, b. 1941) is an artist who investigates global political and social issues through public works. She is in many public and private collections and has exhibited in numerous solo and group exhibitions including the Johannesburg, Havana, and Venice Biennales.

nHlAnHlA xAbA (South Africa, d. 2003) was a multimedia artist and teacher. He died in a fire in the Artists Proof Studios in Newtown, South Africa reportedly asleep. He worked with the Bayajabula Cultural Group, which was a group of artists, musicians and performers. His art deals with the mental and physical boundaries and how the complexities of life continuously shift and influence our space. He participated in workshops including one at the Johannesburg Art Foundation. He received the Standard Bank Young Artist Award in 1998 and has exhibited internationally.

235

lOT 30. SEBASTI채O SAlGAdO (dETAIl) 236

237

GUIDE FOR PROSPECTIVE BUYERS BUYING AT AUCTION

∆ Property in Which Phillips de Pury & Company Has an Ownership Interest

The following pages are designed to offer you information on how to buy at auction at Phillips

Lots with this symbol indicate that Phillips de Pury & Company owns the lot in whole or in part

de Pury & Company. Our staff will be happy to assist you.

or has an economic interest in the lot equivalent to an ownership interest.

•

CONDITIONS OF SALE

No Reserve

•

The Conditions of Sale and Authorship Warranty which appear later in this catalogue govern

Unless indicated by a

the auction. Bidders are strongly encouraged to read them as they outline the legal relationship

the confidential value established between Phillips de Pury & Company and the seller and below

among Phillips, the seller and the buyer and describe the terms upon which property is bought at

which a lot may not be sold. The reserve for each lot is generally set at a percentage of the low

auction. Please be advised that Phillips de Pury & Company generally acts as agent for the seller.

estimate and will not exceed the low pre-sale estimate.

BUYER’S PREMIUM

2 BIDDING IN THE SALE

, all lots in this catalogue are offered subject to a reserve. A reserve is

Phillips de Pury & Company charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total

Bidding at Auction

purchase price at the following rates: 25% of the hammer price up to and including $50,000, 20%

Bids may be executed during the auction in person by paddle or by telephone or prior to the sale

of the portion of the hammer price above $50,000 up to and including $1,000,000 and 12% of the

in writing by absentee bid.

portion of the hammer price above $1,000,000. Bidding in Person 1 PRIOR TO AUCTION

To bid in person, you will need to register for and collect a paddle before the auction begins.

Catalogue Subscriptions

Proof of identity in the form of government issued identification will be required, as will an

If you would like to purchase a catalogue for this auction or any other Phillips de Pury & Company

original signature. We may also require that you furnish us with a bank reference. New clients

sale, please contact us at +1 212 940 1240 or +44 20 7318 4010.

are encouraged to register at least 48 hours in advance of a sale to allow sufficient time for us to process your information. All lots sold will be invoiced to the name and address to which the

Pre-Sale Estimates

paddle has been registered and invoices cannot be transferred to other names and addresses.

Pre-Sale estimates are intended as a guide for prospective buyers. Any bid within the high and

Please do not misplace your paddle. In the event you lose it, inform a Phillips de Pury & Company

low estimate range should, in our opinion, offer a chance of success. However, many lots achieve

staff member immediately. At the end of the auction, please return your paddle to the registration

prices below or above the pre-sale estimates. Where “Estimate on Request” appears, please

desk.

contact the specialist department for further information. It is advisable to contact us closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do not include

Bidding by Telephone

the buyer’s premium or any applicable taxes.

If you cannot attend the auction, you may bid live on the telephone with one of our multi-lingual staff members. This service must be arranged at least 24 hours in advance of the sale and is

Pre-Sale Estimates in Pounds Sterling and Euros

available for lots whose low pre-sale estimate is at least $1000. Telephone bids may be recorded.

Although the sale is conducted in US dollars, the pre-sale estimates in the auction catalogues

By bidding on the telephone, you consent to the recording of your conversation. We suggest that

may also be printed in pounds sterling and/or euros. Since the exchange rate is that at the time of

you leave a maximum bid, excluding the buyer’s premium and any applicable taxes, which we can

catalogue production and not at the date of auction, you should treat estimates in pounds sterling

execute on your behalf in the event we are unable to reach you by telephone.

or euros as a guide only. Absentee Bids Catalogue Entries

If you are unable to attend the auction and cannot participate by telephone, Phillips de Pury &

Phillips may print in the catalogue entry the history of ownership of a work of art, as well as the

Company will be happy to execute written bids on your behalf. A bidding form can be found at the

exhibition history of the property and references to the work in art publications. While we are

back of this catalogue. This service is free and confidential. Bids must be placed in the currency

careful in the cataloguing process, provenance, exhibition and literature references may not

of the sale. Our staff will attempt to execute an absentee bid at the lowest possible price taking

be exhaustive and in some cases we may intentionally refrain from disclosing the identity of

into account the reserve and other bidders. Always indicate a maximum bid, excluding the buyer’s

previous owners. Please note that all dimensions of the property set forth in the catalogue entry

premium and any applicable taxes. Unlimited bids will not be accepted. Any absentee bid must

are approximate.

be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence.

Condition of Lots Our catalogues include references to condition only in the descriptions of multiple works

Employee Bidding

(e.g., prints). Such references, though, do not amount to a full description of condition. The

Employees of Phillips de Pury & Company and our affiliated companies, including the auctioneer,

absence of reference to the condition of a lot in the catalogue entry does not imply that the lot is

may bid at the auction by placing absentee bids so long as they do not know the reserve when

free from faults or imperfections. Solely as a convenience to clients, Phillips de Pury & Company

submitting their absentee bids and otherwise comply with our employee bidding procedures.

may provide condition reports. In preparing such reports, our specialists assess the condition in a manner appropriate to the estimated value of the property and the nature of the auction in

Bidding Increments

which it is included. While condition reports are prepared honestly and carefully, our staff are not

Bidding generally opens below the low estimate and advances in increments of up to 10%, subject

professional restorers or trained conservators. We therefore encourage all prospective buyers to

to the auctioneer’s discretion. Absentee bids that do not conform to the increments set below

inspect the property at the pre-sale exhibitions and recommend, particularly in the case of any lot

may be lowered to the next bidding increment.

of significant value, that you retain your own restorer or professional advisor to report to you on the property’s condition prior to bidding. Any prospective buyer of photographs or prints should

$50 to $1,000

by $50s

always request a condition report because all such property is sold unframed, unless otherwise

$1,000 to $2,000

by $100s

indicated in the condition report. If a lot is sold framed, Phillips de Pury & Company accepts no

$2,000 to $3,000

by $200s

liability for the condition of the frame. If we sell any lot unframed, we will be pleased to refer the

$3,000 to $5,000

by $200s, 500, 800

purchaser to a professional framer.

(i.e. $4,200, 4,500, 4,800) $5,000 to $10,000

by $500s

Pre-Auction Viewing

$10,000 to $20,000

by $1,000s

Pre-auction viewings are open to the public and free of charge. Our specialists are available

$20,000 to $30,000

by $2,000s

to give advice and condition reports at viewings or by appointment.

$30,000 to $50,000

by $2,000s, 5,000, 8,000

$50,000 to $100,000

by $5,000s

Electrical and Mechanical Lots

$100,000 to $200,000

by $10,000s

All lots with electrical and/or mechanical features are sold on the basis of their decorative value

above $200,000

auctioneer’s discretion

only and should not be assumed to be operative. It is essential that, prior to any intended use, the electrical system is verified and approved by a qualified electrician.

The auctioneer may vary the increments during the course of the auction at his or her own discretion.

Symbol Key The following key explains the symbols you may see inside this catalogue.

3 THE AUCTION

O Guaranteed Property

Conditions of Sale

The seller of lots with this symbol has been guaranteed a minimum price. The guarantee may

As noted above, the auction is governed by the Conditions of Sale and Authorship Warranty. All

be provided by Phillips de Pury & Company, by a third party or jointly by us and a third party.

prospective bidders should read them carefully. They may be amended by saleroom addendum or

Phillips de Pury & Company and third parties providing or participating in a guarantee may

auctioneer’s announcement.

benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not successful. A third party guarantor may also bid for the guaranteed lot and may be allowed to net

Interested Parties Announcement

the financial remuneration against the final purchase price if such party is the successful bidder.

In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or a party

238

TAXI TAXI

Art Books Series: Art Films:

001-015 001-005

jeremy wafer samson mudzunga jo ractliffe santu mofokeng lien botha david koloane noria mabasa steven cohen pat mautloa deborah bell willem boshoff sandile zulu diane victor mmakgabo sebidi paul stopforth albie sachs frieder danielis clive van den berg

Art work available in New York by the following artists: Deborah Painting

Bell Then

Joseph Hart For Now

William Kentridge Gary Schneider

David Koloane Paul Stopforth

Colbert Diane

Mashile Victor

Nnenna Okore Sandile Zulu

DAVID KRUT PUBLISHING NEW YORK JOHANNESBURG CAPE TOWN 526 W. 26th St., #816, New York t:(1)212 255 3094 e:info@davidkrut.com www.davidkrut.com www.davidkrutpublishing.com

providing or participating in a guarantee on the lot, Phillips de Pury & Company will make an announcement in the saleroom that interested parties may bid on the lot. Consecutive and Responsive Bidding The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing consecutive bids or bids in response to other bidders. 4 AFTER THE AUCTION Payment Buyers are required to pay for purchases immediately following the auction unless other arrangements are agreed with Phillips de Pury & Company in writing in advance of the sale. Payments must be made in US dollars either by cash, check drawn on a US bank or wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our corporate policy not to make or accept single or multiple payments in cash or cash equivalents in excess of US$10,000. Credit Cards As a courtesy to clients, Phillips de Pury & Company will accept American Express, Visa and Mastercard to pay for invoices of $10,000 or less. Collection It is our policy to request proof of identity on collection of a lot. A lot will be released to the buyer or the buyer’s authorized representative when Phillips de Pury & Company has received full and cleared payment and we are not owed any other amount by the buyer. Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, we will upon request transfer purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for collection within 30 days following the date of the auction. For each purchased lot not collected from us at either our warehouse or our auction galleries by such date, Phillips de Pury & Company will levy an administrative fee of $35, a storage fee of $5 per day and a pro rated Insurance charge of 0.1% of the purchase price per month. Loss or Damage Buyers are reminded that Phillips de Pury & Company accepts liability for loss or damage to lots for a maximum of five days following the auction. Transport and Shipping As a free service for buyers, Phillips de Pury & Company will wrap purchased lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property purchased at Phillips de Pury & Company. Please refer to Paragraph 7 of the Conditions of Sale for more information. Export and Import Licenses Before bidding for any property, prospective bidders are advised to make independent inquiries as to whether a license is required to export the property from the United States or to import it into another country. It is the buyer’s sole responsibility to comply with all import and export laws and to obtain any necessary licenses or permits. The denial of any required license or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot. Endangered Species Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a license or certificate prior to exportation and additional licenses or certificates upon importation to any foreign country. Please note that the ability to obtain an export license or certificate does not ensure the ability to obtain an import license or certificate in another country, and vice versa. We suggest that prospective bidders check with their own government regarding wildlife import requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licenses or certificates as well as any other required documentation. The denial of any required license or certificate or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot.

240

CONTEMPORARY ART AUCTIONS NEW YORK PART I 13 MAY 2010 7pm PART II Viewing 1 – 13 May

14 MAY 2010 10am & 2pm

Phillips de Pury & Company 450 West 15 Street New York 10011 Enquiries +1 212 940 1260 Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com WANGECHI MUTU Untitled, 2003 Estimate $60,000-80,000

241

CONDITIONS OF SALE The Conditions of Sale and Authorship Warranty set forth below govern the relationship between

bidders and buyers, on the one hand, and Phillips de Pury & Company and sellers, on the other

is printed in this catalogue or otherwise available from Phillips de Pury & Company. Telephone

hand. All prospective buyers should read these Conditions of Sale and Authorship Warranty

bidding is available for lots whose low pre-sale estimate is at least $1,000. Phillips de Pury

carefully before bidding.

& Company reserves the right to require written confirmation of a successful bid from a telephone bidder by fax or otherwise immediately after such bid is accepted by the auctioneer.

1 INTRODUCTION

Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the

Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale and

recording of the conversation.

Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers, and (c) supplements to this catalogue or other

(d) When making a bid, whether in person, by absentee bid or on the telephone, a bidder

written material posted by Phillips de Pury & Company in the saleroom, in each case as amended

accepts personal liability to pay the purchase price, as described more fully in Paragraph 6

by any addendum or announcement by the auctioneer prior to the auction.

(a) below, plus all other applicable charges unless it has been explicitly agreed in writing with Phillips de Pury & Company before the commencement of the auction that the bidder is acting

By bidding at the auction, whether in person, through an agent, by written bid, by telephone bid

as agent on behalf of an identified third party acceptable to Phillips de Pury & Company and

or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed

that we will only look to the principal for such payment.

or supplemented, and Authorship Warranty. (e) Arranging absentee and telephone bids is a free service provided by Phillips de Pury These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain all

& Company to prospective buyers. While we undertake to exercise reasonable care in

the terms on which Phillips de Pury & Company and the seller contract with the buyer.

undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct.

2 PHILLIPS de PURY & COMPANY AS AGENT Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated in this

(f) Employees of Phillips de Pury & Company and our affiliated companies, including the

catalogue or at the time of auction. On occasion, Phillips de Pury & Company may own a lot, in

auctioneer, may bid at the auction by placing absentee bids so long as they do not know the

which case we will act in a principal capacity as a consignor, or may have a legal, beneficial or

reserve when submitting their absentee bids and otherwise comply with our employee bidding

financial interest in a lot as a secured creditor or otherwise.

procedures.

3 CATALOGUE DESCRIPTIONS AND CONDITION OF PROPERTY

5 CONDUCT OF THE AUCTION

•

Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless such

(a) Unless otherwise indicated by the symbol

description is changed or supplemented, as provided in Paragraph 1 above) and in the condition

is the confidential minimum selling price agreed by Phillips de Pury & Company with the seller.

that they are in at the time of the sale on the following basis.

The reserve will not exceed the low pre-sale estimate at the time of the auction.

(a) The knowledge of Phillips de Pury & Company in relation to each lot is partially dependent on

(b)The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a

information provided to us by the seller, and Phillips de Pury & Company is not able to and does

lot for sale (including after the fall of the hammer) if he or she believes there may be error or

not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge this fact and

dispute and take such other action as he or she deems reasonably appropriate.

each lot is offered subject to a reserve, which

accept responsibility for carrying out inspections and investigations to satisfy themselves as to the lots in which they may be interested. Notwithstanding the foregoing, we shall exercise such

reasonable care when making express statements in catalogue descriptions or condition reports

she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place

as is consistent with our role as auctioneer of lots in this sale and in light of (i) the information

one or more bids on behalf of the seller up to the reserve without indicating he or she is doing

provided to us by the seller, (ii) scholarship and technical knowledge and (iii) the generally

so, either by placing consecutive bids or bids in response to other bidders.

accepted opinions of relevant experts, in each case at the time any such express statement is made.

(d) The sale will be conducted in US dollars and payment is due in US dollars. For the benefit of international clients, pre-sale estimates in the auction catalogue may be shown in

(b) Each lot offered for sale at Phillips de Pury & Company is available for inspection by

pounds sterling and/or euros and, if so, will reflect approximate exchange rates. Accordingly,

prospective buyers prior to the auction. Phillips de Pury & Company accepts bids on lots on the

estimates in pounds sterling or euros should be treated only as a guide.

basis that bidders (and independent experts on their behalf, to the extent appropriate given the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior to

(e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the

bidding and have satisfied themselves as to both the condition of the lot and the accuracy

auctioneer will be the buyer and the striking of the hammer marks the acceptance of the

of its description.

highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below.

(c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips de Pury & Company may

(f) If a lot is not sold, the auctioneer will announce that it has been “passed,” “withdrawn,”

prepare and provide condition reports to assist prospective buyers when they are inspecting lots.

“returned to owner” or “bought-in.”

Catalogue descriptions and condition reports may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly referred to in the

(g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale

catalogue or condition report. All dimensions are approximate. Illustrations are for identification

and Authorship Warranty as if sold in the auction.

purposes only and cannot be used as precise indications of size or to convey full information as 6 PURCHASE PRICE AND PAYMENT

to the actual condition of lots.

(a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium (d) Information provided to prospective buyers in respect of any lot, including any pre-sale

and any applicable sales tax (the “Purchase Price”). The buyer’s premium is 25% of the hammer

estimate, whether written or oral, and information in any catalogue, condition or other report,

price up to and including $50,000, 20% of the portion of the hammer price above $50,000 up to

commentary or valuation, is not a representation of fact but rather a statement of opinion held

and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000.

by Phillips de Pury & Company. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time by Phillips de Pury &

(b) Sales tax, use tax and excise and other taxes are payable in accordance with applicable law.

Company in our absolute discretion. Neither Phillips de Pury & Company nor any of our affiliated

All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive

companies shall be liable for any difference between the pre-sale estimates for any lot and the

of applicable taxes. Phillips de Pury & Company will only accept valid resale certificates from

actual price achieved at auction or upon resale.

US dealers as proof of exemption from sales tax. All foreign buyers should contact the Client Accounting Department about tax matters.

4 BIDDING AT AUCTION (a) Phillips de Pury & Company has absolute discretion to refuse admission to the auction or

participation in the sale. All bidders must register for a paddle prior to bidding, supplying such

following the auction regardless of any intention to obtain an export or import license or other

information and references as required by Phillips de Pury & Company.

permit for such lot. Payments must be made by the invoiced party in US dollars either by cash, check drawn on a US bank or wire transfer, as follows:

(b) As a convenience to bidders who cannot attend the auction in person, Phillips de Pury & Company may, if so instructed by the bidder, execute written absentee bids on a bidder’s behalf.

(i) Phillips de Pury & Company will accept payment in cash provided that the total amount paid

Absentee bidders are required to submit bids on the “Absentee Bid Form,” a copy of which is

in cash or cash equivalents does not exceed US$10,000. Buyers paying in cash should do so

printed in this catalogue or otherwise available from Phillips de Pury & Company. Bids must

in person at our Client Accounting Desk at 450 West 15th Street, Third Floor, during regular

be placed in the currency of the sale. The bidder must clearly indicate the maximum amount he

weekday business hours.

or she intends to bid, excluding the buyer’s premium and any applicable sales or use taxes. The auctioneer will not accept an instruction to execute an absentee bid which does not indicate

(ii) Personal checks and banker’s drafts are accepted if drawn on a US bank and the buyer

such maximum bid. Our staff will attempt to execute an absentee bid at the lowest possible price

provides to us acceptable government issued identification. Checks and banker’s drafts

taking into account the reserve and other bidders. Any absentee bid must be received at least

should be made payable to “Phillips de Pury & Company LLC.” If payment is sent by mail,

24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take

please send the check or banker’s draft to the attention of the Client Accounting Department

precedence. 242

CONTEMPORARY ART AUCTIONS NEW YORK PART I 13 MAY 2010 7pm PART II 14 MAY 2010 10am & 2pm Viewing 1 – 13 May LIZA LOU Offensive / Defensive, 2008 (detail) Estimate $250,000-350,000

www.phillipsdepury.com

243

at 450 West 15th Street, New York, NY 10011 and make sure that the sale and lot number is written

vendor’s commission and all sale-related expenses; (vi) resell the lot by auction or private sale,

on the check. Checks or banker’s drafts drawn by third parties will not be accepted.

with estimates and a reserve set at Phillips de Pury & Company’s reasonable discretion, it being understood that in the event such resale is for less than the original hammer price and buyer’s

(iii) Payment by wire transfer may be sent directly to Phillips de Pury & Company. Bank transfer

premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred

details:

in such resale; (vii) commence legal proceedings to recover the hammer price and buyer’s premium for that lot, together with interest and the costs of such proceedings; or (viii) release the

Citibank

name and address of the buyer to the seller to enable the seller to commence legal proceedings

322 West 23rd Street, New York, NY 10011

to recover the amounts due and legal costs.

SWIFT Code: CITIUS33 (b) As security to us for full payment by the buyer of all outstanding amounts due to Phillips

ABA Routing: 021 000 089 For the account of Phillips de Pury & Company LLC

de Pury & Company and our affiliated companies, Phillips de Pury & Company retains, and the

Account no.: 58347736

buyer grants to us, a security interest in each lot purchased at auction by the buyer and in any other property or money of the buyer in, or coming into, our possession or the possession of one of our affiliated companies. We may apply such money or deal with such property as the Uniform

Please reference the relevant sale and lot number.

Commercial Code or other applicable law permits a secured creditor to do. In the event that (d) Title in a purchased lot will not pass until Phillips de Pury & Company has received the

we exercise a lien over property in our possession because the buyer is in default to one of our

Purchase Price for that lot in cleared funds. Phillips de Pury & Company is not obliged to release

affiliated companies, we will so notify the buyer. Our security interest in any individual lot will

a lot to the buyer until title in the lot has passed and appropriate identification has been provided,

terminate upon actual delivery of the lot to the buyer or the buyer’s agent.

and any earlier release does not affect the passing of title or the buyer’s unconditional obligation to pay the Purchase Price.

7 COLLECTION OF PROPERTY

possession by actual or constructive delivery to our affiliated company as security for the

(a) Phillips de Pury & Company will not release a lot to the buyer until we have received payment

payment of any outstanding amount due. Phillips de Pury & Company will notify the buyer if the

of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to

buyer’s property has been delivered to an affiliated company by way of pledge.

also irrevocably authorizes Phillips de Pury & Company to pledge the buyer’s property in our

Phillips de Pury & Company or any of our affiliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such other terms as we in our

10 RESCISSION BY PHILLIPS de PURY & COMPANY

sole discretion shall require, including completing any anti-money laundering or anti-terrorism

Phillips de Pury & Company shall have the right, but not the obligation, to rescind a sale without

financing checks. As soon as a buyer has satisfied all of the foregoing conditions, and no

notice to the buyer if we reasonably believe that there is a material breach of the seller’s

later than five days after the conclusion of the auction, he or she should contact our Shipping

representations and warranties or the Authorship Warranty or an adverse claim is made by a third

Department at +1 212 940 1372 or +1 212 940 1373 to arrange for collection of purchased property.

party. Upon notice of Phillips de Pury & Company’s election to rescind the sale, the buyer will promptly return the lot to Phillips de Pury & Company, and we will then refund the Purchase Price

(b) Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th

paid to us. As described more fully in Paragraph 13 below, the refund shall constitute the sole

Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this

remedy and recourse of the buyer against Phillips de Pury

location during our regular weekday business hours. As a courtesy to clients, Phillips de Pury

& Company and the seller with respect to such rescinded sale..

& Company will upon request transfer on a bi-weekly basis purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for collection within

11 ExPORT, IMPORT AND ENDANGERED SPECIES LICENSES AND PERMITS

30 days following the date of the auction. Purchased lots are at the buyer’s risk, including the

Before bidding for any property, prospective buyers are advised to make their own inquiries as

responsibility for insurance, from the earlier to occur of (i) the date of collection or (ii) five days

to whether a license is required to export a lot from the United States or to import it into another

after the auction. Until risk passes, Phillips de Pury & Company will compensate the buyer for

country. Prospective buyers are advised that some countries prohibit the import of property

any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, subject to our

made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone,

usual exclusions for loss or damage to property.

rhinoceros horn or tortoiseshell, irrespective of age, percentage or value. Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarize themselves

with relevant export and import regulations of the countries concerned. It is solely the buyer’s

for hand carry only. We will, at the buyer’s expense, either provide packing, handling, insurance

responsibility to comply with these laws and to obtain any necessary export, import and

and shipping services or coordinate with shipping agents instructed by the buyer in order to

endangered species licenses or permits. Failure to obtain a license or permit or delay in so doing

facilitate such services for property bought at Phillips de Pury & Company. Any such instruction,

will not justify the cancellation of the sale or any delay in making full payment for the lot.

whether or not made at our recommendation, is entirely at the buyer’s risk and responsibility, and we will not be liable for acts or omissions of third party packers or shippers. Third party shippers

12 CLIENT INFORMATION

should contact us by telephone at +1 212 940 1376 or by fax at +1 212 924 6477 at least 24 hours in

In connection with the management and operation of our business and the marketing and

advance of collection in order to schedule pickup.

supply of auction related services, or as required by law, we may ask clients to provide personal information about themselves or obtain information about clients from third parties (e.g., credit

(d) Phillips de Pury & Company will require presentation of government issued identification

information). If clients provide us with information that is defined by law as “sensitive,” they

prior to release of a lot to the buyer or the buyer’s authorized representative.

agree that Phillips de Pury & Company and our affiliated companies may use it for the above purposes. Phillips de Pury & Company and our affiliated companies will not use or process

8 FAILURE TO COLLECT PURCHASES

sensitive information for any other purpose without the client’s express consent. If you would

(a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of the

like further information on our policies on personal data or wish to make corrections to your

auction, the buyer will incur a late collection fee of $35, storage charges of $5 per day and pro

information, please contact us at +1 212 940 1228. If you would prefer not to receive details of

rated insurance charges of .1% of the Purchase Price per month on each uncollected lot.

future events please call the above number.

(b) If a purchased lot is paid for but not collected within six months of the auction, the buyer

13 LIMITATION OF LIABILITY

authorizes Phillips de Pury & Company, upon notice, to arrange a resale of the item by auction

(a) Subject to subparagraph (e) below, the total liability of Phillips de Pury & Company, our

or private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable

affiliated companies and the seller to the buyer in connection with the sale of a lot shall be

discretion. The proceeds of such sale will be applied to pay for storage charges and any other

limited to the Purchase Price actually paid by the buyer for the lot.

outstanding costs and expenses owed by the buyer to Phillips de Pury & Company or our affiliated companies and the remainder will be forfeited unless collected by the buyer within two

(b) Except as otherwise provided in this Paragraph 13, none of Phillips de Pury & Company, any

years of the original auction.

of our affiliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips de Pury & Company or

9 REMEDIES FOR NON-PAYMENT

any of our affiliated companies or (ii) accepts responsibility to any bidder in respect of acts or

(a) Without prejudice to any rights the seller may have, if the buyer without prior agreement fails

omissions, whether negligent or otherwise, by Phillips de Pury & Company or any of our affiliated

to make payment of the Purchase Price for a lot in cleared funds within five days of the auction,

companies in connection with the conduct of the auction or for any other matter relating to the

Phillips de Pury & Company may in our sole discretion exercise one or more of the following

sale of any lot.

remedies: (i) store the lot at Phillips de Pury & Company’s premises or elsewhere at the buyer’s sole risk and expense at the same rates as set forth in Paragraph 8 (a) above; (ii) cancel the

sale of the lot, retaining any partial payment of the Purchase Price as liquidated damages; (iii)

of satisfactory quality and fitness for purpose, are specifically excluded by Phillips de Pury &

reject future bids from the buyer or render such bids subject to payment of a deposit; (iv) charge

Company, our affiliated companies and the seller to the fullest extent permitted by law.

interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to notification of the buyer, exercise a lien over any

(d) Subject to subparagraph (e) below, none of Phillips de Pury & Company, any of our affiliated

of the buyer’s property which is in the possession of Phillips de Pury & Company and instruct

companies or the seller shall be liable to the buyer for any loss or damage beyond the refund

our affiliated companies to exercise a lien over any of the buyer’s property which is in their

of the Purchase Price referred to in subparagraph (a) above, whether such loss or damage is

possession and, in each case, no earlier than 30 days from the date of such notice, arrange the

characterized as direct, indirect, special, incidental or consequential, or for the payment of

sale of such property and apply the proceeds to the amount owed to Phillips de Pury & Company

interest on the Purchase Price to the fullest extent permitted by law.

or any of our affiliated companies after the deduction from sale proceeds of our standard 244

CONTEMPORARY ART AUCTIONS NEW YORK PART I 13 MAY 2010 7pm PART II Viewing 1 – 13 May

14 MAY 2010 10am & 2pm

Phillips de Pury & Company 450 West 15 Street New York 10011 Enquiries +1 212 940 1260 Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com MARK BRADFORD All I Need is “One” More Chance, 2003 (detail) Estimate $250,000-350,000

245

AUTHORSHIP WARRANTY (e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of

Phillips de Pury & Company warrants the authorship of property in this auction catalogue for a

Phillips de Pury & Company or any of our affiliated companies to the buyer in respect of any

period of five years from date of sale by Phillips de Pury & Company, subject to the exclusions

fraud or fraudulent misrepresentation made by any of us or in respect of death or personal injury

and limitations set forth below.

caused by our negligent acts or omissions. (a) Phillips de Pury & Company gives this Authorship Warranty only to the original buyer of 14 COPYRIGHT

record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not

The copyright in all images, illustrations and written materials produced by or for Phillips de

extend to (i) subsequent owners of the property, including purchasers or recipients by way of gift

Pury & Company relating to a lot, including the contents of this catalogue, is and shall remain

from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property created prior to

at all times the property of Phillips de Pury & Company and such images and materials may not

1870, unless the property is determined to be counterfeit (defined as a forgery made less than 50

be used by the buyer or any other party without our prior written consent. Phillips de Pury &

years ago with an intent to deceive) and has a value at the date of the claim under this warranty

Company and the seller make no representations or warranties that the buyer of a lot will acquire

which is materially less than the Purchase Price paid; (iii) property where the description in

any copyright or other reproduction rights in it.

the catalogue states that there is a conflict of opinion on the authorship of the property; (iv) property where our attribution of authorship was on the date of sale consistent with the generally

15 GENERAL

accepted opinions of specialists, scholars or other experts; or (v) property whose description

(a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above,

or dating is proved inaccurate by means of scientific methods or tests not generally accepted

and Authorship Warranty set out the entire agreement between the parties with respect to the

for use at the time of the publication of the catalogue or which were at such time deemed

transactions contemplated herein and supersede all prior and contemporaneous written, oral or

unreasonably expensive or impractical to use.

implied understandings, representations and agreements. (b) In any claim for breach of the Authorship Warranty, Phillips de Pury & Company reserves (b) Notices to Phillips de Pury & Company shall be in writing and addressed to the department in

the right, as a condition to rescinding any sale under this warranty, to require the buyer to

charge of the sale, quoting the reference number specified at the beginning of the sale catalogue.

provide to us at the buyerâ&#x20AC;&#x2122;s expense the written opinions of two recognized experts approved in

Notices to clients shall be addressed to the last address notified by them in writing to Phillips de

advance by Phillips de Pury & Company. We shall not be bound by any expert report produced by

Pury & Company.

the buyer and reserve the right to consult our own experts at our expense. If Phillips de Pury & Company agrees to rescind a sale under the Authorship Warranty, we shall refund to the buyer

the reasonable costs charged by the experts commissioned by the buyer and approved in advance

are binding on the buyerâ&#x20AC;&#x2122;s successors, assigns and representatives.

by us.

(d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any

reason, the remaining provisions shall remain in full force and effect. No failure by any party to

for breach of the Authorship Warranty provided that (i) he or she has notified Phillips de Pury

exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act

& Company in writing within three months of receiving any information which causes the buyer

as a waiver or release thereof in whole or in part.

to question the authorship of the lot, specifying the auction in which the property was included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being

16 LAW AND JURISDICTION

questioned and (ii) the buyer returns the lot to Phillips de Pury & Company in the same condition

(a) The rights and obligations of the parties with respect to these Conditions of Sale and

as at the time of its auction and is able to transfer good and marketable title in the lot free from

Authorship Warranty, the conduct of the auction and any matters related to any of the foregoing

any third party claim arising after the date of the auction.

shall be governed by and interpreted in accordance with laws of the State of New York, excluding its conflicts of law rules.

(d) The buyer understands and agrees that the exclusive remedy for any breach of the Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid. This

(b) Phillips de Pury & Company, all bidders and all sellers agree to the exclusive jurisdiction of

remedy shall constitute the sole remedy and recourse of the buyer against Phillips de Pury

the (i) state courts of the State of New York located in New York City and (ii) the federal courts

& Company, any of our affiliated companies and the seller and is in lieu of any other remedy

for the Southern and Eastern Districts of New York to settle all disputes arising in connection

available as a matter of law. This means that none of Phillips de Pury & Company, any of our

with all aspects of all matters or transactions to which these Conditions of Sale and Authorship

affiliated companies or the seller shall be liable for loss or damage beyond the remedy expressly

Warranty relate or apply.

provided in this Authorship Warranty, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the original

Purchase Price.

connection with proceedings in any court by facsimile transmission, personal service, delivery by mail or in any other manner permitted by New York law or the law of the place of service, at the last address of the bidder or seller known to Phillips de Pury & Company.

246

PHILLIPS de PURY & COMPANY

Chairman

Directors

Advisory Board

Simon de Pury

Aileen Agopian

Maria Bell

Sean Cleary

Janna Bullock

Finn Dombernowsky

Lisa Eisner

Patty Hambrecht

Lapo Elkann

Alexander Payne

Ben Elliot

Rodman Primack

Lady Elena Foster

Olivier Vrankenne

H.I.H. Francesca von Habsburg

Chief Executive Officer Bernd Runge

Marc Jacobs

Senior Directors

Ernest Mourmans

Michael McGinnis

Aby Rosen

Dr. Michaela de Pury

Christiane zu Salm Juergen Teller Princess Gloria von Thurn und Taxis Jean Michel Wilmotte Anita Zabludowicz

INTERNATIONAL SPECIALISTS

Berlin Brussels Buenos Aires

Shirin Kranz, Specialist, Contemporary Art +49 30 880 018 42 Olivier Vrankenne, International Senior Specialist +32 486 43 43 44 Brooke de Ocampo, International Specialist, Contemporary Art +44 777 551 7060

Geneva

Katie Kennedy Perez, Specialist, Contemporary Art +41 22 906 8000

London

Dr. Michaela de Pury, International Senior Director, Contemporary Art +49 17 289 73611

Los Angeles Milan Moscow Shanghai/Beijing Singapore Zurich/Israel

Maya McLaughlin, Specialist, Contemporary Art +1 323 791 1771 Laura Garbarino, International Specialist, Contemporary Art +39 339 478 9671 Svetlana Marich, Specialist, Contemporary Art +7 495 225 88 22 Jeremy Wingfield, International Specialist, Contemporary Art +852 6895 1805 Chin-Chin Yap, Specialist, Contemporary Art +1 347 784 6916 Fiona Biberstein, International Specialist, Contemporary Art +41 43 344 86 32

GENERAL COUNSEL

MANAGING DIRECTORS

Patricia G. Hambrecht

Finn Dombernowsky, London/Europe Sean Cleary, New York (Interim)

WORLDWIDE OFFICES NEW YORK

PARIS

GENEVA

450 West 15 Street, New York, NY 10011, USA

15 rue de la Paix, 75002 Paris, France

23 quai des Bergues, 1201 Geneva, Switzerland

tel +1 212 940 1200 fax +1 212 924 5403

tel +33 1 42 78 67 77 fax +33 1 42 78 23 07

tel +41 22 906 80 00 fax +41 22 906 80 01

LONDON

BERLIN

Howick Place, London SW1P 1BB, United Kingdom

Auguststrasse 19, 10117 Berlin, Germany

tel +44 20 7318 4010 fax +44 20 7318 4011

tel +49 30 8800 1842 fax +49 30 8800 1843

247

SPECIALISTS AND DEPARTMENTS

CONTEMPORARY ART Michael McGinnis, Senior Director

MODERN AND CONTEMPORARY EDITIONS

+1 212 940 1254

NEW YORK

and Worldwide Head, Contemporary Art

Cary Leibowitz, Worldwide Co-Director

+1 212 940 1222

Kelly Troester, Worldwide Co-Director

+1 212 940 1221

Jannah Greenblatt

+1 212 940 1332

Joy Deibert

+1 212 940 1333

NEW YORK Aileen Agopian, New York Director

+1 212 940 1255

Sarah Mudge, Head of Part II

+1 212 940 1259

Jeremy Goldsmith

+1 212 940 1253

Timothy Malyk

+1 212 940 1258

Jean-Michel Placent

+1 212 940 1263

Rodman Primack

+1 212 940 1256

Roxana Bruno

+1 212 940 1229

Maria Bueno

+1 212 940 1261

Sara Davidson

+1 212 940 1262

PHOTOGRAPHS NEW YORK Vanessa Kramer, New York Director

+1 212 940 1243

Shlomi Rabi

+1 212 940 1246

Caroline Shea

+1 212 940 1247

Alexandra Leive

+1 212 940 1252

Carol Ehlers, Consultant

+1 212 940 1245

Peter Flores

+1 212 940 1223

Sarah Krueger

+1 212 940 1245

(Uli) Zhiheng Huang

+1 212 940 1288

Sarah Stein-Sapir

+1 212 940 1200

LONDON

(Administrative Assistant to Michael McGinnis) LONDON Peter Sumner, Head of Sales, London

Lou Proud

+44 20 7318 4018

Sebastien Montabonel

+44 20 7318 4025

Alexandra Bibby

+44 20 7318 4087

Rita Almeida Freitas

+44 20 7318 4087

Helen Hayman

+44 20 7318 4092

Emma Lewis

+44 20 7318 4092

+44 20 7318 4063

Henry Allsopp

+44 20 7318 4060

Laetitia Catoir

+44 20 7318 4064

Judith Hess

+44 20 7318 4075

Leonie Moschner

+44 20 7318 4074

Ivgenia Naiman

+44 20 7318 4071

Sarah Buchwald

+44 20 7318 4085

Catherine Higgs

+44 20 7318 4089

George O’Dell

+44 20 7318 4093

Raphael Lepine

+44 20 7318 4078

Tanya Tikhnenko

+44 20 7318 4065

Phillippa Willison

+44 20 7318 4070

JEWELRY Nazgol Jahan, Worldwide Director

NEW YORK

PARIS Edouard de Moussac

Carmela Manoli

+1 212 940 1302

Emily Bangert

+1 212 940 1365

Heather Zises

+1 212 940 1290

GENEVA

+ 33 1 42 78 67 77

DESIGN Alexander Payne, Worldwide Director

+1 212 940 1283

Carolin Bulgari

+41 22 906 80 00

Veronica Lota

+41 22 906 80 00

LONDON

+44 20 7318 4052

Lane McLean

+44 20 7318 4032

NEW YORK Alex Heminway, New York Director

+1 212 940 1269

Tara DeWitt

+1 212 940 1265

Meaghan Roddy

+1 212 940 1266

Corey Barr, New York Manager

+1 212 940 1234

Marcus Tremonto

+1 212 940 1268

Steve Agin, Consultant

+1 908 475 1796

Alexandra Gilbert

+1 212 940 1268

Anne Huntington

+1 212 940 1210

Stephanie Max

+1 212 940 1301

THEME SALES NEW YORK

LONDON Domenico Raimondo

+44 20 7318 4016

Ellen Stelter

+44 20 7318 4021

Ben Williams

+44 20 7318 4027

Marcus McDonald

+44 20 7318 4014

Marine Hartogs

+44 20 7318 4021

LONDON Tobias Sirtl, London Manager

+44 20 7318 4095 +44 20 7318 4061 +44 20 7318 4054

Siobhan O’Connor

+44 20 7318 4040

PRIVATE SALES

PARIS Johanna Frydman

Henry Highley Arianna Jacobs

NEW YORK

+33 1 42 78 67 77

Andrea Hill

EDITORIAL Karen Wright, Senior Editor Iggy Cortez, Assistant to the Editor

ART AND PRODUCTION Fiona Hayes, Art Director NEW YORK Andrea Koronkiewicz, Studio Manager Kelly Sohngen, Graphic Designer Orlann Capazorio, US Production Manager LONDON Mark Hudson, Senior Designer Andrew Lindesay, Sub-Editor Tom Radcliffe, UK Production Manager 248

+1 212 940 1238

MARKETING NEW YORK Trish Walsh, Marketing Manager

SALE INFORMATION

AUCTION Saturday 15 May 2010, 1pm VIEWING Thursday 6 May, 10am – 6pm Friday 7 May, 10am – 6pm Saturday 8 May, 10am – 6pm Sunday 9 May, 12pm – 6pm Monday 10 May, 10am – 6pm Tuesday 11 May, 10am – 6pm Wednesday 12 May, 10am – 6pm Thursday 13 May, 10am – 6pm Friday 14 May, 10am – 6pm Saturday 15 May, 10am – 12pm VIEWING & AUCTION LOCATION 450 West 15 Street New York 10011 SALE DESIGNATION In sending in written bids or making enquiries please refer to this sale as NY000310 or Africa. THEME SALES New York Corey Barr, Manager +1 212 940 1234 Anne Huntington, Cataloguer +1 212 940 1210 Stephanie Max, Administrator +1 212 940 1301 London Tobias Sirtl, Manager +44 20 7318 4095 Arianna Jacobs, Cataloguer +44 20 7318 4054 Henry Highley, Administrator/Cataloguer +44 20 7318 4061 Siobhan O’Conner, Senior Administrator +44 20 7318 4040 Consultant Steve Agin, Toy Art +1 908 475 1796 CATALOGUES Leslie Pitts +1 212 940 1240 $60/£30 at the Gallery catalogues@phillipsdepury.com ABSENTEE AND TELEPHONE BIDS Rebecca Lynn, Manager +1 212 940 1228 +1 212 924 1749 fax Maureen Morrison, Bid Clerk +1 212 940 1228 bids@phillipsdepury.com CLIENT ACCOUNTING Sylvia Leitao +1 212 940 1231 Buyers Accounts Nicole Rodriguez +1 212 940 1235 Seller Accounts Barbara Doupal +1 212 940 1232 Nadia Somwaru +1 212 940 1280 CLIENT SERVICES +1 212 940 1200 SHIPPING Beth Petriello +1 212 940 1373 Jennifer Brennan +1 212 940 1372 PROPERTY MANAGER Robert Weingart +1 212 940 1241 PHOTOGRAPHY Kent Pell, Clint Blowers, Morten Smidt Kristensen

Back Cover Yinka Shonibare, Man On Unicycle, 2005, Lot 62 (detail) 1

w w w. p h i l l i p s d e p u ry.c o m