ERIC FISCHL Art Fair paintings
ERIC FISCHL Art Fair paintings
Victoria Miro
Scramble for Purchase Martin Herbert
It’s four hundred years ago, or it’s right now. We’re looking
a pioneering master – and our own spectatorial era, that of
at a roomful of art that is also peopled, and the people, if we
the brightly lit, heavily trafficked art fair. A moment, or pair
follow the lines of their gazes, are mostly ignoring the proffered
of moments, when a gilded art infrastructure and the social
artistry in favour of each other, so that the room is equally full
theatre that transpires within it feel bigger than the works on
of distracting social dynamics. Certainly these are not optimal
which they ostensibly depend; when an artist, like a camera
conditions for viewing art, albeit useful for instrumentalising it.
operator seeking the master shot, might feel obligated to dolly
As paintings clamour on the walls, more makes for less, though
back and observe the whole, the art shrinking as he goes.
only if one is naive enough to mistake this for a contemplative
To walk into an art fair, unless you’re a megacollector at
space. A pair of men stands centre stage, an elegantly slim dog
the select pre-pre-preview, is to walk into the part-chaotic, part-
waits off to one side, and a religious figure appears on the other.
coded, thoroughly complex midst of things. The cubicles are
We’re looking, specifically, at Willem van Haecht’s Interior of
white but all the mobilised neo-religious sanctity, space and
the Salon of the Archduchess Isabella of Austria (c.1625), with its
hush that defined the white cube is gone, travestied. You move
aristocrats and greyhound and nun, or at Eric Fischl’s Art Fair:
amid a percolating human crush and an invisible, ever-shifting
Booth #21 Avenging Angel (study) (2014), with its sloppily dressed,
network of gazes, eyes caught and avoided, body language
baseball-capped art fair visitor and sleek, suited attendant, its
read, positions on the totem pole algorithmically assessed,
gaudy pink poodle and its revenant sculpture of a blue angel, a
conversants’ shoulders frequently looked over. Some fairs are
reminder of higher matters here sidelined, going to the dogs.
stinky with continual commerce, others – for someone with
These two scenarios diverge enough that the iconographic
few stakes in the game, a little schadenfreude kicks in here
overlaps may not be deliberate, though unquestionably Fischl
– convey palpable stagnancy and desperation. Whatever the
intends a parallel in his recent paintings between the imperial
specific atmosphere, though, the visitor’s mind scrambles for
age of rampant collecting originating in the Lowlands – the
purchase, tallying mirrored works or sex-laden works or zombie
outset of the modern art market, which birthed the kunstkammer
abstraction or whatever, while navigating the human maelstrom
style, the painting as micro-museum, of which van Haecht was
too. Sightlines are changeably clogged, peripheral vision a blur
Willem van Haecht II, Interior of the Salon of the Archduchess Isabella of Austria
Eric Fischl, Art Fair: Booth #21 Avenging Angel (study)
of colour and costumery and free-espresso stands and fringe
we might have time to take in the number ‘2’ on the canvas
events, focus is assaulted and communion with art is resultantly
before she appears again, same pose, smaller. Ontologically
tricky, though let’s allow that something amazing will leap
she’s somewhere between person and sculpture – the slippage
out. Regular visitors must evolve a strategy or perish (that of
between reality and artifice is one that Fischl constantly exploits
one American artist I recall: sunglasses, headphones). But it’s
in this series, his brushy technique flattening distinctions – as
never boring, if you’re interested in the deep, ambiguous space
is the next woman we meet, in shorts and vest and headscarf,
of interpersonal dynamics that moves to the fore when what
awkwardly posed, clutching a drink. Maybe she’s a visitor, maybe
you’re supposed to be looking at can’t really be seen. Fischl,
she’s a Duane Hanson, but in any case the scene is already
need it be said, is highly interested.
morphing. A debonair woman in a red evening gown melts
The first thing that the Art Fair paintings do is capsulize
into a red abstraction on the wall behind and two figures sit
all the disorientation effects described above. Consider Art
around reading, checking phones, etc. This vertiginous totality
Fair: Booth #1 Play/Care (2013), perhaps the most hallucinatory
was digitally collaged together by Fischl from a diversity of
of these works. From the left, a lanky, bespectacled woman in
self-shot photographs before he began painting; the doubled
a black hat strides past a Darren Almond number painting;
woman is a copy/paste. But what the painting reflects is, first,
how jangled perception can become while moving through a
regarding the pair of clownish Converse trainers in Art Fair:
fair and reflexively assessing, in motion, the unstable meld of
Booth #1 Oldenburg’s Sneakers (2013). And if you are someone
art and audience, the clustering and uncertainty of classes and
who loves to look at art and values the idea, currently imperilled,
attitudes and even levels of reality; and, second, how an art fair
that it might be a refuge of meaningful seriousness, not nervous
itself is effectively one giant multidimensional collage with the
severity, and a home for the profound complications of seeing,
dizzying potential to snap the identifying tags off everything
then what’s presented here might also strike you as genuinely
and everyone. Fervid confusion, a discombobulating aesthetic
sad. This is what, over a decade or so, we’ve brought it down to:
experience in itself, is what the format can always generate,
a colourful backdrop of mercantile chips for people to cavort
regardless of sales figures; these paintings reflect it, frame it.
against or miss whole registers of. Or, if you want to superimpose
This mirror stage is merely the first, however. Here’s what
this era on the one recorded by van Haecht, this is what we’ve
art appreciation, or consumption, looks like to Fischl today, as
brought it down to again, plumbing new depths of superficiality
related in Art Fair: Booth #4 The Price (2013). The ‘Price’ is a
as we go. Oof, to quote the Ed Ruscha painting that a man is
Ken Price sculpture around which a bunch of suited figures are
actually looking at in Art Fair: Booth #15 OOF (2014), his bald
clustered, along with a shaven-headed man in sunglasses: maybe
spot neatly forming a surrogate circle for the second ‘O’ his
a rapper, given how figures like Kanye West and Jay-Z have lately
head obscures. (Art and audience merging once more.)
used Art Basel as a platform and boast in their raps about the
Art, a character in these paintings as much as any flesh-
art they buy, and seemingly the person who has bought the
and-blood figure, censures us out of the past. In Art Fair:
Price, given his proprietorial stance before it. The Price looks
Booth #16 Sexual Politics (2014), a woman on the left – dressed,
like a pile of speckly pink sausages, or maybe a deluxe dog turd,
the grim tabulator in our heads might say, not expensively –
but at least one person is photographing it with a smartphone –
regards a Warhol Mao painting while, on the right, a man we
albeit only, it seems, because of the man standing with it – and
might take for a gallery attendant looks in her direction, his
absolutely nobody is paying attention to the big, confrontational
sight line leading to her rear. In between them is a Barbara
coitus scene in the painting behind it, plus in fact what’s really
Kruger, a male face staring out at us (as does Mao), reminding
interesting here, given the turned heads, is apparently out of
us that we, as observers, are also the observed in this situation,
frame. Maybe someone more famous is strolling past.
sometimes demeaningly so. Yet look closely and it’s not entirely
That’s comical on one level, perhaps. But humour is
clear that, to paraphrase Kruger crudely, his gaze hits the side
something that can be seen diminishing by degrees in this
of her ass. He may be peering, quite seriously, at the lumpen,
self-serious, perhaps even paranoid world, as the lightness and
Price-like sculpture on the plinth before him; he may be zoning
verve of art calcifies in exchange value: see the sombre crowd
out, looking in a defocused manner at the dividing wall.
Ambiguity, as a cognitive/interpretative doorway, has
even or especially if such a painting is seen in the context of
been a major part of Fischl’s artistic arsenal since the outset,
a fair. That, as the only funhouse mirror in the place, it might
albeit ambiguity replete with specific strewn clues and leading
draw attention and work its twisty charms. And throw out its
in the direction of social commentary on specific milieus.
roadblocks. Painting is not meant to be absorbed quickly,
What he paints here are frozen moments, for sure, ones that
and Fischl has worked enough subtle rhymes and nods and
infer befores and afters: Fischl is a virtuoso of this narrative
references and counterbalanced wit and distress into these
suspension, but here it finds a new agency and sociological
paintings to clarify that he wants them to body forth in satisfying
relevance since the fair visitor, again, always feels to arrive in
stages, and also to contain things that will, perhaps, never be
medias res, to be instantly charged with catching up (one spin
disinterred.
around the booths says: there’s all this you haven’t seen and
In Art Fair: Booth #3 Deathmask (2014), the canvas that
won’t really see today either, plus all these people). The fair,
delays this particular viewer the most, a woman and a man
in one light, is a dynamic collation of unpredictable potential
stand in a booth. She’s opulently dressed, he’s in regulation
outcomes: what will sell, who you’ll meet, what connections
artworld black. A clutch of emotions seems to be passing over
you’ll make, who you’ll blank, what crashing faux pas you’ll
her finely expressive yet loosely painted face, but none of them
make. Overarching it, too, is another, more important issue
are happy; one can make a dozen stabs at how that relates
for culture as a whole: the fate of artistic production if the
to him. Is she an explosive client he’s trying not to offend,
fair remains the designated endpoint for art. (Write your own
or a gallerist he works for, or his wife, or an artist, or...? The
prediction.)
clue we have is the third term that Fischl introduces into the
We noted that the Art Fair paintings reflect this flawed,
work, the third character: the ‘death mask’ painting behind
imbalanced world and lament it, too. They also do something
him, which recalls and perhaps remakes Bacon’s study of the
else, something that runs contrary to the direction expressed
death mask of William Blake, and which feels sufficiently like
here and might be framed partly as compensation, partly as an
a psychic emanation to be actually connected to his body: its
artistic gamble: that an artist could take something as outwardly
black background merges with his suit. Or perhaps this is a
superficial and problematic as the fair environment and wring
prediction of some future demise. Certainly, in this context, it
value and depth from it. Specifically: part of the function, one
feels like a ghost at the feast, which might be Fischl’s role too.
would think, of expressing cognitive confusion – all that doubt
But we look, we look again, pleasurably stymied, and we don’t
over who the players are and what specific game is being played
consume, which is strange enough in relation to an art fair. And
– is that a viewer might pause and parse, engage willingly in
time slows enough for us to wonder what, should this situation
cognitive labour while being dosed with visual intelligence,
continue, will happen next.
Eric Fischl in conversation with Rachel Taylor
RT: The Art Fair paintings offer such a timely exploration of
EF: All my paintings are collaged together from various
the art market. Throughout your career you have been a keen
source materials. Most of it is from photos I have personally
observer of the relationships between people, and between
taken but I am not averse to using any other image source as
people and their environments. You have also chronicled the
needed. This body of work is largely based on photos I took
shift over the past decades as the art world has become more
at Art Basel Miami Beach, Southampton Art Fair, and various
market-led. At what point did you decide to make art fairs
New York gallery shows and openings. My process is to import
your subject?
photos into Photoshop and to cut and paste until I find something I want to translate into a painting.
EF: It was my memoir, Bad Boy: My Life On and Off the Canvas [May 2013] that forced me to confront the reality of this
RT: Portraiture has been a key part of your practice – to
moment and also gave me the courage to look at it. Other
what extent do you see these works as portraits, whether of
than the context – art fairs – there is not much difference
recognisable individuals or of the art world more generically?
from my earlier works. That is to say, as you’ve already pointed out, my work has always been about people and the
EF: I look at the people in my scenes as unwitting actors in my
objects they surround themselves with. My work has always
dramas. They are real and for the most part recognisable but
been about my milieu. It is what I know. The difficulty has
they are not portraits. They are chosen for the specificity of
been for me to accept how much a participant in the art
their characterisation. They represent types.
market world I am and the degree of discomfort that has caused me.
RT: Viewers of this series will become familiar with these ‘types’, but also with specific characters whom you re-use in
RT: In keeping with your previous practice, the compositions
individual works and from image to image. A balding man
in this series are composites from several photographs rather
in a black suit and blue tie dominates the right side of the
than ‘straight’ reproductions of individual photos – can you
composition of Art Fair: Booth #16 Sexual Politics and also
describe this process and the sources you have used?
features, facing the opposite direction, in Art Fair: Booth #21
Avenging Angel (study). In Art Fair: Booth #1 Play/Care a
EF: The artist Steve Gianakos once said to me, ‘Art is a
woman in a large hat appears twice. I’m intrigued by the
desperate attempt to make friends’. It is a cynical bit of wit but
duplication and by this ‘cast of characters’ that grows and
like all humour, rooted in truth.
develops over time.
The art at art fairs puts the artist at cross-purposes with his public (unless he is making work specifically designed
EF: Characters come to me fully formed. That is to say, I see
for the art fair market). How could it be anything other than
certain people as characters because they present themselves
the most disappointing experience? It is there at the fair that
to the world as such. The outfits and the body language of
you experience the vast gap between an artist’s intentions,
a person reveal their internal combustion. You can see their
his expressions, intellect, emotional urgency and that of the
strengths and vulnerabilities, the turmoil or comfort of a soul
‘public’ he is trying so desperately to befriend. Art fairs are a
inhabiting a body. How can one not identify with this very
weird combination of speed-dating and amusement park for
human condition?
those who get sick on the Ferris Wheel: desperate isolation
As a painter I am always struggling to find the right
and over-stimulation of the senses. Shallow and numbing. I
situation, the right moment, in which my ‘cast of characters’
come away from there feeling like people have tucked dollar
will reveal some deeper truth. Not about them but about all of
bills into my underwear.
us through them. I painted the girl in the hat and loose-fitting blue shirt
So to answer your question: yes, I see this body of work as an extension of my themes. And perhaps, to an extent, this
twice, making her smaller as she walks into the painting. She
work is the merging of the public setting with the private and
is shrinking to a child-like size as she enters a booth where
intimate space of the art object.
all the artwork looks like toys that would populate a daycare centre or kindergarten. Is it the art that infantalises its
RT: Your work has always had a strong narrative component
audience or the art market that nourishes the infantile?
and this series inspires the viewer to construct his or her own stories to explain what is happening in the various art fair
RT: Over the years your work has explored the intricacies
booths.
of relationships in very specific environments, people connecting or failing to connect in spaces that act as witnesses
EF: For a narrative to become activated there must be
to their (and by extension our) desires and follies. Do you see
movement. Motion captures the eye and triggers speculation.
this new series as part of the same trajectory? And if so, can
The movement doesn’t need to be more than the unweighting
you talk a bit about public as opposed to private spaces?
of a leg, the slight turn of a head, the dropping of an eyelid.
You need to feel that you have just come upon something as it is unfolding. For the artist, knowing when to start the moment is the key. For me, I begin just at the moment that something is about to happen or just after something has happened. Arresting the drama at one of those two points is what brings the viewer into the experience, leaving them with enough room that they can form their own opinion of what is happening and what it means to them. RT: There’s a wonderful depiction of the flat, even light typical of art fair interiors in these paintings. How would you describe the relationship between medium, subject and composition in this series? EF: The paintings are very directly painted. There is little if any technique. What I discovered as I moved into this work is the essentially abstract nature of art fair spaces. They are nearly cubistic in their flatness and their jarring collaged constructions. You see a booth and through it another and through it another, each booth showing works that have their own, often contrasting, spatial illusions. For a painter, it is a rich environment to try and capture – layers of consciousness on top of layers of cross-purposes. I am falling in love with it. Not because it is the proper place for art but because it is such a rich environment to make art about. It has, ironically, taken me back to my early years as an abstract painter. I’m finding compositions reminiscent of my early works.
me. Though not explicit in that particular painting, the environment was taken from a sidewalk art fair in St Tropez. I have, from the very beginning of my representational work, included art in the scene. In early works the art was exotic, full of otherness from other cultures not appreciated or understood – airport tourist art representing ‘worldliness’ to the suburban mentality. I would use power objects – shamanic power objects – that have been disconnected and rendered spiritually impotent by being decontextualised. They act as witness to the chafing banality of suburban life. RT: The artworks depicted within the Art Fair paintings seem to be protagonists in the scenes as much as the fair-goers – that is, one doesn’t read the artworks as backgrounds to the narratives. Can you talk about where your interest lay as you were making the works? Eric Fischl Self Portrait with April Gornik at the Beach
EF: I see the art works exactly that way. They are players in RT: In Bad Boy you make reference to your early self-
the drama and as such exert pressure on the scene and on
portraits: ‘mostly spoofs, ironic or comic renderings of myself
the interpretations possible. The humans in the scene are
as a dealer, a cheap arts-fair vendor, a Shriner, and, once
sandwiched between the images of art and the viewers who
projectively, as an unseemly old man’. I am curious about the
are pushing back. The space in these paintings is collapsed,
images of yourself as a dealer and whether these may have in
cluttered, irrational and aggressive. Those depicted in the
some ways served as precursors to this series?
scenes seem oblivious to the mania that is surrounding them. It escapes them but not the viewer. I don’t think anyone is
EF: The early self-portrait as an artist at a sidewalk art fair
particularly aware of how art and artists have been screaming
was very much a questioning and self-parody about my
at the top of their lungs about the craziness of it all – not just
relationship to the journey of an artist (spiritually, artistically,
art fairs but the world in general; and with so little ability to
ethically) versus the lifestyle commercial success had brought
affect it. (Now I’m just complaining.)
RT: This series clearly develops your long-standing theme
the besuited man holding his hands protectively in front of his
of depicting artworks in your paintings. There is, of course,
crotch in Art Fair: Booth #16 Sexual Politics – a gesture echoed
a long history of art about art, and more specifically of
by a visitor the other side of the booth wall whose hands are
paintings depicting salons, exhibitions and other places where
crossed behind her back. Crossed arms recur across the series
art is shown. How much have you thought about historic
– characters we read as a collector in Art Fair: Booth #4 The
precedents while making this body of work?
Price, a dealer in Art Fair: Booth #1 Oldenburg’s Sneakers, and a fair-goer in Art Fair: Booth #27 Ridiculous Sublime all stand with
EF: I was a way into this body of work before I began to look
their arms crossed but the gesture reads quite differently in
back deeper into the genre. Though peripherally aware of
each case: defiance, a sort of repressed anxiety, and a more
the northern European genre, I was not aware of the
contemplative calmness respectively. I’m wondering about
socio-political resonance of seventeenth-century Dutch
how consciously you work to produce images that retain this
paintings with today. The boom in the Dutch economy, the
degree of ambiguity?
invention of the sawmill enabling a more robust shipbuilding industry, the expansion of commercial routes throughout
EF: I think you have read my work beautifully. There was
Europe as well as globally, the huge influx of migrant workers,
a time when one sought out the art experience precisely
an open and religiously tolerant society, and a colonialist
because it was open to interpretation. Now it seems like
fascination with otherness and exotica produced a robust art
people are looking for the kind of certainty that can only be
industry of portraiture and decorative paintings. Sounds a bit
found in the literal.
like today.
I make a distinction between ambivalence (which I think
is a negative quality in art) and ambiguity (which I think is the
RT: Can you talk about ambivalence and ambiguity in the
essential quality of art). Ambivalence is the inability to make
paintings? They occupy an interesting territory that is at
critical choices because one feels there is no fundamental
once humorous, satirical of the excesses of the art market,
difference between those choices. It is a tacit acknowledgment
and sympathetic to the figures who occupy it, who can
that some things are essentially meaningless. I think
appear strikingly vulnerable. I am thinking of the child of
ambivalent art reveals a failure of both will and imagination.
indeterminate gender in Art Fair: Booth #10 Booty (and it is
The expression of ambiguity in art, on the other hand,
also ambiguous whether this is a real child or – perhaps more
embraces the complexity of life’s meaningfulness, because
likely – a sculpture). But this vulnerability keeps cropping up
it recognises the multiple layers of meaning within our
in the paintings, mainly conveyed through posture. There is
experiences though they are often contradictory.
Art Fair: Booth #1 Play/Care, 2013 Oil on linen 208.3 x 284.5 cm 82 x 112 in
Art Fair: Booth #1 Oldenburg’s Sneakers, 2013 Oil on linen 208.3 x 172.7 cm 82 x 68 in detail overleaf
Art Fair: Booth #3 Deathmask, 2014 Oil on linen 137.3 x 172.7 cm 54 1/8 x 68 in
Art Fair: Booth #4 The Price, 2013 Oil on linen 208.3 x 284.5 cm 82 x 112 in detail overleaf
Art Fair: Booth #10 Booty, 2014 Oil on linen 208.3 x 284.5 cm 82 x 112 in details with essay
Art Fair: Booth #15 OOF, 2014 Oil on linen 172.7 x 208.3 cm 68 x 82 in detail at end
Art Fair: Booth #16 Sexual Politics, 2014 Oil on linen 208.3 x 284.5 cm 82 x 112 in detail overleaf
Art Fair: Booth #17 Instructions, 2014 Oil on linen 177.8 x 208.3 cm 70 x 82 in detail overleaf
Art Fair: Booth #21 Avenging Angel (study), 2014 Oil on linen 91.4 x 121.9 cm 36 x 48 in
Art Fair: Booth #27 Ridiculous Sublime, 2014 Oil on linen 172.7 x 208.3 cm 68 x 82 in detail overleaf
Art Fair: Booth #40 Shopgirl (study), 2014 Oil on linen 76.2 x 101.6 cm 30 x 40 in
Art Fair: Booth #60 Shoot/Please (study), 2014 Oil on linen 91.4 x 121.9 cm 36 x 48 in detail overleaf
from Jeff in Venice, Death in Varanasi by Geoff Dyer
It was an unusual night in that there was no dinner for Ed
in the garden. People were counting on risotto to line their
Ruscha. The reason there was no dinner for Ed Ruscha was
stomachs; a lack of risotto would have a significant impact on
because there was a party for Ed Ruscha. Jeff only realized
their ability to belt back bellinis. From the balcony of the gallery
this – that the party at the Peggy Guggenheim Collection was
itself a bearded American ambassador or cultural attaché was
actually in honour of Ed Ruscha – as he checked the thick,
pleading for calm, or at least trying to get everyone to quieten
heavily embossed invite on his way over. By the time he arrived
down for a few minutes so he could give a speech. When the
there must have been a thousand people stuffed into the
hubbub subsided, the bearded dignitary welcomed Ed Ruscha,
garden and hundreds more – the great uninvited – trying to
praising him to the skies, explaining what an honour it was to
get in. It was as if the government of Venice had fallen and the
have him here and what an important artist he was. At the end
last helicopters were about to take off from the Guggenheim
he asked everyone to raise a glass to Ed Ruscha, which, though
before the victorious armies of Florence or Rome occupied
fair enough, was pretty superfluous since the only time during
the city. Invite in hand, he was ushered through the gates by
his speech people had stopped raising their glasses was while
the scrupulously polite security. Inside, everyone was belting
getting them refilled by the much put-upon bar staff. And
back bellinis as usual. The waiters were struggling to cope with
then the doors to the gallery itself opened. This was it! The
the insatiable demand for bellinis. There was barely room to
risotto, obviously, was now being served. There was an amazing
move and around the drinks tables it was mayhem. Jeff had got
stampede as people seized on the idea that the risotto moment
it into his head that risotto had been promised. He assumed
was imminent. Jeff was perfectly placed. He surged up the
he’d got this idea from the invite, but there was no mention
steps and found himself in the galleries, confronted not by vats
of it there and, at present, no risotto was in evidence. In view
of creamy risotto but art, paintings and sculptures from the
of the numbers, producing risotto was an absurdly ambitious
glorious heyday of modernism – Duchamp, Max Ernst, Picasso,
and labour-intensive undertaking, but it seemed that Jeff was
Brancusi – when it was impossible to believe that there would
not alone in expecting risotto. The risotto and its potential
come a time when all people cared about was free risotto to
non-appearance was, in fact, the chief topic of conversation
mop up all the free bellinis they’d been swilling in the garden.
Published on the occasion of the exhibition Eric Fischl | Art Fair paintings 14 October – 19 December 2014 Victoria Miro · 16 Wharf Road · London N1 7RW
Essay by Martin Herbert In-conversation by Rachel Taylor Design by Martin Lovelock Edited by Matt Price Extract from Jeff in Venice, Death in Varanasi by Geoff Dyer Published in Great Britain by Canongate Books Ltd., 14 High Street, Edinburgh, EH1 1TE All works © Eric Fischl All images courtesy the artist, Mary Boone Gallery, New York, and Victoria Miro, London Artwork photography by Gary Mamay Portrait photography © Ralph Gibson, 2014 Willem van Haecht II, 1593-1637, Interior of the Salon of the Archduchess Isabella of Austria, after 1621 Oil on wood, 93.3 x 123.2 cm, 36 3/4 x 48 1/2 in Norton Museum of Art, West Palm Beach, Florida, gift of Mrs. George T. (Valerie) Delacorte in memory of Gabriel Pascal producer of the George Bernard Shaw films, 2002.182 Eric Fischl, Self Portrait with April Gornik at the Beach, 1983, oil on canvas, 121.9 x 121.9 cm, 48 x 48 in Courtesy the artist and Mary Boone Gallery, New York
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