Contemporary Art143 lots with images
Viewing Notes3rd October 6pm to 8pm. 4th & 5th October 9am to 5.30pm. 6th & 7th October 11am to 3pm. 8th October 9am to 5.30pm. 9th October 9am to 12.30pm. 10th October 10am to 5.30pm. 11th October 9am to 5.30pm. 12th October 9am to 8pm. 13th & 14th October 11am to 3pm. 15th October 9am to 5.30pm. Day of sale 9am to 12 noon.
Description: Ronnie Van Hout Dead Artists pegasus print 3/20 signed circa 1992 and dated 1993 and inscribed Angus, McCahan (sic), Lusk 475mm x 705mm Illustrated: Ronnie Van Hout, I've Abandoned Me Catalogue, Dunedin Public Art Gallery pp26 Ronnie van Hout is the self-proclaimed Elvis of the Artworld. This makes him a performer. It also makes him an impersonator - or an impostor. No stranger to the disillusionment of humanity's impulse to fame, the artist concerns himself with his navel as he regurgitates iconography from the art-world and other realms of celebrity into a bumbling jumble of name dropping and self-abasement. Hollywood is calling in Dead Artists with the gigantean letters that amble over the familiar New Zealand hillsides. This time, however, the letters spell out ghostly heavyweights of New Zealand landscape painting - raised from the dead like tombstones. It is a creepy, purpley, blurred image with the names fighting in the small space to mark their turf on the ridge. Gloomy, depressed, confused, hilarious this scene is a parody of the macabre-New-Zealand-artist topograph. As Anthony Byrt mentions in his article about van Hout's show, I've Abandoned Me: "...van Hout rightly proclaims that identity is fluid, fictional and above all, funny. And the reason identity is funny is because people are funny, except, somewhat paradoxically, a lot of identity artists..." (Anthony Byrt, Who's There? Ronnie van Hout and the Anti-Hero Aesthetic, Art New Zealand No.108, Spring 2003). Ronnie Van Hout is represented by Ivan Anthony, Auckland and Hamish McKay, Wellington. Imogen KerrView additional info »
Description: Fiona Pardington Cay gelatin silver print title inscribed, signed and dated 1996 verso 140mm x 150mm Cay is part of Fiona Pardington's 2002 exhibition One Night of Love, originally exhibited at the Waikato Museum of Art and History. A group of images found in a skip and reshot by Pardington, they are a continuation of her interest in subjects considered 'not good enough'. Originally shot as soft porn, these slightly grubby, amateurish models are given renewed representation in a gallery context. Fiona Pardington is represented by Two Rooms, Auckland; McNamara, Wanganui and Nadene Milne, Arrowtown. Emma FoxView additional info »
Description: Tony De Lautour Heat Seeking oil and mixed media on canvas title inscribed, signed and dated 1992 Original Claybrook Gallery label affixed verso 135mm x 200mm Painting is like intellectual Rock'n'roll. What do you mean? I'm not entirely sure. (Tony de Lautour in conversation with Gwyneth Porter, Hangover ed. Robert Leonard, Priscilla Pitts and Lara Strongman, 1995) Tony de Lautour's artistic contribution is a myriad of lurid tragicomedies; kiwis on junk, skulls, rubbish, sex, drugs and decomposition. The artist takes as his subject matter the low-art and kitsch icons of teenage pencil-case art in his predominantly small-scale works that are delicate, cute, naughty, grungy and utterly attractive. These scenarios reveal the underlying tradition of the artist as martyr to excess, not unlike the rock'n'roll heroes of the 1970s, with a legacy of cut-off ears, drug induced subliminal exploration, drunken truck tragedies and anti-hero status throughout. Tony de Lautour is represented by Ivan Anthony, Auckland; Hamish McKay, Wellington and Brooke Gifford, Christchurch. IKView additional info »
Description: Seraphine Pick Untitled (Wolfman) acrylic and graphite on board signed and dated '93 original Claybrook Gallery label affixed verso 200mm x 200mm The pillow stabbed with needles tells me this has something to do with a dream... no - a nightmare. Watching one of Picks paintings is like watching objects in the clouds - you have to look carefully and keep looking because those fragments, figments, ghosts slip in and out of the familiar - constantly unsettling what you thought was there. Hers is the kind of painting that you can't recall properly when it's not in front of you, the kind of artwork you'd describe to someone all excited, only for them to tell you later that it's not at all how you described it... you wonder if you're going mad... or if the painting's playing tricks on you... Fading in and out, Pick's compositions, like dreamscapes and nightmares inspire a reading that is more a bodily reaction to the hypothetical situations she creates than a literal sum of its parts. They represent often the half beings, the supernatural, the meta-human and what the normal call abnormal. It is what some people describe as uncanny - what is familiar but somehow bizarre - déjà vu, missing limbs, the of-this-world-but-not-of-this-world that we encounter in fictions derived from the real by literature, art and the mind in imagination and belief. Seraphine Pick is represented by Michael Lett, Auckland and Hamish McKay, Wellington. IKView additional info »
Description: Jacqueline Fraser Nerve Agent Sarin oil pastel on upholstery fabric title inscribed, signed and dated 22.11.2002 300mm x 300mmView additional info »