CONTEMPORARYMASTERS

FOREWORDThe second half of the 20th century was marked by one of the biggest breaks with the past ever to be witnessed in the history of art. For over 40 years indeed, it has been obvious that a new movement overtook Modern Art: that movement is known as Contemporary Art.

Modern Art was undoubtedly an audacious art movement, although it remained within the tradi-tional aesthetics lines. But, unlike the Moderns, Contemporary artists have emancipated from all conventions and have introduced a disruption even deeper than the one that had already occurred at the beginning of the century.

The post-war period in Europe prefigured this break with the past. If art critic Winckelman defined the artists as ‘the creator of ideal forms’ at the end of the 18th century, the end of all illusionism and classicism after the Second World War shatters this idea. This era will be the age of glory for Modern Art, recognised by all the main cultural institutions in the Western world. The Masters of this movement are praised, especially Matisse and Picasso.

In this context, abstraction starts appearing in different fashions. The art history will remember no-tably four leaders of the abstract movement. Hans Hartung, Master of informal art and undoubtedly a precursor of action painting; Pierre Soulages, the ‘painter of the dark and light’, recognised as one of the main figures of abstraction movement and most famous contemporary French painter. On the other side, Sam Francis developed in his abstract works a new aesthetics of colour that is now widely recognised.

Through their art, these artists embody the questioning of the moral and artistic Man in his quest toward the inner and subjective representations. This quest will continue through the ‘art brut’ move-ment with Jean Dubuffet, who renewed the artistic vocabulary of the period.

Almost simultaneously through the 1950s’ and 1960s’, the centre of gravity of the art world moved from Paris to New York - although one must admit that the 1980s’ saw a relative globalisation of the art stage.

Indeed, New York became a central place for avant-garde artistic creation. The exile of Yayoi Ku-sama is a great example of it: crossing boundaries, Kusama liberated herself from all link with Japan,

all but the memory of an immense culture. ‘It was an era of great excitement for Action Painting.

I felt like it was important for me to create an original art, emerging from my own inner world only’, she says. Kusama gave birth to a prolific and somehow obsessional body of artworks all articulated around the repetition of shapes - her famous dots for instance. An exceptional artist, her work has influenced many various artists such as Andy Warhol and, more recently, Takashi Murakami.

In the 1960s’, marked by the consumer society, artists tend to return to realism: figuration is back in the place of honour. In the United Kingdom and the United States, Pop Art triumphs through legen-dary names like Andy Warhol and Tom Wesselmann. They depict the urban scene and give visibility to the immense world of consumer goods that are the daily surroundings of these societies.

In France, more discreetly, the New Realism appears like an echo of the Pop Art movement, highli-ghting a fascination for the trivial that is tainted with political commitment. Niki de Saint Phalle, the only female artist in the movement, differentiates herself from her peers by a strong and obvious feminism: in her sculptures, for example, she questions the condition of women in the 1960s.

New Realism, an art practice that was oblivious to the worldwide success of Pop Art, emerges with its leading artists Yves Klein and Arman who paved the way for the movement.

Back in New York in less urban settings brighter than those depicted by pop artists. In the Bronx and Harlem, new art practices emerged, that of Graffiti and more broadly Street Art, which have now become a global practice.

Jean-Michel Basquiat is considered the figurehead. Belonging to the generation of Graffiti artists who suddenly appeared at the end of the 1970’s, Basquiat has left a considerable body of work, inhabi-ted by death, racism and his own destiny. His world mixes the sacred mythology of voodoo and the Bible, as well as the advertising and media, the African-American heroes of music and boxing and finally the affirmation of his ‘blackness’. In 1983, he became the youngest and first black artist to ever be exhibited at the Biennial at the Whitney Museum of American Art in New York.

An overview of Contemporary Art must inevitably take into account the emergence of new artistic

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scenes such as in China, Japan and Iran. Our societies have now accepted the idea that the culture and civilisation are no longer part of the monopoly of the Western Christian society but are rather moving to other spheres including political and social changes that greatly work in favour of de-velopment of the artistic field. In the 1970s’, there was a boom in the Chinese art scene. Despite reluctance and obvious political tensions, Chinese art wanted to critique the living conditions and the government in place.

Feng Zheng Jie, a major artist from ‘The School of Kitsch’, has focused on the identity of the younger generation. Yue Minjun is considered one of the key figures of the ‘cynical realism’ movement after the student demonstrations in Tiananmen Square in 1989. He highlights the vulnerability and anxiety of a collective yet individual changing society.

At the other end of the world, in Iran, art is blooming as well through the art of Tanavoli, father of the modern sculpture and a key member of the movement of ‘Saqqakhaneh’. Through the famous three Persian characters ‘Heech’ (meaning nothing), the artist reflects the feelings of unworthiness, frustration and powerlessness that lie within the Iranian society since the 1960s’. A couple of years later, the artist Koorosh Shishegaran revealed his conception on the modern world through his pain-tings. He appears as a complex artist, on the verge of exploding, just as the twisted lines that invade the canvas.

In Japan, Nara Yoshitomo realised a work whose themes are closer to the current malaise of Ja-panese youth and result in a constant introspective search of identity. The ill being and quest for identity are inscribed in the vast majority of work by artists from these new artistic scenes.

No more predominant tendencies in painting will be seen before the new millennium, and neither will avant-garde theories nor major streams. Yet, does it mean that Contemporary Art is only contextual and about identity? Such a conclusion would be simplistic and inaccurate.In light of two major contemporary movements such as the collective Young British Artists (YBAs), or that of the New English Sculpture, some subjects appear recurrent such as the body, the space, new technologies and the media.

Indeed, the collective of YBAs is characterized by the rejection of aesthetic theories and schools of thought and that they will rather trigger knee-jerk reactions to the viewer.

Forerunner Damien Hirst mediates hyper growth through provocation and reflection on the idea of mortality and the consciousness of the end. On the other hand, Marc Quinn is one of the leading

representatives of British Contemporary Art and his work deals mainly with the mutability of the body over time, its physical presence in space and the anxiety of living within a culture. As with Julian Opie, he reduces the image to the essential and transgresses the boundary between painting and sculpture. In his experiments with technology and the digital image, Opie is freed from traditional media.

Finally Chris Ofili created a painting that blurs the boundaries between pleasure and displeasure, the acceptable and the outrageous.

David Mach is an artist of excess who uses the aesthetic and the proliferation of manufactured goods. His creations, initially designed to expose the humour and irony of consumerism, do empha-sise the beauty of everyday life, transforming the ordinary into the extraordinary. From now on, art will question us, measuring our own limits and exploring our taboos.

Finally, design is the culmination of artistic liberation. At the border of the visual arts, design has invaded our environment through its uniqueness. Ron Arad today remains one of the most famous designers of the world, both in the artistic sphere and on the market.

Through this exhibition, Opera Gallery aspires to render homage to the major contemporary artists whose work has contributed to the progression and evolution of art history.

Gilles Dyan Founder and ChairmanOpera Gallery Group

Jean-David MalatDirector

Opera Gallery London

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T1985 - H1, 1985Acrylic on canvas60 x 81 cm – 23.6 x 31.9 in.

LiteratureThis work will be included in the Catalogue raisonné de l’oeuvre de Hans Hartung undertaken by the Fondation Hans Hartung et Anna-Eva Bergman

CertificateAnna-Eva Bergman and the Fondation Hans Hartung have confirmed the authenticity of this work

HANS HARTUNG (1904 - 1989)

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Peinture 130 x 81 cm, 12 avril 1989 Signed ‘SOULAGES 12 AV. 1989’ (on the reverse)Oil on canvas130 x 81 cm – 51.2 x 31.9 in.

ProvenanceGalerie Fandos, ValenceGalerie Protée, ParisPrivate collection, Paris

ExhibitedValence, Galerie Fandos, Pierre Soulages, Dec. 1989, ill. in the exhibition catalogueParis, Galerie Lansberg, Rétrospective Soulages, Oct.-Dec. 2009, ill. in colour p. 55 of the exhibition catalogue

LiteratureP. Encrevé, Soulages, L’ œuvre complet, Peintures, Vol. III, 1979-1997, Paris, 1998, No. 1013, ill. p. 216

CertificatePierre Soulages has confirmed the authenticity of this work

PIERRE SOULAGES (1919 - )

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Untitled, 1980Signed and dated ‘Sam Francis 1980’ (on the reverse), and numbered ‘SFP80-18’ (on the overlap)Oil on canvas60,3 x 50,8 cm – 23.7 x 20 in.

ProvenancePrivate collection, USA

SAM FRANCIS (1923 - 1994)

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Réchaud - Four à gaz V, 1966Signed, dated and dedicated ‘J. Dubuffet 66 pour André’ (lower right corner); signed, titled and dated ‘J. Dubuffet réchaud-four à gaz V mars 66’ (on the reverse)Vinyl on canvas116 x 89 cm – 45.7 x 35 in.

ProvenanceAcquired from the artist Acquired by the present owner by descent from the above

LiteratureMax Loreau, Catalogue des Travaux de Jean Dubuffet, l’Hourloupe II, Fascicule XXI, Paris, 1968, No. 287, ill. p. 160

JEAN DUBUFFET (1901 - 1985)

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Infinity nets, 1993Acrylic on canvas91 x 61 cm – 35.8 x 24 in.

YAYOI KUSAMA (1929 - )

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The imminent death, 1989Acrylic on canvas38 x 46 cm – 15 x 18.1 in.

CertificateThe Yayoi Kusama Studio has confirmed the authenticity of this work

YAYOI KUSAMA (1929 - )

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Guns, 1981 Silkscreen ink and acrylic on canvas41 x 51 cm - 16.1 x 20.1 in.

ProvenanceEstate of the Artist

CertificateThe Estate of Andy Warhol and the Andy Warhol Foundation for the Visual Arts have confirmed the authenticity of this work stamped and numbered PA15.048 on the back

ANDY WARHOL (1928 - 1987)

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Parrot , from the Toy series, 1983Signed and dated ‘1983’ (on the overlap)Silkscreen ink and acrylic on canvas25,4 x 20,3 cm - 10 x 8 in.

ProvenanceGalerie Bischofberger, ZurichPrivate Collection, Switzerland

ANDY WARHOL (1928 - 1987)

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Still life with fruit and goldfish, 1987Signed, titled and dated ‘87’ and inscribed (on the reverse)Enamel on laser-cut steel132,1 x 195,6 cm - 52 x 77 in.

ProvenanceSidney Janis Gallery, New YorkKnoedler Gallery, New YorkPrivate collection, Palm BeachIrving Galleries, Palm BeachAcquired by the present owner from the above (1992)

ExhibitedSidney Janis Gallery, Cut-Out Metal Paintings by Tom Wesselmann, New York, April - May 1987, ill. in co-lour

TOM WESSELMANN (1931 - 2004)

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Hope, red-bluePolychrome aluminium, edition of 891,4 x 91,4 x 45,7 cm – 36 x 36 x 18 in.

ROBERT INDIANA (1928 - )

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La Machine à rêver, 1970Fiberglass and polyester painted280 x 346 x 120 cm – 110.2 x 136.2 x 47.2 in.

ProvenanceAlexander Iolas, Athens

ExhibitedParis, Centre Georges Pompidou, Niki de Saint-Phalle, Rétrospective 1954-80, 1981, ill. pp.1 and 69Stockholm, Moderna Museet, Niki de Saint-Phalle, Rétrospective 1954-80, 1981, ill. pp. 68-69Paris, Musée d’Art Moderne de la Ville de Paris, Niki de Saint-Phalle : l’Invitation au Musée, 1993, ill. pp. 90-91Angers, Musée des Beaux-Arts d’Angers, Niki de Saint-Phalle, Des assemblages aux oeuvres monumentales, 2004, ill. p. 80Barcelone, Fundació Joan Miró, Woman, Metamorphosis of modernity, 2004-05

NIKI DE SAINT-PHALLE (1930 - 2002)

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Starry Night, 1995Signed ‘Arman’ (lower right)Acrylic with brush on canvas95 x 135 cm – 37.4 x 53.1 in.

CertificateMrs Denyse Durand-Ruel and the Official Arman Studio New York archives have confirmed the authenticity of this work under the reference No. APA 8027.95.004

ARMAN (1928 - 2005)

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Logo, 1984Signed and titled (on the reverse)Acrylic and silkscreen152 x 122 cm - 59.8 x 48 in.

ProvenanceGagosian Gallery, New YorkGalerie Beaubourg, ParisCollection Marciano, USAJose Mugrabi, New YorkPrivate collection, New YorkPrivate collection, Greenwich

ExhibitedParis, Galerie Beaubourg, Jean-Michel Basquiat, Peintures 1982-87, 1988New York, Whitney Museum of Art, Jean-Michel Basquiat, 1992-93, catalogue, p. 191, ill.Vienna, Kunsthaus, Jean-Michel Basquiat, 1999, catalogue, p. 72, ill.

LiteratureMichel Enrici, Jean-Michel Basquiat, Paris, 1989, p. 109, ill. in colourRichard Marshall, Jean-Louis Prat, Jean-Michel Basquiat, vol. II, Paris, 1996, p. 122, No.7, ill. in colourRichard Marshall, Jean-Louis Prat, Jean-Michel Basquiat, vol. II, Paris, 2000, p. 191, No.7, ill. in colour

JEAN-MICHEL BASQUIAT (1960 - 1988)

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Comrade (Forget and remember series), 2002Oil, pencil and ink on paper laid down on canvas39 x 53 cm - 15.3 x 20.9 in.

ZHANG XIAOGANG (1958 - )

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Untitled, 2006Signed and dated ‘Feng Zheng Jie 2006’ (lower right corner)Oil on canvas210 x 300 cm – 82.7 x 118.1 in.

FENG ZHENG JIE (1968 -)

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Hero here, 2004Signed and dated ‘Yue Minjun 2004’ (lower right corner); signed, titled in Chinese and dated ‘2004’ (on the reverse)Oil on canvas100,4 x 85,1 cm - 39.5 x 33.5 in.

ProvenancePrivate Collection, Geneva

LiteratureThe Hexiangning Art Museum exhibition catalogue, Reproduction Icons: Yue Minjun 2004-2006, 2006, ill. in colour p.33

Notes‘I hope laughing characters will be seen everywhere, whether through mass communications or the interaction of our daily lives. If everybody would laugh from their hearts, then the world would be nicer for us.’From History of Oil Painting: From Realism to Modernism (Schoeni Art Gallery Ltd.)

YUE MINJUN (1962 - )

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Portrait, 1991Oil on canvas178 x 152 cm - 70 x 59.8 in.

YAN PEI MING (1960 - )

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Red twin ‘Hich’, 2007Fiberglass, edition of 25105 x 75 cm – 41.3 x 29.5 in.

PARVIZ TANAVOLI (1937 - )

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AbstractSigned ‘Koorosh’ (lower left corner)Acrylic on canvas160 x 130 cm – 63 x 51.2 in.

KOOROSH SHISHEGARAN (1945 - )

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Green head, 2008Signed ‘Koorosh’ (lower left corner)Acrylic on canvas170 x 120 cm – 66.9 x 47.2 in.

KOOROSH SHISHEGARAN (1945 - )

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Swimming school, 1997Signed and dated (lower right corner) Acrylic and collage on paper laid down on canvas56 x 42 cm – 22 x 16.5 in.

YOSHITOMO NARA (1959 - )

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The hours spin skull, 2009Resin, household gloss paint and clock dials, unique piece within a series of 210 differently painted skulls18 x 14 x 20 cm – 7.1 x 5.5 x 7.9 in.

ProvenancePrivate collection, France

DAMIEN HIRST (1965 - )

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Untitled (Birthday card), 2001Gloss household paint and butterflies on canvas, unique piece214 x 214 cm – 84.2 x 84.2 in.

DAMIEN HIRST (1965 - )

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Endless column (micro cosmos)Bronze, edition of 769 x 21 x 23 cm – 27.2 x 8.3 x 9.1 in.

MARC QUINN (1964 - )

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Iris (we share our chemistry with the star)Oil on canvas200 x 200 cm – 78.7 x 78.7 in.

MARC QUINN (1964 - )

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Yellow chrome gold hallucination, 2008Acrylic on gesso panel41,5 x 31,5 cm – 16.3 x 12.4 in.

MARC QUINN (1964 - )

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Elly, gallery assistant 3, 2001Vinyl on wooden stretcher, unique piece192 x 142 cm – 75.6 x 55.9 in.

JULIAN OPIE (1958 - )

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Vera, dancer 4, 2007Aluminium, vinyl and lights195 x 204 x 21 cm – 76.8 x 80.3 x 8.3 in.

JULIAN OPIE (1958 - )

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Afro Lunar Lovers, 2003Signed twice and dated ‘CHRIS OFILI Chris Ofili 2003’ (on the reverse)Gouache, charcoal and gold leaf on paper31,5 x 24 cm – 12.4 x 9.4 in.

ProvenanceVictoria Miro Gallery, LondonAcquired from the above by the present owner

CHRIS OFILI (1968 - )

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The Joker, 2006Aerosol on canvas200 x 80 cm – 78.7 x 31.5 in.

SEEN (1961 - )

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Pre-Raphaelite womanMixed media postcards on wood152,4 x 152,4 cm – 60 x 60 in.

DAVID MACH (1956 - )

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Marilyn headCoat hangers, edition of 450 x 65 x 80 cm – 19.7 x 25.6 x 31.5 in.

DAVID MACH (1956 - )

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Little AngelMixed media postcards on wood152,4 x 152,4 cm – 60 x 60 in.

DAVID MACH (1956 - )

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Blo Void II, 2006Mirror-polished steel and steel mesh tinted pink, edition The Gallery Mourmans 64 x 119 x 61 cm - 25.2 x 46.8 x 24 in.

LiteratureRon Arad No Discipline (catalogue of the exhibition), Centre Georges Pompidou, Paris, 2008, similar model ill. in colour p. 127

RON ARAD (1951 -)

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Rover chair, 1981Seating, lacquered steel and leather, unique piece99 x 67 x 89 cm - 39 x 26.4 x 35 in.

LiteratureCollings Matthew, Ron Arad talks to Matthew Collings, Pahidon Press, London, 2004, drawing of the model in black and white p.40Sudjic Deyan, Restless Furniture, Rizzoli Publishing, New York, 1989, similar model reproduced in black and white p. 31

NotesThe ‘Rover Chair’ is a seat from a Rover 2000 car mounted on a frame of Kee-Klamp scaffolding. This is among the first piece of furniture Ron Arad designed and captures the spirit of 80s in London using ready-made objects.

RON ARAD (1951 -)

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