RICHARD PETTIBONE (b. 1938) Andy Warhol, Marilyn, 1962

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Lot 13
RICHARD PETTIBONE
(b. 1938)
Andy Warhol, Marilyn, 1962

Sold for HK$ 177,500 (US$ 22,817) inc. premium
RICHARD PETTIBONE (b. 1938)
Andy Warhol, Marilyn, 1962
1978

signed and dated 1978
synthetic polymer and silkscreen inks on canvas in the artist's frame

8.8 x 7.6 cm (3 7/16 x 3 in)

Footnotes

  • This work is accompanied by a certificate of authenticity issued by O.K. Harris Gallery, dated 27 March 2009.

    Provenance
    The Artist Collection
    O.K. Harris Gallery, New York
    Galerie Sho Contemporary Art, Tokyo
    Acquired directly from the above by the present owner

    理查德·佩蒂伯恩
    安迪·沃荷,瑪麗蓮·夢露,1962
    合成聚合物塗料 絲網印刷 畫布 原畫框
    1978年作

    背面簽名:Richard Pettibone 1978

    此作附O.K. Harris畫廊於2009年3月27日開立之作品保證書

    來源
    藝術家收藏
    紐約,O.K. Harris畫廊
    東京,Sho當代藝術畫廊
    現藏家直接購自上述來源

    "What's the reason for art? To entertain. If you don't do that, what's the point?"
    -RICHARD PETTIBONE, 2005

    Known as a trailblazer of appropriation art, Richard Pettibone has led the way of contemporary art proceeding Andy Warhol's era of Pop Art. The idea of appropriation – by adopting, recycling, collaging, or copying various references, was not unfamiliar to Pettibone, as he was greatly exposed to his contemporary Warhol's work during the mid-1960s and early 1970s.

    Pettibone creates small-scale replicas of masterpieces by artists like Marcel Duchamp, Andy Warhol, and Roy Lichtenstein, exploring the tension embedded in the notion of 'originality' in art, and further engaging the viewer to contemplate about the very meaning of an artwork – as Duchamp turns everyday ready-mades into art, and Warhol puts photographic images in an artistic language, Pettibone's practice can be best described as "appropriating appropriation art" at its core.

    In lot 13 and 14, Pettibone selects one of the most iconic images by Andy Warhol – Marilyn Monroe. As the present lots are created based on a photograph of Warhol's painting, their distinctive diminutive size serves as an intended demarcation from the original, shedding light onto the fundamental exchange between style and substance. This adds a degenerated quality to the silkscreens which are ripe of meditations on existential dread yet aesthetically marvellous.

    These miniature masterpieces, produced shortly after the originals, also exhibit an astonishing level of impact and preciseness. Thus, the present lots blur the line between artistic representation and artistic appropriation with a sense of humor. Pettibone is undoubtedly creating a representation of Warhol's work, but more importantly, as Robert Smith once states, he "has made art that he can call his own." (R. Smith, "Imitations That Transcend Flattery," The New York Times, July 15, 2005).

    「藝術存在的理由是甚麼?是為了娛樂。如果做不到這一點,何必作藝術?」
    -理查·佩蒂伯恩, 2005

    理查·佩蒂伯恩(Richard Pettibone)以挪用藝術先鋒之名聞名於世,早在安迪·沃荷(Andy Warhol)的普普藝術時代之前已是當代藝術的領航者。挪用的概念包含採用、回收利用、拼貼或複製不同的指涉,佩蒂伯恩正是此手法的箇中翹楚,而在一九六〇年代中期到一九七〇年代初期即已大量接觸同儕沃荷的創作。

    佩蒂伯恩創作出馬塞爾·杜象(Marcel Duchamp)、安迪·沃荷(Andy Warhol)和羅伊·李奇登斯坦(Roy Lichtenstein)等藝術家傑作的小型複製品,藉此探究藝術創作要求「原創性」所造成的壓力,並進一步請觀眾思考「甚麼叫做藝術?」,例如杜象將現成品轉變為藝術品,沃荷以影像作為藝術語彙等案例,而追根究柢「挪用藝術」應是對於佩蒂伯恩手法最貼切的描述。

    在第13與第14號拍品中,佩蒂伯恩選擇由沃荷創作,最深入人心的瑪麗蓮·夢露形象作為素材。他以沃荷畫作的照片爲創作藍本,並刻意以微小比例與原作做出對比,突出風格與材料之間的相互影響。這爲作品增添了象徵式層次,其中充滿對於存在焦慮的千頭萬緒,與此同時達到極致的美學高度。

    這些微型傑作是在原作問世不久之後製作而成,不僅其衝擊力和精準度均直達驚人的水平,更以幽默的態度模糊了藝術「再現」與「挪用」之間的界線。佩蒂伯恩毫無疑問地再現了沃荷和雷斯的作品,然而尤為重要的是,正如羅伯特·史密斯(Robert Smith)所做的評語:佩蒂伯恩「所締造出的是一種自成一格的藝術」。 (羅伯特·史密斯,「超越奉承的模仿之作」,《紐約時報》,2005年7月15日)。
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