ASPEN ART MUSEUM
MAGAZINE
46
ArtCrush Auction 2024
burrowing its way down, rendered in natural gemstones selected for their white or green hue. In the same interview, Alice Bucknell asked about a possible moralistic reading of the work, to which Ryan responded: “Not really—I’m interested in how people relate to value, and my sculptures are a way of teasing out that relationship and playing with our sense of judgement. In a sense, my work can be read as a critique of wild consumerism and displays of wealth, but it also totally, happily indulges in it. The works are skeptical of the ‘more is more’ attitude, and are also like, well fuck it, more is more.” Born in Santa Monica, Ryan now lives in New York. Her work is included in numerous notable public collec- tions, including the Nasher Sculpture Center, Dallas, and the Los Angeles County Museum of Art. Her rst major museum survey, featuring around 30 works from 2014 to the present day, is on view at the Hamburger Kunsthalle in Germany through August 11. Marina Perez Simão Work generously donated by the artist and Pace Gallery For Marina Perez Simão, “painting happens where words fail.” The bold, decisive lines and vibrant expanses of color evoke the lush tropical land- scapes of a childhood spent between Minas Gerais and Rio de Janeiro, Brazil. Semi-abstract, the soft, organic curves pulse with warmth and energy; bursts of sharp orange and the burning yellow of the sun o¤set aqueous blues and verdant greens. Simão’s declara- tion above comes from a short lm made by Pace Gallery earlier this year to ac- company her exhibition in Los Angeles. In the lm, she also explains that an exploration of light and movement lies at the heart of her work. The resonance felt between the lines in her paintings should, she says, feel like the ripples that spread through the water when a stone is cast into its depths.
Left Kathleen Ryan. Courtesy: the artist and Karma; photograph: Logan Jackson
palm trees; and enticing little pile ups of paint.” In recent times, Rheingantz has begun to make tapestries and embroi- deries in collaboration with her mother. In her work, sometimes the starting point is a specic reference, while at other times it is more abstract. Talking to Rory Mitchell in 2022 for Ocula , she says, “My painting process is instinctive in a way, it’s not controlled.” She goes on to explain that she is often energized by a sense of anger and frustration, fueled by the turmoil and corruption of Brazilian politics of the last few years. Rheingantz was born in Araraquara, Brazil, and now lives in São Paulo. Her work is included in numerous pres- tigious public and private collections, including the Centre Pompidou and Pinault Collection, Paris; Institute of Contemporary Art and Rubell Museum, Miami; and Museum of Fine Arts, Boston. Kathleen Ryan Work generously donated by the artist and Karma Kathleen Ryan is best known for her large-scale sculptures of gem-encrusted decaying fruit. The “Bad Fruit” series, begun in 2018, makes a tongue-in-cheek, pop- enhanced nod to 17th-century Dutch still lifes. As Ryan explained in an interview with Elephant in 2019, “All the works have something to do with mortality […]—fruit is dying, but mold is thriving.” In a laborious and painstaking process, the entire surface of each giant polystyrene form is gradually covered with thousands upon thousands of beads and stones. The ripe, juicy esh of watermelons, lemons and cherries is gradually built up from a dizzying array of glass beads and natural mate- rials, such as quartz, marble, amethyst, amber, freshwater pearl, garnet, lapis lazuli, shells … to name just a few. And then there is the encroaching mold—swarming across the surface,
Below Marina Perez Simão. Courtesy: the artist and Pace; photograph: William Jess Laird
The online auction opens for bidding on July 25 and closes August 3: christies. com/aspenartmuseum
The live auction takes place on August 2 at the ArtCrush gala. Visit the museum and view the ArtCrush Auction Exhibition from July 17–August 3. Phone and absentee bids accepted. For all enquiries, email bid@aspenart museum.org. Download the Christie’s app and register as a bidder today!
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