RatedFerg Artwork, Brooklyn, NY (2026)

07/19/2022

Within (Nikki)
Oil & Acrylic on canvas
30 x 40 inches
circa 2022
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@ Brooklyn, New York

06/17/2022

Cheers to the Pasta Family for welcoming this Piece into their Collection.
“she never looked nice, She looked like an Art and Art wasn’t supposed to look nice. It was supposed to make you feel something.” That’s the full tattoo on featured in this artwork

“Daysha’s Crown (Heavy is the head that wears the Crown)
Trophy of Liberation 🏆 series.
Pen, Acrylic and Kente Cloth on watercolorpaper
35 x 51.5 inches
circa 2022

Thank you & .art & my guy

05/16/2022

Last two Days (Monday 5/16 & Tuesday 5/17, this week) to see the preview before the live Auction on May 18th (Evening Sale @ 7pm) and May 19th (Day Sales: Morning & Afternoon sessions).

Visit www.Phillips.com to bid/watch the 20th Century & Contemporary Art live Auction.

05/05/2022

Personally there is something about texture (impasto) in Art that I find so mesmerizing.
"I’m interested in foods generally which have been fooled with ritualistically, displays contrived and arranged in certain ways to tempt or seduce us."
—Wayne Thiebaud

An arresting example of Wayne Thiebaud’s most iconic imagery, Berry Cake embodies the artist’s reinvigoration of still-life painting through his unique Pop lexicon that explored the joys of modern American culture. Belonging to his career-long series of mouthwatering cakes and desserts, the present work, painted in 2017-2018, reflects Thiebaud’s mastery of the subject that first engrossed him in the early 1960s. In the present work, the artist manifests his signature technique of “object transference,” in which his rich application of paint mimics the object he depicts. Here, thick impasto doubles as luscious frosting while textured slathers of purple imitate a fresh spread of berry preserves, bringing the delectable cake to life in oil paint. Transforming the mundane into the extraordinary under Thiebaud’s painterly hand, Berry Cake encapsulates the artist’s amusing response on the sensual edibility of his works: “the painting and the frosting...that’s a real indulgence.”

Offered in upcoming May 18th (Evening Sale) Lot 21:
Wayne Thiebaud
Berry Cake
oil on board
18 x 18 in. (45.7 x 45.7 cm)
Painted in 2017-2018.

Estimate
$1,500,000 - 2,000,000

© Phillips Auction

05/04/2022

"My characters are part of a full world who can’t exist without others."
—María Berrío

Fusing mythology and biography, Burrow of the Yellow, 2013, is a paragon of María Berrío’s fantastical large-scale collages that teem with chromatic exuberance. Set in a kaleidoscopic room, four women recline with big cats and rabbits in a field of flowers. Here, the figures amalgamate with the surrounding flora and fauna as much as the flowers meld into the patterned wallpaper that extends past the window into the outer world. Blurring interior and exterior, Burrow of the Yellow showcases Berrío’s practice of entwining material and conceptual layers that capture the “magical realism” of her acclaimed oeuvre.

Based in New York, the Columbia-born artist is known for her ornate depictions of mythical utopias presenting women at one with nature, finding inspiration in South American folklore and her personal life. Based on a dream Berrío had as an expectant mother, Burrow of the Yellow is a highly autobiographical work that manifests how being a mother has influenced her work. “When I was pregnant with my son,” she explained, “I had a dream where I gave birth to a rabbit, which my mother then put into a cage. Then, we all waited for it to turn into a human…it led to me making a painting of women laying on the floor surrounded by rabbits.”ii The female figure cradling the rabbit and the tigers that lay with the women materialize her expression on the protective element of motherhood through her unique visual language, inviting us into the unconscious depths of her mind to “unveil the mysteries and beauty of our world, to explore and touch the unseen.”

Offered in upcoming May 18th (Evening Sale) Lot 3:

María Berrío
Burrow of the Yellow
mixed media collage on canvas
60 x 72 in. (152.4 x 182.9 cm)
Executed in 2013.

Estimate
$400,000 - 600,000

© Phillips Auction

05/03/2022

There was calm presence when I first saw this painting in person. ☔️☂️☔️☂️
A meditative feeling which makes sense when you think about the title: “Purgatory”

American artist Dan Colen has spent most of his career asking himself questions about the editorial decisions artists have to make when creating a scene from scratch on canvas. In his early work, Colen painted mundane interiors punctuated with fantastical elements. This manifested as part of a growing curiosity in the ethereal or divine intervention.

Colen subsequently stepped away from paint as material and started using found objects as mediums with which to paint. Among these, Colen has used chewing gum, street trash, confetti, feathers, flowers and dirt. This methodology allows Colen to abandon control and create in a more free-form, subconscious manner.

Offered in Upcoming Day(Afternoon) sales (May 18th & 19th) is lot - 372
Dan Colen
Purgatory
signed, inscribed and dated "D.C. 2483 Daniel Colen 2018" on the overlap; further signed, titled, inscribed and dated "DC-2483 "Purgatory" Daniel Colen 2018" on the strainer
oil on canvas
89 1/2 x 119 in. (227.3 x 302.3 cm)
Painted in 2018.

Estimate
$150,000 - 200,000

© Phillips Auction

05/02/2022

An amazing Sculpture for Day(Morning) sales (May 18th & 19th) is lot 112 by:
John Chamberlain
The Vagabond's Prayer
painted steel
60 x 58 x 47 in. (152.4 x 147.3 x 119.4 cm)
Executed in 1992.

Estimate
$400,000 - 600,000

Formidable in size and teeming with vivacious colors, John Chamberlain’s The Vagabond’s Prayer, executed in 1992, is the product of decades of experimentation with steel car parts. Acquired more than 25 years ago and coming from an important New York Estate, the present work is an exceptional example of the artist’s late body of work, when Chamberlain began utilizing lighter auto-parts to create more intricate and layered sculptures. The striking vigor and voluminous form of this work retains the ethos of earlier examples, while its nimble design and bold colors, are a testament to Chamberlain’s prolonged investigation and emblematic use of the medium.

The artist’s interest in the unconventional medium of auto parts materialized in 1957 when Chamberlain created Shortstop, a sculptural work composed entirely of pieces obtained from a rusting 1929 Ford that was parked in fellow artist Larry Rivers’ yard. Marking a significant departure from the artist’s earlier linear sculptures, inspired by David Smith, which characterized his oeuvre until the late 1950s, the car, and its various steel components, became the artist’s primary medium in 1958. The frenetic energy inherent in Chamberlain’s later sculptures was enabled by lighter and thinner steel parts that the artist began to employ in the 1990s. Far more malleable than the auto body parts that Chamberlain had used in his previous sculptures, the greater pliability of the lighter steel components afforded the artist greater artistic freedom.

© Phillips Auction

05/01/2022

One of the top Lot for Day sales (May 18th) is Kehinde Wiley’s painting of

Kehinde Wiley has carved a place in the canon of American portraiture for his paintings of contemporary Black sitters in compositions drawn from the traditions of Western portraiture. Inserting Black figures into a visual tradition that has been historically exclusionary, Wiley subverts these narratives while drawing attention to the relationship of painting to representation, power and status. With Big Daddy Kane, Wiley celebrates a key figure in the golden age of hip hop with a monumental portrait.

Wiley's portrait Big Daddy Kane is part of a 2005 series for VH1’s Hip-Hop Honors in which he was commissioned to paint each of the recognized artists, including LL Cool J, Ice T, and Grandmaster Flash and the Furious Five. The iconography of hip-hop is a prevailing interest in Wiley’s practice, though it is rarer that he has painted these famous hip-hop artists themselves.

In this eight-foot-tall, larger-than-life portrait, Wiley pays tribute to Big Daddy Kane by depicting the musician with lavish accoutrement typical of old masters portraits of nobles or aristocrats. Holding a commanding pose while exuding grace and nonchalance, Kane is surrounded with floral motifs, signature for the artist, rendered in opulent gold leaf. Big Daddy Kane merges hip-hop and classical iconographies by pairing Kane’s 2005 fashion with traditional white columns and by setting a microphone within a formal coat of arms. As Connie H. Choi describes, “by conflating the consumerism of hip-hop with the opulence of Old Master painting, Wiley brings the high-art world into the realm of popular culture at the same time that he deliberately moves away from the overt identity politics of the previous generation of African American artists.”i Big Daddy Kane celebrates the triumph of success within a nuanced and distinctly contemporary cultural interpretation.

Lot - 339
Kehinde Wiley
Big Daddy Kane
oil on canvas, in artist's frame
106 x 82 1/8 in. (269.2 x 208.6 cm)
Painted in 2005.

Estimate
$150,000 - 200,000

© Phillips Auction

04/30/2022

As May 18th (Evening Sale) & 19th (Day Sale) Auction Preview Opens to the Public today @ 432 Park Ave, NY 📍. I will be sharing some Amazing top lot works in the Sales. I called this “Viewing Art With Ferg.” Let’s learn and get inspired by these Amazing Artist and their works!

First Is Lot: 19 Ο ◆
Roy Lichtenstein
N**e
oil and Magna on canvas
82 1/2 x 45 in. (209.6 x 114.3 cm)
Painted in 1997, this work will be included in the forthcoming catalogue raisonné being prepared by the Roy Lichtenstein Foundation.

Estimate
$8,000,000 - 12,000,000

Among Roy Lichtenstein’s final paintings, N**e encapsulates the artist’s reflections on both his career and modernism as a whole—on his own terms and through his own approach. An image of radiant beauty and unadulterated allure, Lichtenstein’s bombshell seduces the viewer with a soft smile and brilliant red lips, inviting our gaze with averted eyes. Executed in 1997, the year of Lichtenstein’s death, this superb example from his last major body of work (1993-1997) sustained his career-long preoccupation with cultural clichés: once again seizing the cartoon imagery that featured in his earlier work, he deviated from his original source material only by visualizing them without their clothes. Their metamorphosis into another stock image of femininity perpetuated by printed media—that of the erotic, domestic blonde—veiled by his arresting Ben-Day dots, his stock-in-trade, reflects his ever-evolving dialogue with pop culture and the art historical canon.

© Phillips Auction

04/30/2022

As May 18th (Evening Sales) & 19th (Day Sales) Auction Preview Opens to the Public today @ 432 Park Ave, NY 📍. I will be posting some great top lots works in the sales. This is called “Viewing Art with Ferg.” Let’s Learn about these artists & their works & get Inspired!!!

First is Lot : 19 Ο ◆
Roy Lichtenstein
“N**e”
oil and Magna on canvas
82 1/2 x 45 in. (209.6 x 114.3 cm)
Painted in 1997, this work will be included in the forthcoming catalogue raisonné being prepared by the Roy Lichtenstein Foundation

“Among Roy Lichtenstein’s final paintings, N**e encapsulates the artist’s reflections on both his career and modernism as a whole—on his own terms and through his own approach. An image of radiant beauty and unadulterated allure, Lichtenstein’s bombshell seduces the viewer with a soft smile and brilliant red lips, inviting our gaze with averted eyes. Executed in 1997, the year of Lichtenstein’s death, this superb example from his last major body of work (1993-1997) sustained his career-long preoccupation with cultural clichés: once again seizing the cartoon imagery that featured in his earlier work, he deviated from his original source material only by visualizing them without their clothes. Their metamorphosis into another stock image of femininity perpetuated by printed media—that of the erotic, domestic blonde—veiled by his arresting Ben-Day dots, his stock-in-trade, reflects his ever-evolving dialogue with pop culture and the art historical canon.”

©

04/22/2022

Now on View at with located in Booth until April 24th.

“Daysha’s Crown (Heavy is the head that wears the Crown)
Trophy of Liberation 🏆 series.
Pen, Acrylic and Kente Cloth on watercolorpaper
35 x 51.5 inches (Framed: 39 x 55.5 in)
circa 2022

Also within the Dallas Art Fair, the gallery continues the path recently taken and offers a hybrid booth with modern and contemporary artists in dialogue with each other.

For this year's edition, the gallery presents a plethora of new artist collaborations, amalgamating into the current gallery's roster. Works may be found by currently represented artists such as Radu Oreian, Levi van Veluw, Kevin Francis Gray in addition to the new entries including Giò Pomodoro, Joan Witek, Marco De Sanctis and Adjani Okpu-Egbe.

RatedFerg Artwork

07/19/2022

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05/05/2022

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