Seismic Shifts Under the Hammer: Highlights from Sotheby’s Now and Contemporary Evening Auction
Last night, May 16th, 2025, Sotheby’s presented a compelling snapshot of art history’s transformative decades with their “Now and Contemporary Evening Auction.” The selection wasn’t just a collection of artworks; it was a curated journey through the radical evolutions that redefined artistic practice in the latter half of the 20th century and continue to resonate today. Sponsored in partnership with CELINE, the auction underscored the enduring dialogue between art and contemporary culture.
The sale thoughtfully traced a lineage, beginning with the powerful abstract languages emerging in post-war America and Europe. One could almost feel the gestural energy of Lee Krasner‘s August Petals or the rigorous geometry of Frank Stella‘s Adelante, each marking distinct yet related departures from earlier traditions. The cool, intellectual explorations of Color-Field painting and Minimalism were also present, perhaps in the serene presence of an Agnes Martin Untitled #11 or the assertive simplicity of a Donald Judd Untitled.
The explosion of Pop Art, with its embrace of popular culture and mass media, was undoubtedly a focal point, particularly with a significant offering of works by Roy Lichtenstein. From the playful deconstruction of romance comics in Nudes in Mirror (Study) and the bold graphic punch of Reflections: Art, Bonsai Tree, Still Life Tapestry (Study), and Woman: Sunlight, Moonlight, Lichtenstein’s signature Ben-Day dots and graphic sensibility felt as fresh and impactful as ever. The inclusion of Andy Warhol‘s iconic Flowers further solidified this pivotal movement’s enduring influence.
The auction also cast a light on the critical and postmodern inquiries that emerged in the 1980s and 90s. Barbara Kruger‘s text-based work, Untitled (Love for Sale), with its sharp wit and interrogation of consumerism and power, felt particularly relevant. The raw energy and poignant commentary of a Jean-Michel Basquiat Untitled and Gravestone served as powerful reminders of that era’s artistic spirit.
More recent voices also commanded attention. Danielle Mckinney‘s evocative Stand Still, Mohammed Sami‘s introspective Poor Folk II, and Michael Armitage‘s layered narrative in Mpeketoni showcased the diverse and dynamic landscape of contemporary painting. Rashid Johnson‘s Two Standing Broken Men offered a potent exploration of identity and fragmentation, while Laura Owens‘ Untitled exemplified a more playful and experimental approach to abstraction. The intense figuration of Adrian Ghenie‘s Alpine Retreat 2 and the enigmatic quality of Ernst Yohji Jäger‘s Untitled added further layers to the contemporary dialogue.
The inclusion of sculptural works like John Chamberlain‘s crushed metal Butternut, Robert Rauschenberg‘s innovative Rigger, Jeff Koons‘s whimsical Baroque Egg with Bow, and François-Xavier Lalanne‘s charming Troupeau de Moutons de Laine demonstrated the breadth of artistic innovation across mediums.
Overall, the “Now and Contemporary Evening Auction” wasn’t just a sale; it was a carefully considered exhibition highlighting the pivotal moments that shaped our understanding of contemporary art. It served as a powerful reminder of the courage of artists who dared to break with tradition and explore new territories, laying the groundwork for the vibrant and multifaceted art world we navigate today. For artists observing these results, it’s a valuable opportunity to reflect on the ongoing dialogue between artistic innovation, historical context, and the market’s evolving appreciation.
