6 Undervalued Artists from Contemporary Art Online

6 Undervalued Artists from Contemporary Art Online

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  Daan van Golden, Heerenlux , 1996. Estimate £2,000–3,000.

  Rudolf Stingel and Christopher Wool are famous for their appropriation of decorative patterns, but Daan van Golden already started meticulously copying the geometric patterns of handkerchiefs and wrapping paper in the 1960s. Although these early works are extremely rare and half of them are in museum collections, his later series of Heerenlux paintings continue his interest in appropriation, authorship and originality. Van Golden executed these paintings, based on a decorative pattern that he first used in 1974 and has recycled throughout his career, in various sizes and often in small series. Although they are each uniquely hand-painted by the artist, he would typically make four versions of the same painting that look exactly alike, thus undermining conventional notions of originality. This version of Heerenlux from 1996 is from a series of ten, one of which is held in the collection of the Stedelijk Museum in Schiedam.

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  Yto Barrada, The Snail , 2009-11. Estimate £4,000–6,000.

  With work in the collections of the Centre Pompidou in Paris, Museum of Modern Art in New York and the Tate in London, to name but a few, the art world is closely following Yto Barrada’s ascent. Based in Tangier, Morocco, Yto Barrada’s work captures a postcolonial world, often in its physical manifestation but equally metaphorically. Trees and other natural elements often feature as metaphors of resistance and strength, as is beautifully captured in The Snail .

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  Jiří Kolář, Untitled (Eight Works) , 1960–1992. Estimate £5,000–7,000.

  With works in the collections of the Tate, MoMA and Centre Pompidou, and an exhibition at the Solomon R. Guggenheim Museum, Jiří Kolář has had his share of institutional recognition – yet he is still largely unknown with the general public. The Czech artist and poet developed an original visual language by cutting and rearranging photographic imagery as well as textual collages. The present lot, which comprises eight collages made between 1960 and 1992, offers a great insight into his original practice.

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  Andrew Grassie, William F Readdy , 1998. Estimate £6,000–8,000.

  Known for his inventive approach to painting, Andrew Grassie had a solo exhibition at the Tate Britain in 2005, and his work is held in their permanent collection. Yet despite such major institutional approval, his work is relatively unknown and rarely appears at auction. Grassie’s work is situated between photographic appropriation and photorealist painting, and often has a self-referential nature. The present work is based on the official portrait of William F. Readdy, a veteran NASA astronaut.

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  Jan Dibbets, 300° Structure Panorama , 1977. Estimate £15,000–20,000.

  With an impressive CV that includes exhibitions at Castelli Gallery in New York and Anthony d’Offay in London (both of whom have handled the present work), Jan Dibbets is a key part of the generation of 1970s conceptual artists. He is best known for his conceptual approach to photography, often by tilting a camera around its axis to create multiple perspectives in a single collaged composition. 300° Structure Panorama is an excellent example of his original practice. Similar photographic collages from the 1970s are found in the collections of the Tate in London, the Walker in Minneapolis and the Stedelijk Museum in Amsterdam.

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  Richard Hambleton, Shadow Jumper , 2005. Estimate £12,000–18,000.

  A contemporary of Keith Haring and Jean-Michel Basquiat, Richard Hambleton took to the streets of New York in the late 1970s. Working with the city’s walls as his canvas, the artist would paint life-sized silhouettes of figures in black paint, which became known as his Shadowman paintings. Characterised by the splashy paint application and mysterious appearance in the streets, Hambleton quickly gained notoriety and extended his practice across to Paris, London, Rome, and the Berlin Wall. This Shadow Jumper is a great example of the artist’s idiosyncratic visual language and dynamic handling of paint.

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