From left  Jonas Wood (b. 1977), 8 Pots. Each sheet 16 x 14 in (40.6 x 35.6 cm). Estimate $60,000-80,000. Offered in Contemporary Edition, 9-16 July 2019, Online. Gina Beavers

Established names and fresh new talent to look out for

A look at artists whose reputations and markets are on the rise — featuring works offered in our First Open | Online and Contemporary Edition auctions in July

Martin Wong

Martin Wong (1946-1999), Puerto Rican Day Parade, 1998. Acrylic on canvas. 30 x 24 in. (76.2 x 61 cm). Estimate $50,000-70,000. Offered in First Open  Online 9-17 July

Martin Wong (1946-1999), Puerto Rican Day Parade, 1998. Acrylic on canvas. 30 x 24 in. (76.2 x 61 cm). Estimate: $50,000-70,000. Offered in First Open | Online 9-17 July

Who? A romantic visionary, Martin Wong (1946-1999) often portrayed the black and Latin populations of his Lower East Side neighbourhood, seeking to accentuate their vitality with pathos and pride. Puerto Rican Day Parade  exemplifies his tenderly empathic depictions of everyday life in New York City. 

Recent exhibitions: Martin Wong: Human Instamatic, The Bronx Museum of the Arts, New York, 2015

If you like this you might also enjoy: Keith HaringJean-Michel BasquiatDavid Wojnarowicz

Genieve Figgis

Genieve Figgis (b. 1972), Ladies in the Grass, 2015. Acrylic on canvas. 23½ x 31⅜ in (59.7 x 79.7 cm). Estimate $8,000-10,000. Offered in First Open  Online 9-17 July

Genieve Figgis (b. 1972), Ladies in the Grass, 2015. Acrylic on canvas. 23½ x 31⅜ in (59.7 x 79.7 cm). Estimate: $8,000-10,000. Offered in First Open | Online 9-17 July

Who? Born and educated in Ireland, Genieve Figgis (b. 1972) was championed by Richard Prince after showing her art on Twitter. The consummate storyteller’s Rococo-esque works are filled with characters and settings from ‘the Edwardian age of the Anglo-Irish aristocracy’. Ladies in the Grass  assembles a quartet of Victorian women and two dogs, and exhibits the artist’s signature blend of romance, foreboding and melancholy.

Recent exhibitions: Flat Earth, Half Gallery, New York, 2018; Wish You Were Here, Almine Rech Gallery, Paris, 2018; What We Do in the Shadows, Almine Rech Gallery, Brussels, 2017; Romeo and Juliet, Gallery Met, New York, 2016

If you like this you might also enjoy: Karen Kilimnik, Jean-Honoré Fragonard

Aaron Fowler

Aaron Fowler (b. 1988), Untitled (Foot Locker), 2013. Oil, acrylic, glitter, charcoal, pastel on paper, painted card and fabric collage, nails and plastic on carved panel, in three parts. 80¾ x 119⅞ in (203 x 304.5 cm). Estimate $18,000-25,000. Offered in First Open  Online, 9-17 July

Aaron Fowler (b. 1988), Untitled (Foot Locker), 2013. Oil, acrylic, glitter, charcoal, pastel on paper, painted card and fabric collage, nails and plastic on carved panel, in three parts. 80¾ x 119⅞ in (203 x 304.5 cm). Estimate: $18,000-25,000. Offered in First Open | Online, 9-17 July

Who? Born in 1988, Aaron Fowler has quickly established himself as one of the most exciting artists of his generation, eschewing the fashionably slick post-internet aesthetic for one that is defiantly haphazard, analogue and DIY. Untitled (Foot Locker) is a bombastic, large-scale figurative assemblage of swashbuckling black pirates on the deck of a ship at sea.

Recent exhibitions: Blessings on Blessings, Diane Rosenstein, Los Angeles, 2016; A Constellation, Studio Museum in Harlem, New York, 2015

If you like this you might also enjoy: Peter SaulRed GroomsRobert Colescott

Gina Beavers

Gina Beavers (b. 1974), Demi Moore, 2012. Acrylic on canvas. 24 x 17¾ x 2 in (61 x 45.1 x 5.1 cm). Estimate $4,000-6,000. Offered in First Open  Online, 9-17 July

Gina Beavers (b. 1974), Demi Moore, 2012. Acrylic on canvas. 24 x 17¾ x 2 in (61 x 45.1 x 5.1 cm). Estimate: $4,000-6,000. Offered in First Open | Online, 9-17 July

Who? Gina Beavers (b. 1978) is best known for her bas-relief paintings of images derived from the internet. In Demi Moore, inspired by a famous Vanity Fair  cover photo from 1992, she renders her subject’s torso with almost fetishistic attention to musculature. Executed in preposterously thick impasto, it is a work that demonstrates her intriguing approach to paint as an almost sculptural material. 

Recent exhibitions: Gina Beavers: The Life I Deserve, MoMA PS1, New York, 2019

If you like this you might also enjoy: Lee Lozano, Claes Oldenburg


Anne Collier

Anne Collier (b. 1970), May 1979 (Old Photographs, Patrick Lichfield), 2011. Colour coupler print. 61⅜ x 49⅝ (155.9 x 126 cm). Estimate $10,000-15,000. Offered in First Open  Online, 9-17 July

Anne Collier (b. 1970), May 1979 (Old Photographs, Patrick Lichfield), 2011. Colour coupler print. 61⅜ x 49⅝ (155.9 x 126 cm). Estimate: $10,000-15,000. Offered in First Open | Online, 9-17 July

Who? Utilising the stealth appropriation tactics of the Pictures Generation, Anne Collier focuses her camera lens on images lifted from popular culture, and chosen for their handling of the female subject. Here, Collier photographs a nude from a calendar shot by Patrick Lichfield in 1979. By representing the calendar as it is, Collier executes a subtly piquant critique of the objectification of women.

Recent exhibitions: Anne Collier, Anton Kern Gallery, New York, 2018

If you like this you might also enjoyCindy ShermanLaurie SimmonsMarilyn Minter

Sui Jianguo

Sui Jianguo (b. 1956), Made in China (Black), 2007. Black synthetic resin multiple. Overall 33¾ x 27 x 18¼ in (857 x 686 x 464 mm). Estimate $4,000-6,000. Offered in Contemporary Edition, 9-16 July 2019, Online

Sui Jianguo (b. 1956), Made in China (Black), 2007. Black synthetic resin multiple. Overall: 33¾ x 27 x 18¼ in (857 x 686 x 464 mm). Estimate: $4,000-6,000. Offered in Contemporary Edition, 9-16 July 2019, Online

What? Large dinosaurs, like Made in China (Black), first appeared in Sui Jianguo’s practice after a visit to a factory in Shenzen in the early 1990s. These recreations of toy dinosaurs, each with ‘Made in China’ printed on the stomach, allow the artist to participate in and examine China’s export culture, high art and consumerism, all the while asking who is buying, who is selling, and what holds value?

Recent exhibitions: System: Sui Jianguo 2008–2018, OCAT Shenzhen, China, 2019; Stampede, Denver Art Museum, 2017-2019; Birth of Legacy Mantle, Art6 Docklands, Melbourne, Australia, 2017; Fragmenting Trace, Big House, Wuhan, China, 2017; Physical Trace, Pace Hong Kong and Pace Beijing, 2017 

If you like this you might also enjoyJeff Koons, KAWS



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Jonas Wood

Jonas Wood (b. 1977), 8 Pots. Each Sheet 16 x 14 in (406 x 356 mm). Estimate $60,000-80,000. Offered in Contemporary Edition, 9-16 July 2019, Online

Jonas Wood (b. 1977), 8 Pots. Each Sheet: 16 x 14 in (406 x 356 mm). Estimate: $60,000-80,000. Offered in Contemporary Edition, 9-16 July 2019, Online

What? 8 Pots  is not only indicative of Jonas Wood’s unique graphic style, but also demonstrates his interest and mastery of printing techniques. The set of eight etchings was published by his own printing studio, WKS (Wood Kusaka Studio), which he opened with the help of master printer Jacob Samuel of Edition Jacob Samuel. The two have worked closely together on a number of projects since 2013.

Recent exhibitions: Jonas Wood, Dallas Museum of Art, 2019; Jonas Wood: Prints, Gagosian, New York, 2018; Shio Kusaka & Jonas Wood, Museum Voorlinden, Wassenaar, the Netherlands, 2018

If you like this you might also enjoyDavid HockneyAndy WarholWayne Thiebaud

Nina Chanel Abney

Nina Chanel Abney (b. 1982), Two Years and Counting. Sheet 65¾ x 39¼ in (1670 x 997 mm). Estimate $20,000-30,000. Offered in Contemporary Edition, 9-16 July 2019, Online

Nina Chanel Abney (b. 1982), Two Years and Counting. Sheet: 65¾ x 39¼ in (1670 x 997 mm). Estimate: $20,000-30,000. Offered in Contemporary Edition, 9-16 July 2019, Online

Who? Nina Chanel Abney’s work is engaged in politics and social justice but is also informed by the visual cues of social media and the internet. Two Years and Counting  is the first print that she created in edition for Pace Prints, using her proprietary relief process to create the image. Royal Flush, her first ever solo museum exhibition and a 10-year survey of the artist’s provocative paintings, watercolours and collages, is currently on view at the Neuberger Museum of Art, State University of New York (until 4 August).

Recent exhibitions: Royal Flush, Chicago Cultural Center, Institute of Contemporary Art, Los Angeles, California African-American Museum and the Neuberger Museum of Art, 2019

If you like this you might also enjoyRobert LongoKeith HaringKerry James Marshall

Toyin Ojih Odutola

Toyin Ojih Odutola (b. 1985), Birmingham (center). Sheet 24 x 16½ in (609 x 419 mm). Estimate $7,000-10,000. Offered in Contemporary Edition, 9-16 July 2019, Online

Toyin Ojih Odutola (b. 1985), Birmingham (center). Sheet: 24 x 16½ in (609 x 419 mm). Estimate: $7,000-10,000. Offered in Contemporary Edition, 9-16 July 2019, Online

Toyin Ojih Odutola (b. 1985), Birmingham (right). Sheet 24 x 16½ in (609 x 419 mm). Estimate $7,000-10,000. Offered in Contemporary Edition, 9-16 July 2019, Online

Toyin Ojih Odutola (b. 1985), Birmingham (right). Sheet: 24 x 16½ in (609 x 419 mm). Estimate: $7,000-10,000. Offered in Contemporary Edition, 9-16 July 2019, Online

Who? Toyin Ojih Odutola’s Birmingham (center)  and Birmingham (right)  were produced during the artist’s second residency at Tamarind Institute in New Mexico. Odutola’s use of line in her emotional portraits becomes almost sculptural in the print series. ‘Skin as geography is the terrain I expand by emphasising the specificity of blackness,’ she says. ‘From there, the possibilities of portraying a fully-fledged person are endless.’ 

Recent exhibitionsRecent Acquisitions: Toyin Ojih Odutola, Frye Art Museum, Seattle, Washington (until 8 December); Future Generation Art Prize @ Venice 2019, A Collateral Event of the 58th Venice Biennale Palazzo, Venice (until 18 August); Plumb Line: Charles White and the Contemporary, California African American Museum, Los Angeles, California (until 25 August)

If you like this you might also enjoyLucian FreudAlice NeelAmy Sherald