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Susan Hiller (b. 1940)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more
Susan Hiller (b. 1940)

Dedicated to the Unknown Artist; Addenda 4, Section 1: The Waves Break

Details
Susan Hiller (b. 1940)
Dedicated to the Unknown Artist; Addenda 4, Section 1: The Waves Break
signed 'Susan Hiller' (lower left of lower sheet)
vintage postcards and ink on printed paper assemblage, in seven parts
overall: 32½ x 34 7/8in. (81.3 x 86.4cm.)
Executed in 1981
Provenance
Gimpel Fils, London (donated to the below).
Famine Appeal for Ethiopia and the Sahel Contemporary Art Auction, Bonhams London, 1 May 1985, lot 47.
Acquired from the above sale by the present owner.
Special notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.

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Beatriz Ordovas
Beatriz Ordovas

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Lot Essay

"In 'Dedicated to the Unknown Artists' she (Hiller) presents more than 300 picture postcards from English seaside resorts. This collection, begun in 1972, was based on her discovery of a wide variety of images all carrying the same romantic, descriptive title, 'Rough Sea'.
Hiller conducted a detailed analysis and systematic classification of the cards, which are presented against the background of the compiled data. The scientific rigour of her 'methodical methodology' stands in marked contrast to the turbulence of the images. The artist elicits hidden meanings by discreet intervention, which leaves the material intact but altered by the mode of presentation. In 1977 Hiller explained:
'Dedicated to the Unknown Artists' was designed as an exhibition piece with myself in the role of curator, collaborating with/extending the work of the unknown artists who created the Rough Sea 'set' of postcards. The 'coincidental' pairings of alternative descriptive languages - verbal and visual - are sustained as levels of presentation through the piece. While the charts may look like models of objectivity and the visual images like expressions of subjective internalisations, they lead to a series of paradoxes involving the unexpressed but intended vs. the expressed but intended.'
After the first exhibition of 'Dedicated to the Unknown Artists', Hiller began to create Addenda to the work, made with post cards she continues to collect. Each of the ongoing Addenda consists of roughly ten numbered and titled sub-sections comprised of varying numbers of postcards and small charts mounted on boards" (R. Dimling Cochran, Susan Hiller, exh. cat., Tate Liverpool, 1996, pp. 76 and 77).

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