Adam Lindemann has provoked a lot of conversation already this morning with his latest Observer column on turning from emerging work to finding undervalued Contemporary masters. Here’s Lindemann on the path he’s taken recently:
I started with a Calder obsession, then I got caught up in John Chamberlain’s great work, though I flirted with the work of Larry Rivers, Haim Steinbach and an early Ashley Bickerton. But you can’t have it all, and most recently I’ve caught a Minimalist obsession that I just can’t shake. It started with a sudden desire to buy early Frank Stella paintings, particularly those shaped metallic canvasses from the 1960s, because they’re so cold and monumental. What of Donald Judd, I heard you say? Of all the undervalued Minimalists, he is the one who has received the most attention, and his work changes hands for much more than does that of his peers, but while I value Judd, his huge ego, his ambition and the fact that he left us Marfa, I’m drawn to Carl Andre.
In Andre, Lindemann sees an artist ripe for re-valuation. But one doesn’t have to look toward the obscure (or, in the case of Andre, overshadowed) artist to find markets that rise.
Out with the New (Observer.com)
