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Lot Essay
Rudolf Stingel is one of the most provocative artists working today, creating works that result from a conceptual and formal analysis of the institution of the modernist painting. The Italian-born painter consistently confronts the traditional idea of the concept of authorship, deconstructing the processes of making art. His ultimate goal is to demystify the artistic process, the artist, and finally, the art object. Stingel has explored various means of expanding and critiquing the category of painting over the past twenty years. One of the earliest examples of this methodology are Stingel's silver paintings, of which Untitled, 1992, is an example.
Stingel's work is concerned with the fundamental aspects of painting, like colour, texture, gesture, and most importantly, surface. Untitled of 1992 stands as a testament to his practice. The paintings from this series begin with the application of a thick layer of paint in a particular colour, in this case silver enamel, to the canvas. Pieces of gauze are then placed over the surface of the canvas and silver paint is added using a spray gun. Finally, the gauze is removed, resulting in a richly textured surface. In 1989, the artist published a small booklet that contained step-by-step instructions on how to produce these silver paintings, openly communicating his questioning of authorship. When seen in conjunction with the DIY manual, the Warholian nature of Stingel's work is difficult to refute: despite the visual parallels we can draw with Abstract Expressionist painting, there is an underlying conceptual framework that relies on its factory-like method of production. Stingel has moved towards installation work - often involving the viewer to be involved in the work by drawing, writing, or imprinting on the surfaces. By focusing on the surface of the work, Stingel pushes the boundaries of what can be considered painting in a visually and conceptually compelling way.
Stingel's work is concerned with the fundamental aspects of painting, like colour, texture, gesture, and most importantly, surface. Untitled of 1992 stands as a testament to his practice. The paintings from this series begin with the application of a thick layer of paint in a particular colour, in this case silver enamel, to the canvas. Pieces of gauze are then placed over the surface of the canvas and silver paint is added using a spray gun. Finally, the gauze is removed, resulting in a richly textured surface. In 1989, the artist published a small booklet that contained step-by-step instructions on how to produce these silver paintings, openly communicating his questioning of authorship. When seen in conjunction with the DIY manual, the Warholian nature of Stingel's work is difficult to refute: despite the visual parallels we can draw with Abstract Expressionist painting, there is an underlying conceptual framework that relies on its factory-like method of production. Stingel has moved towards installation work - often involving the viewer to be involved in the work by drawing, writing, or imprinting on the surfaces. By focusing on the surface of the work, Stingel pushes the boundaries of what can be considered painting in a visually and conceptually compelling way.