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8 Property from the Estate of Dr. Fredric S. Brandt, Miami Rudolf Stingel Untitled 1996-97 oil on canvas 244 x 198.5 cm (96 1/8 x 78 1/8 in.) Signed and dated 'Stingel 96-97' on the reverse.
Provenance Paula Cooper Gallery, New York Paul Frank McCabe Literature F. Bonami, ed., Rudolf Stingel New Haven: Yale University Press, 2007, pp. 113 (illustrated) Catalogue Essay Always one to challenge the boundaries of art, Rudolf Stingel strives to dispel the preconceptions based around art’s elevated status and actively negates any notions of hierarchy within its production. Using a broad range of mediums and techniques, Stingel explores various means of artistic expression, however, what transcends all of his pieces is an inherently reductionist approach. Peeling away areas, scratching into surfaces, carving out patches in his material, are just some of the ways the artist signals his presence. In this manner, Stingel refuses to conform to notions of the artist’s hand bringing clarity and development. Untitled is a powerful testimony to the core values that lie at the heart of Stingel’s paintings. Furthermore, painted in the late 1990s, it is a mature example from a series of paintings that consumed his artistic preoccupations that decade. Working on a painted black canvas, Stingel sprayed brilliant colour through gauzes that he had placed on the surface. Thus, once these were removed, a highly tactile and irregular pattern would emerge. The vivid tones used in this series illuminate the wondrous effects made possible through the stencil technique employed in his earlier strictly silver paintings. By using the gauze in such a manner, Stingel tries to disassociate himself from the final outcome; like Warhol in his Factory, his cruder method of printing brings to the fore wider theories on the artist’s role. In this manner, Stingel’s paintings lie in discourse with the Anthropometry paintings and FC (Fire Colour) works by Yves Klein that negate typical notions of painting through their innovative production process. Arguably, the choice of deep blue for this work only heightens the connection with Yves Klein’s repertoire. At the Venice Biennale in 1989, Stingel published an illustrated 'do-it-yourself' manual in English, Italian, German, French, Spanish and Japanese that gave a step-by-step account of how to make one of his paintings. In this forthright way, the artist therefore, further disassociated himself from his works suggesting that anyone can make a ‘Stingel’. This controversial ideology runs parallel to Warhol’s philosophy, summarised in his Do it Yourself (Landscape) from 1962. Consequently, a defining characteristic of Stingel’s paintings are their ability to nod to the art of the key artistic figures of the twentieth-century whilst, paradoxically questioning the very possibility of originality and ownership. Read More Artist Bio Rudolf Stingel Italian • 1956 New York-based Italian artist Rudolf Stingel was first recognized in the late 1980s for his singular conceptual approach to painting. He constantly questions the function, utility and limits of the medium through hyper-detailed stencil work and by way of a lavish bourgeois aesthetic thrown onto bordered surfaces. Borrowing from the Baroque, Stingel sets up a visual landscape from which the viewer expects excess, but that quickly destabilizes the field of vision by creating a perfectly contained work of traditional beauty. In effort to push the effect of painting to its limits, Stingel notoriously challenges questions of authorship by using various materials, including carpet, styrofoam and silver sheets, to recontextualize surface, depth and color. View More Works