Rudolf Stingel Untitled 1994 cast urethane rubber 18 x 21 x 9 in. (45.7 x 53.3 x 22.9 cm) This work is from a series of twenty-four variants, each unique in color. The work is accompanied by a certificate of authenticity issued by Galleria Massimo de Carlo.
Provenance Galleria Massimo de Carlo, Milan Exhibited New York, Paula Cooper Gallery, Rudolf Stingel October - November 1994 (another variant exhibited) Chicago, Museum of Contemporary Art, Rudolf Stingel January 27 - May 27, 2007 (another variant exhibited) New York, Whitney Museum of American Art, Rudolf Stingel June 28 - October 14, 2007 (another variant exhibited) Literature B. Brgi, Rudolf Stingel exh. cat., Kunstalle Zurich, 1995, pp. 13, 15 (another variant illustrated) F. Bonami, RUDOLF STINGEL New Haven, 2007, pp. 3, 37, 69, 71, 79, 99, 117, 133, 157, 181, 201, 237 (another variant illustrated) Catalogue Essay Rudolf Stingel’s associations with the Buddha are longstanding. His father, a frequent traveler to India, would bring back small Buddha figurines from the Asian continent with which he would play with as a boy. The present lot, Untitled, 1994, was fashioned to be Stingel’s own version of an Asian deity, one that blended the meditative Buddha from his childhood memories with the multi-armed Hindu deities like Siva or Vishnu. Cast in rubber and made in 24 different colors, each of the deity’s six arms holds a tool from his how-to Untitled (Instructions), 1989, in which the artist details the step-by-step process required to create one of his early abstract paintings: a wide brush, scissors to cut tulle, a mixer, a spray gun, a wallpaper spatula, and a tube of paint. While the Buddha figure is a universal symbol of enlightenment, Stingel’s creation acts as his own symbol of artistic enlightenment, holding all of the elements for a successful work of art and thereby making the creative process available to all. 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
Rudolf Stingel Untitled 1994 cast urethane rubber 18 x 21 x 9 in. (45.7 x 53.3 x 22.9 cm) This work is from a series of twenty-four variants, each unique in color. The work is accompanied by a certificate of authenticity issued by Galleria Massimo de Carlo.
Provenance Galleria Massimo de Carlo, Milan Exhibited New York, Paula Cooper Gallery, Rudolf Stingel October - November 1994 (another variant exhibited) Chicago, Museum of Contemporary Art, Rudolf Stingel January 27 - May 27, 2007 (another variant exhibited) New York, Whitney Museum of American Art, Rudolf Stingel June 28 - October 14, 2007 (another variant exhibited) Literature B. Brgi, Rudolf Stingel exh. cat., Kunstalle Zurich, 1995, pp. 13, 15 (another variant illustrated) F. Bonami, RUDOLF STINGEL New Haven, 2007, pp. 3, 37, 69, 71, 79, 99, 117, 133, 157, 181, 201, 237 (another variant illustrated) Catalogue Essay Rudolf Stingel’s associations with the Buddha are longstanding. His father, a frequent traveler to India, would bring back small Buddha figurines from the Asian continent with which he would play with as a boy. The present lot, Untitled, 1994, was fashioned to be Stingel’s own version of an Asian deity, one that blended the meditative Buddha from his childhood memories with the multi-armed Hindu deities like Siva or Vishnu. Cast in rubber and made in 24 different colors, each of the deity’s six arms holds a tool from his how-to Untitled (Instructions), 1989, in which the artist details the step-by-step process required to create one of his early abstract paintings: a wide brush, scissors to cut tulle, a mixer, a spray gun, a wallpaper spatula, and a tube of paint. While the Buddha figure is a universal symbol of enlightenment, Stingel’s creation acts as his own symbol of artistic enlightenment, holding all of the elements for a successful work of art and thereby making the creative process available to all. 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
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
