Rudolf Stingel’s investigation of the meaning of painting, of its execution, of its material potential, indeed of its very essence has been one of the driving forces pushing what is possible within the realm of two-dimensional art in the late twentieth and early twenty-first centuries. His
Rudolf Stingel's work in oil and enamel on canvas exemplifies his relentless investigation into the meaning and material potential of painting itself. Through his masterful manipulation of these mediums, Stingel pushes the boundaries of two-dimensional art, challenging conventional notions of execution and essence. His practice has been a defining force in expanding what is possible within painting across the late twentieth and early twenty-first centuries.
- Medium
- oil, enamel on canvas
- Spotted At
- Auction House · Phillips
🔨 Auction Lot
Contemporary Art Evening Sale
May 14, 2015
More by Rudolf Stingel
styrofoam, 4 panels
“Zen is about acceptance, right?” Mr. Stingel said. “So that’s the way it is. I do sit and look at him sometimes — we have a meaningful relationship. You can’t get over it. You just live with it.” - Rudolph Stingel
The radicalness of Stingel’s Cellotex panels is often underestimated. While rejecting any suggestion of being a social, political or conceptual gesture, these works may be some of the most open and brave moments in recent contemporary art production. As with his provocative instruction book on how to make his paintings, Stingel once again gives himself and his work, in their totality, to the public and the viewer. He invites the viewer inside the surface of his work, and allows anyone to make a 'contribution' to it. The critical voice of the viewer becomes part of the work. Like magnetic tape, the artist records the viewer’s reaction to his work – not simply verbally, but physically.
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