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Rudolf Stingel (b. 1956)


Rudolf Stingel (b. 1956)
Styrofoam, in four parts
each: 48 x 96 x 4in. (122 x 244 x 10cm.)
overall: 96 x 192 x 4in. (244 x 488 x 10cm.)
Executed in 2000
Paula Cooper, New York.
Acquired from the above by the present owner.
Rudolf Stingel, exh. cat., Chicago, Museum of Contemporary Art, 2007 (installation view illustrated in colour, p. 135).
New York, Paula Cooper Gallery, Rudolf Stingel New Styrofoam Works, April-June 2000.
Chicago, Museum of Contemporary Art, Rudolf Stingel, January-May 2007 (illustrated in colour, pp. 140-141). This exhibition later travelled to New York, Whitney Museum of American Art, June-October 2007.
Special notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
VAT rate of 5% is payable on hammer price and at 15% on the buyer's premium

Lot Essay

Included in Rudolf Stingel's retrospective at the Museum of Contemporary Art, Chicago and Whitney Museum of American Art, New York, Untitled is an important and large scale example of his Styrofoam series. the notion of the artist's mark, which was so crucial to Pollock and his fellow Abstract Expressionists, has been extended and undermined by Stingel, who has created Untitled by wearing boots which have been dipped in lacquer thinner; this causes a chemical reaction, meaning that the Styrofoam erodes on exposure to the substance. He has taken this logic that allowed Pollock to paint by throwing the oils at his canvas, removing the brush, to an absurd new extreme. This, then is anti-painting, with Stingel creating by destroying, using a material that eats away the formerly hallowed picture surface, that the two-dimensional arena so worshipped by Clement Greenberg and so many of the artists of his generation, resulting in troughs upon the surface rather than the impastoes of those Action Painters of yore while still involving and playfully evoking a different form of action. In Untitled, Stingel has deftly and eloquently combined notions of taste, the creative urge, the hiearchies that pervade so much in the art world and the democratisation of art which he embraces in order to create an expansive work which remains both visually engaging and crucially seductive.

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