No. 92 SIEBTERJULINEUNZEHNHUNDERTSIEBENUNDNEUNZIG

細節

Ugo Rondinone (b. 1963)
No. 92 SIEBTERJULINEUNZEHNHUNDERTSIEBENUNDNEUNZIG
signed, numbered, titled and dated 'No. 92 'SIEBTERJULINEUNZEHNHUNDERTSIEBENUNDNEUNZIG' Ugo Rondinone 1997' (on the stretcher)
acrylic on canvas
86 5/8in. (220cm.) diameter
Painted in 1997

來源

Galerie Hauser & Wirth & Presenhuber, Zurich.
Acquired from the above by the present owner in 1998.

出版

A. Bonnant, CAP Collection, Switzerland 2005 (illustrated in colour, p. 245).

注意事項

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拍品專文

Painted in 1997, No. 92 Siebterjulineunzehnhundertsiebenundneunzig shows a colourist arrangement of circles that appears to shimmer before the viewer. This painting has hallmarks recalling Abstract Expressionism and Op Art at the same time. It appears to convey a sense of receding space, absorbing the viewer; it is also difficult to focus on. In its target-like configuration, it hints at references to Johns as well as perhaps Albers. But in the crispness of its deliberately blurred execution, it is clear that Rondinone has deliberately created something that, while importing some of the visual vocabulary of Ab Ex and Op Art, does so in part in order to rebuke those movements. The intense atmosphere of control in this work stands in pointed contrast to the works of the Abstract Expressionists. There is no personal trace within the actual paint surface, which has been executed with a spray, with a literal detachment. And it is with a detached sense of irony that Rondinone has created something that, in its minimal content and appearance, provides an arbitrary and formal solution to the simple challenge of What to Paint, and yet one that manages, with humour as well as a genuinely successful aesthetic quality, to dismiss so many of the solutions reached by his predecessors. Rondinone is both a painter and a conceptual artist, and this is clear in No. 92 Siebterjulineunzehnhundertsiebenundneunzig, where the sprayed and manipulated paint surface both questions and celebrates art, painting and colour.