new-york

Rudolf Stingel

Daniel Newburg Gallery

Rudolf Stingel takes potshots at Minimalism, using the strategies of its historical sidekick, Conceptualism, to point out its pretenses. Creating works that are conspicuously unmarketable and unesthetic, if not just plain ugly, Stingel comments humorously on a movement that produced some of the smuggest, most boring work in the history of art.

Among Stingel’s past offerings is a booklet with a crossing-guard orange cover that provides instructions on how to make a Minimalist painting. Mimicking the grayed-out photographs of how-to manuals with their enumerated items (electric mixer, compressed air gun, pure horsehair paintbrush, etc.) and step-by step commands reproduced in six languages (five Western and one Asian), the artist details, in a deadpan manner, the procedure for creating a monochrome painting. Stingel’s mechanistic model both emulates and parodies the Minimalists’ production-line

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