Post 55 - Provisional Painting 1
There is a trend that art historian Raphael Rubinstein has been increasingly aware of, namely a provisional quality within contemporary painting practices. This trend first became evident in the works of Raoul De Keyser, Albert Oehlen, Christopher Wool, Mary Heilmann, Wendy White and Michael Krebber—artists known for their casual, tentative, or unfinished approaches (see fig. 1). These artists often eschew traditional notions of ‘strong’ painting, instead embracing risk and potential inconsequence.1
Figure 1. Wendy White, Mrs. Dash, 2008, acrylic spray paint on four canvases, 433.3 x 123.2 cm, Courtesy Leo Koenig Gallery, New York.
Why would an artist embrace what might appear as unfinished or flawed work? This may reflect a foundational skepticism present in modern art history, seen in Cézanne’s relentless adjustments, Dada’s radical interpretations, Giacometti’s continual revisions, and Polke’s bold compositions. This ethos also appears across other art forms, from Paul Valéry’s belief that a poem is "never finished, only abandoned,"2 to Artaud’s rejection of masterpieces, (Antonin Artaud (1896–1948) was a French dramatist, who rejected masterpieces as static and lifeless, favouring art that is raw, ephemeral, and capable of provoking intense, immediate reactions), and punk’s embrace of the amateur.3
Provisional painting can be traced through various artists: Richard Tuttle’s pursuit of humble beauty, Noël Dolla’s radical stained-handkerchief works, Robert Rauschenberg’s “cardboards,” David Salle’s insipid early canvases, and Martin Kippenberger’s uninhibited approach (see fig. 3). These works often represent a struggle against the medium’s associations with permanence and virtuosity. For contemporary artists, it can also be a way to counter the art market’s demand for immaculate, technically proficient works.4
Figure 3. Martin Kippenberger, Untitled (Projection by Kippenberger), 1991, Oil on canvas, Approx. 46.5 x 33.5 cm, Framed under glass.
Raoul De Keyser’s modestly sized paintings do not have grand ambitions, embracing a low-key approach that sometimes confounds critics (see fig. 4).
Figure 4. Raoul De Keyser, Untitled, 2006, Oil on canvas, 90.2 x 125.7 cm, Courtesy David Zwirner Gallery, New York, and Zeno X Gallery, Antwerp.
Albert Oehlen, though using more colour and larger canvases, similarly features ‘mistakes’ and layers of seemingly clumsy digital and paint-based techniques (see fig. 5).
Figure 5. Albert Oehlen, Chloé, 2008, Oil and paper on canvas, 270.0 x 299.7 cm, Courtesy Galerie Nathalie Obadia, Paris.
Christopher Wool’s grisaille abstractions, using both digital manipulation and traditional paint, present a paradox of erasure and obscurity (see fig. 6).
Figure 6. Christopher Wool, Untitled, 2007, Enamel on linen, 320.0 x 243.8 cm, Courtesy Luhring Augustine Gallery, New York.
Mary Heilmann’s casual handling of modernist structures and her nonchalant palette suggest a de-emphasis on transcendent meaning, treating painting as an extension of ceramics. Michael Krebber’s work, often using minimal brushwork and unconventional materials, presents a unique critique of painting’s seriousness (see fig. 7).4
Figure 7. Michael Krebber, Contempt for One’s Own Work as Planning for Career, 2001, Acrylic on canvas, 139.7 x 109.9 cm, Courtesy Greene Naftali Gallery, New York.
Recent exhibitions of Joan Miró, Martin Barré (see fig. 8), and Kimber Smith offer historical context. Rubinstein describes Miró’s work from 1927-1937 as reflecting his desire to “destroy everything that exists in painting” (see fig. 9), while Barré’s 1960s paintings challenge conventional aesthetics with their preliminary appearance.5
Figure 8. Martin Barré, Peintures 1960–1992, Galerie Buchholz, Cologne, June 29 – August 25, 2007.
Fig 9, Joan Miró: Clouds and Birds, 1927. Oil on canvas, 146.1 by 114.0 cm. Photo © Museum of Fine Arts, Boston.
Kimber Smith’s late works blend Abstract Expressionism with a sense of dissolution, treating the canvas as an expansive sketchpad (see fig. 10).6
Figure 10. Kimber Smith, Prague, 1977, Acrylic on cotton, 164.0 x 237.5 cm, Private Collection, Courtesy Kunstmuseum Winterthur, Switzerland.
These examples illustrate how contemporary artists grapple with the notion of ‘impossibility’ in painting. This might be due to a sense of belatedness or a reluctance to engage with the traditional expectations of greatness. As more artists explore these themes, they reject finality and embrace provisionality as a vital aspect of their practice.7
I explore these ideas in recent work (see fig. 11).
Fig 11. Sally Barron, Provisional Sea, 2024, House paint and collage on canvas. 1450 x 1600 mm.
Footnotes
Raphael Rubinstein, "Provisional Painting," Art in America, May 1, 2009, accessed August 9, 2024, https://www.artnews.com/art-in-america/features/provisional-painting-raphael-rubinstein-62792/.
Paul Valéry, Cahiers [Notebooks], trans. by M. H. Abrams (New York: Pantheon Books, 1956), 109.
Rubinstein, "Provisional Painting."
Ibid
Ibid
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