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“Provisional” painting
  pro·vi·sion·al/prəˈ viZHənl/ Adjective: Arranged or
existing for the present, possibly to be changed later.
•
    “Provisional   paintings can show signs of struggle and
    can also look "too easy." In the case of easy-looking
    provisionality, we encounter a paradox: the struggle with
    the problematics of painting results in a painting that
    shows no signs of struggle in the sense that the finished
    piece displays a minimum amount of work (Michael
    Krebber, for instance). But in other cases we can see the
    record of the artist's struggles, though not necessarily
    accompanied by Giacometti-style anguish (Raoul De
    Keyser). But whether it looks easy or arduous, the
    provisional work is always opposed to the monumental,
    the official, the permanent. It closes the door on the era
    of the high-production-value art market (Hirst-Koons-
    Murakami-Currin). It wants to hover at the edge of
    nonexistence. It wants to rest lightly on the earth.”

    – “Provisional Painting 2: To Rest Lightly On The Earth”, Article by Raphael
      Rubinstein – Art in America
Alberto Giacometti
oil on canvas
36¼ x 28¾ in. (92 x 73 cm.)
Painted circa 1958
Joan Miro
Sigmar Polke Streifenbild IV 1968
• Rubinstein writes of his increasing
  awareness of provisionality in the practice
  of painting that “deliberately turn[s] away
  from ‘strong’ painting for something that
  seems to constantly risk inconsequence or
  collapse.”
David Hammons, Untitled, 2010
David Hammons, 2011 installation at L&M Arts, New York, NY.
Sergej Jensen
Sergej Jensen
Sergej Jensen
Provisional Painting at Modern Art,
London – 2012

Richard Tuttle (right)
Albert Oehlen
Christopher Wool, “Untitled”, 2007
"Untitled" Brendan Smith
“Provisional Painting”, “New Casualists”,
         or “Un-heroic Painting”
Raoul de Keyser, “Untitled”, 2002
Provisional painting is “the finished product
 disguised as preliminary stage” or “major
painting masquerading as minor painting.”
Martin Bromirski, “Untitled” (2011). Acrylic, sand, paper on canvas. 20 × 16˝.
Patrick Brennan, “Flow and Fade” (2011). Mixed media on canvas. 72 × 48˝.
Lauren Luloff
Bruce Price
Amy Feldman, “Ever After”, 2010

80" x 90"

acrylic on canvas
Scrapple Still Life, 2010
       48" x 60"
   acrylic on canvas
“By reassessing basic elements like color,
composition, and balance, based on 1920s-vintage
Bauhaus principles taught in every 2-D foundations
course, the new painters are exploring uncharted
territory. They are looking for unexpected outcomes
rather than handsome results.”
          - Sharon Butler, Two Coats of Paint
Joe Bradley : Schmagoo Paintings, Installation view, 2008
“With the eclipse of Abstract Expressionism circa
  1960, new modes of artmaking were discovered
  in which the kinds of doubts that troubled artists
  from Cézanne to Giacometti became largely
  irrelevant. They were replaced by a solid work
  ethic, by an emphasis on production, by
  attention to surfaces (in both a material and a
  psychological sense), by coolness, by social
  rather than individual identity; in short,
  Giacometti's gloomy, doubt-filled studio was
  replaced by Warhol's Factory. “
   – Raphael Rubinstein
Tatiana Berg
Isle Murdock, Ours, 2011. Oil on canvas, 14 x 18 in
"Considering the Provisional"
May 4th - May 27th, 2012
FJORD: 2419 Frankford Ave, Philadelphia, PA
"Corner Painting" Hannah Hall
Provisional Painting

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Provisional Painting

  • 1. “Provisional” painting pro·vi·sion·al/prəˈ viZHənl/ Adjective: Arranged or existing for the present, possibly to be changed later.
  • 2. “Provisional paintings can show signs of struggle and can also look "too easy." In the case of easy-looking provisionality, we encounter a paradox: the struggle with the problematics of painting results in a painting that shows no signs of struggle in the sense that the finished piece displays a minimum amount of work (Michael Krebber, for instance). But in other cases we can see the record of the artist's struggles, though not necessarily accompanied by Giacometti-style anguish (Raoul De Keyser). But whether it looks easy or arduous, the provisional work is always opposed to the monumental, the official, the permanent. It closes the door on the era of the high-production-value art market (Hirst-Koons- Murakami-Currin). It wants to hover at the edge of nonexistence. It wants to rest lightly on the earth.” – “Provisional Painting 2: To Rest Lightly On The Earth”, Article by Raphael Rubinstein – Art in America
  • 3. Alberto Giacometti oil on canvas 36¼ x 28¾ in. (92 x 73 cm.) Painted circa 1958
  • 6. • Rubinstein writes of his increasing awareness of provisionality in the practice of painting that “deliberately turn[s] away from ‘strong’ painting for something that seems to constantly risk inconsequence or collapse.”
  • 8. David Hammons, 2011 installation at L&M Arts, New York, NY.
  • 10.
  • 13.
  • 14.
  • 15. Provisional Painting at Modern Art, London – 2012 Richard Tuttle (right)
  • 16.
  • 17.
  • 19.
  • 22. “Provisional Painting”, “New Casualists”, or “Un-heroic Painting”
  • 23. Raoul de Keyser, “Untitled”, 2002
  • 24.
  • 25.
  • 26. Provisional painting is “the finished product disguised as preliminary stage” or “major painting masquerading as minor painting.”
  • 27. Martin Bromirski, “Untitled” (2011). Acrylic, sand, paper on canvas. 20 × 16˝.
  • 28. Patrick Brennan, “Flow and Fade” (2011). Mixed media on canvas. 72 × 48˝.
  • 30.
  • 32. Amy Feldman, “Ever After”, 2010 80" x 90" acrylic on canvas
  • 33. Scrapple Still Life, 2010 48" x 60" acrylic on canvas
  • 34.
  • 35. “By reassessing basic elements like color, composition, and balance, based on 1920s-vintage Bauhaus principles taught in every 2-D foundations course, the new painters are exploring uncharted territory. They are looking for unexpected outcomes rather than handsome results.” - Sharon Butler, Two Coats of Paint
  • 36. Joe Bradley : Schmagoo Paintings, Installation view, 2008
  • 37. “With the eclipse of Abstract Expressionism circa 1960, new modes of artmaking were discovered in which the kinds of doubts that troubled artists from Cézanne to Giacometti became largely irrelevant. They were replaced by a solid work ethic, by an emphasis on production, by attention to surfaces (in both a material and a psychological sense), by coolness, by social rather than individual identity; in short, Giacometti's gloomy, doubt-filled studio was replaced by Warhol's Factory. “ – Raphael Rubinstein
  • 39.
  • 40. Isle Murdock, Ours, 2011. Oil on canvas, 14 x 18 in
  • 41. "Considering the Provisional" May 4th - May 27th, 2012 FJORD: 2419 Frankford Ave, Philadelphia, PA