This article discusses the concept of "provisional painting", which refers to paintings that are deliberately unfinished or that give the appearance of being preliminary works that could later be changed. The article provides examples of artists who work in a provisional style, such as Raoul De Keyser and Michael Krebber, whose works either show signs of the artistic struggle or appear very effortless. Provisional painting stands in contrast to more polished, permanent styles and questions the emphasis on high production values in art. It aims to "rest lightly on the earth" and avoid presenting a finished product.
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Provisional Painting: To Rest Lightly On The Earth
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
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.”
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