Goblin Valley Slash
Ain’Tings @ Robert Blumenthal Gallery
Pushing the boundaries of what painting could be by using very little paint, focusing instead on tweaking the unwritten language of this storied medium, is one of the achievements of the provisional painters of the last decade, which include artists like Richard Aldrich and Sergej Jensen. Their work has emboldened a new generation of artists to engage with painting, many of whom don’t use any paint whatsoever.
This trend exposes an odd evolution for painting in the 21st century. Can these paintings without paint still be called paintings?
The unprecedented diversity of commercial materials today has helped foster this trend of paintless works. These materials have become easier to get and are often cheaper than traditional art materials while having the ability to impersonate aspects of paint. Many of the artists in this show are generally seen as draftsmen, sculptors, or photographers, but they’ve managed to borrow more from the history of painting than many traditional painters. They retain what we love about painting: surface, color, composition, and in some cases illusion, while thriving with common materials like marble, Plexiglas, tape, plywood, cork, and fabric. For instance, Graham Collins invents new ways to make tones and colors by putting car window tinting on the glass surfaces that front his monochrome canvases, while Chris Duncan mimics the striations of horizontal brushstrokes by meticulously layering rows upon rows of strapping tape, a clear plastic tape that has a glossy translucency not unlike painting glazes.
Ultimately, the thread connecting these wall works is the strong desire on part of the artists to dodge labels like painting, photography, sculpture, abstract, or realist. Hopefully this will allow for viewers to experience these objects without their expectations being conditioned by these kinds of conventions. It will also be interesting to track how the next wave of traditional painters will respond to the increasing materiality of wall works such as these.
– Ryan Steadman
Dora Budor hires professional stunt double Helga Wretman in a series of three action packed videos and co-related paintings. The main character finds herself repeatedly in dangerous, heart-pounding scenarios: a wilderness chase scene, a rooftop fight, and a car chase. All the while, she carries a newly stretched canvas that becomes damaged by her struggles to escape an invisible assailant. Employing the labor of a hired stunt double and utilizing the tropes of Hollywood action cinema, each of the videos is articulated as the making-of footage to final pieces. The paintings themselves become one of a kind “screen-matched” props, gradually corrupted as they are burned, ripped, and soiled. Incorporating both A and B-roll footage, objects are indexically marked by violence, while characters double each other in fragmented narratives.
The perpetual state of anxiety and escape from a dominant surveillant class, as deployed in many recent blockbuster hits, is extracted from its oppositional means and restaged as a form of contemporary artistic production—impelling emergency, violence and vulnerability as generative forces. There is no other place or exit; the continuous loop of the action scenes manifests a recursive meditation on confluent acts of violence, labor, and production. The objective insufficiency of the vacant canvases fosters their emergence as ciphers for concomitant subjective lacks. As narratives collide, produce and inscribe these processes for the camera, anticipation of the canvas as a site of personal investitures succumbs to the logics of automation and repetition, while body doubling links a schizoid reality with the accelerating fragmentation of virtual and real.
- Alex Ross