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At first sight, Raphael Rubinstein’s concept of provisional painting has little to do with what’s on stage here. The American critic tells us about “works that look casual, dashed-off, tentative, unfinished, or self-cancelling.”[1] Nothing of this kind is included in this exhibition, which nonetheless makes me return to Rubinstein’s provisionality, feeling the concept might offer a key to making sense of these works.
An unsigned text about Daan Van Golden on the website of the Misako & Rosen gallery mentions “the artist’s lifelong engagement with a radically creative practice of art finding.”[2] Does “art finding” oppose “art making”, I wonder. The text doesn’t say. As a distant observer of Pop Art, a European with a passion for traveling who never stuck around for long, Van Golden came up with works embedding everyday elements just like his more famous American peers would do. He found artworks in things, depending on contingency, refuting authorial authority as he left...More
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At first sight, Raphael Rubinstein’s concept of provisional painting has little to do with what’s on stage here. The American critic tells us about “works that look casual, dashed-off, tentative, unfinished, or self-cancelling.”[1] Nothing of this kind is included in this exhibition, which nonetheless makes me return to Rubinstein’s provisionality, feeling the concept might offer a key to making sense of these works.
An unsigned text about Daan Van Golden on the website of the Misako & Rosen gallery mentions “the artist’s lifelong engagement with a radically creative practice of art finding.”[2] Does “art finding” oppose “art making”, I wonder. The text doesn’t say. As a distant observer of Pop Art, a European with a passion for traveling who never stuck around for long, Van Golden came up with works embedding everyday elements just like his more famous American peers would do. He found artworks in things, depending on contingency, refuting authorial authority as he left...More
