MANUAL DEL ARTISTA RAY SMITH PDF HOW TO
MANUAL DEL ARTISTA RAY SMITH PDF SERIES

In 2015 Stingel embarked on a series of eight consecutive installations at GagosianвЂ™s Park & 75 gallery in New York, conceived as a single monumental exhibition. His exhibition LiveВ at the Neue Nationalgalerie, Berlin (2010) included a wall-to-wall black-and-white carpet printed with an image of an Agra rug, a huge crystal chandelier, and hyperrealistic paintings of the Alps and at Palazzo Grassi in 2013, he covered the floors and walls with a carpet printed with the pattern of an older Oriental rug, and hung both abstract and photorealistic paintings over it, creating a subdued, all-encompassing environment for his work. StingelвЂ™s site-specific exhibitions have become increasingly immersive, as he transforms galleries and museums into total works of art. These works enter into dialogue with StingelвЂ™s metallic paintings based on carpet patterns, Damask wallpaper, chain link fences, and more. These were followed by paintings based on photographs of Stingel as a young man, both in black-and-white and in color, each painting capturing details such as the scratches and creases of the original printed photographs. His first series of photorealistic self-portraits, Untitled (After Sam)В (2005вЂ“06), was painted after black-and-white photographs of Stingel taken by American photographer Sam Samore. Since 2005 Stingel has been painting photorealistic portraits of himself and others, as well as captivating views of mountains and sunsets. Eschewing the preciousness of the artistвЂ™s unique mark in favor of the collective gestures of thousands of viewers, Stingel repeated this participatory installation at the 50th Biennale di Venezia (2003) Palazzo Grassi, Venice, (2006) and at his retrospective at the Museum of Contemporary Art, Chicago (2007), which traveled to the Whitney Museum of American Art, New York, later that year.

In 2001, for his solo exhibition at the Museo dвЂ™Arte Moderna e Contemporanea in Trento, Italy, Stingel lined every available surface of one of the rooms of the museum with metallic Celotex insulation board and visitors drew, wrote, and made imprints on the surface of the reflective silver paneling. Panels of pink, white, blue, or green Styrofoam (often featuring their industrial logos) become platforms for StingelвЂ™s patterns and gestures: from more mechanical grids of circles and ellipses to meandering lines and footprints. These were followed by the Styrofoam works of the late nineties and early 2000s. Boldly colored, the works are cast from sections of shag carpets, yet they hang on the wall like minimalist paintings.

In 1994, he created a series of monochromatic works cast in polyurethane, rubber compound, aluminum, or bronze. The tensions between wall and floor, tactility and illusion run throughout StingelвЂ™s oeuvre. And in 2004, his site-specific installation Plan B incorporated StingelвЂ™s career-long interest in patterns and repetition, covering the floors of Grand Central TerminalвЂ™s Vanderbilt Hall in industrially printed pink and blue floral carpet. Two years later, at the Biennale di Venezia, Stingel installed a red-orange carpet on the wall, further commenting on the power of display. Confronted with empty white walls, visitors instead could consider the pictorial qualities of the architectural interior. In 1991, Stingel installed a bright orange carpet in Daniel Newberg Gallery, activating the space in an unprecedented way. In his screenprints of these years, Stingel created impressions using folded and creased tulle, then sprayed over the compositions with silver spray paint.

MANUAL DEL ARTISTA RAY SMITH PDF HOW TO

In 1989, he completed Instructions,В a limited-edition manual explaining (in several languages) how to make one of his silver paintings, abstract canvases with undertones of red, yellow, or blue. Often dealing with subjects of time, memory, and perception, he embraces industrial materials and ornamental design as vehicles for formal exploration and provoked coincidence, whereby the final state of certain installations is determined by the participation of the viewer.Д«orn in Merano, Italy, Stingel grew up in the Tyrolean Alps, a mountainous region where Austria, Italy, and Switzerland meet. I wouldnвЂ™t know where to say intervention stops and destruction begins.ДЇrom his captivatingly realistic oil paintings to his innovative use of Celotex, Styrofoam, carpet, and aluminum, Rudolf Stingel challenges traditional notions of what constitutes a painting.

Manual del artista ray smith pdf