HOME arrow Events arrow Art Shows arrow Rudolf Stingel Captivates His Viewers At The Whitney Museum
Rudolf Stingel Captivates His Viewers At The Whitney Museum Print E-mail
Written by Mark Rifkin, twi-ny.com   
Rudolf Stingel
Through October 14
Admission: $15

The Whitney Museum of American Art
945 Madison Avenue at 75th St.
Museum Hours:  Wednesday-Sunday, 11 am-6 pm
212-570-7715
whitney.org

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Untitled (2000)
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The hallway of the Whitney before you go into the Rudolf Stingel exhibition
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An inside view of the Rudolf Stingel exhibition
Innovative Italian installation artist Rudolf Stingel has transformed an entire floor of the Whitney in this masterful mid-career retrospective that forces viewers to question the nature of art itself. As you enter the second floor, you’ll walk right into a huge, nearly empty space dominated by a hanging chandelier and aluminum-coated insulation panels covering the walls and ceiling. People are encouraged to add to the constantly evolving piece by drawing on it, making holes, placing an object in it, or any other way they can think of (other than ripping out chunks), contributing to what crowds have already done to it at the Museum of Contemporary Art in Chicago.

In another room, Stingel has hung gold wallpaper paintings, made from stencils, over a mirrored floor that reflects both the works, which have a homey yet elegant feel, and visitors, reconfiguring the barriers between viewer and object. Farther along, Stingel has included a fake heating unit jutting out from a wall, looking like it’s rusting, creating a jarring experience since unregulated heat is such a powerful, destructive force, especially in a museum.

Destruction is a key element in Stingel’s white Styrofoam panels, which he walked over before hanging them, placing the artist right in the middle of both creation and destruction, beginning and end. Start and finish is also evoked by the inclusion of the huge horizontal rug from Stingel’s studio, hung across a wall, becoming a piece of art itself, complete with footprints, paint drippings, and hair embedded in it.

Finally, a large space features two black wallpaper paintings, with imperfections added, along with three giant oil portraits Stingel made of himself, based on photos of him taken by Sam Samore. The Stingel on canvas, deep in thought, looks exhausted and withdrawn; he hangs on the wall, a piece of art not unlike the nearby wallpaper works, imperfect, yet demanding of the viewer’s attention, the photorealistic quality blurring the line between art and artist, artist and viewer, and, perhaps, artist and artist.


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