Like most
provisional painting shows, there's a lot of variety, but rarely much development.
Not exact matches
Examining the
show in the context of curator Rubinstein's previous critical interests (particularly Rubinstein's coining of the term «
provisional painting») Micchelli writes that «the genome of this generation of post-minimal abstractionists, who were born between 1939 and 1949, is embedded in the
Provisional / Casual DNA... There isn't much that's casual or
provisional about the
paintings (one from each artist) on display, even though improvisation is their main modus operandi.
The departure was short - lived, however, ending when Hoptman returned to the city as a senior curator at the New Museum, bringing in works by painters like Elizabeth Peyton, George Condo, and Tomma Abts while also organizing seminal exhibitions including «Unmonumental: The Object in the 21st Century» — the influential
show of
provisional - looking sculpture that famously included a lot of
paint — and «Younger than Jesus,» the first iteration of the museum's Triennial.
This tour of
painting shows [posted below] in Bushwick provides a
provisional survey of recent work, not only from Bushwick, New York, but the world beyond.»
Like those of his contemporaries, his
painting surfaces often have a
provisional quality to them, taking on the feel of computer screens, as John Kelsey and Daniel Birnbaum argue in a waggish chat in the
show's catalog.
Co-curator Liam Holding said that Rubinstein's concept of the
provisional tied the
paintings together but didn't fully encapsulate the
show or the artists on
show.