Monochrome Painting
Stephen Prina
1989
Monochrome Painting
Fullscreen
PAUSE
00:00
Much of Stephen Prina’s post-conceptualist practice derives from his appropriation of cultural artefacts, which he then recontextualizes. In the publication accompanying the eponymous exhibition organized by The Renaissance Society at 333 Gallery in New York ...
Read more
Monochrome Painting
Stephen Prina
1989
Chicago: The Renaissance Society
46 pages
20.3 × 15.3 cm
Edition of 1,500

Much of Stephen Prina’s post-conceptualist practice derives from his appropriation of cultural artefacts, which he then recontextualizes. In the publication accompanying the eponymous exhibition organized by The Renaissance Society at 333 Gallery in New York in 1989, Prina presents a selected and “veiled” anthology of monochromatic paintings by artists including Kazimir Malevich, Yves Klein, Gerhard Richter, and Ellsworth Kelly. While the facsimile works in the installation are covered in a spray-painted monochromatic green (the Papyrus Green poly used by Volkswagen in 1985), in the book they are replaced by white-framed black rectangles that retain the proportions of the original paintings. Each “tableau” is pasted onto a single green page, recomposing and subtly varying the display of the exhibition itself. Through these meta-abstractions, Prina examines the physical, institutional, and financial structures that condition the public display of canonical artworks.

Chicago: The Renaissance Society
46 pages
20.3 × 15.3 cm
Edition of 1,500

Much of Stephen Prina’s post-conceptualist practice derives from his appropriation of cultural artefacts, which he then recontextualizes. In the publication accompanying the eponymous exhibition organized by The Renaissance Society at 333 Gallery in New York in 1989, Prina presents a selected and “veiled” anthology of monochromatic paintings by artists including Kazimir Malevich, Yves Klein, Gerhard Richter, and Ellsworth Kelly. While the facsimile works in the installation are covered in a spray-painted monochromatic green (the Papyrus Green poly used by Volkswagen in 1985), in the book they are replaced by white-framed black rectangles that retain the proportions of the original paintings. Each “tableau” is pasted onto a single green page, recomposing and subtly varying the display of the exhibition itself. Through these meta-abstractions, Prina examines the physical, institutional, and financial structures that condition the public display of canonical artworks.

DESCRIPTION

Much of Stephen Prina’s post-conceptualist practice derives from his appropriation of cultural artefacts, which he then recontextualizes. In the publication accompanying the eponymous exhibition organized by The Renaissance Society at 333 Gallery in New York in 1989, Prina presents a selected and “veiled” anthology of monochromatic paintings by artists including Kazimir Malevich, Yves Klein, Gerhard Richter, and Ellsworth Kelly. While the facsimile works in the installation are covered in a spray-painted monochromatic green (the Papyrus Green poly used by Volkswagen in 1985), in the book they are replaced by white-framed black rectangles that retain the proportions of the original paintings. Each “tableau” is pasted onto a single green page, recomposing and subtly varying the display of the exhibition itself. Through these meta-abstractions, Prina examines the physical, institutional, and financial structures that condition the public display of canonical artworks.

Chicago: The Renaissance Society
46 pages
20.3 × 15.3 cm
Edition of 1,500

Much of Stephen Prina’s post-conceptualist practice derives from his appropriation of cultural artefacts, which he then recontextualizes. In the publication accompanying the eponymous exhibition organized by The Renaissance Society at 333 Gallery in New York in 1989, Prina presents a selected and “veiled” anthology of monochromatic paintings by artists including Kazimir Malevich, Yves Klein, Gerhard Richter, and Ellsworth Kelly. While the facsimile works in the installation are covered in a spray-painted monochromatic green (the Papyrus Green poly used by Volkswagen in 1985), in the book they are replaced by white-framed black rectangles that retain the proportions of the original paintings. Each “tableau” is pasted onto a single green page, recomposing and subtly varying the display of the exhibition itself. Through these meta-abstractions, Prina examines the physical, institutional, and financial structures that condition the public display of canonical artworks.

MORE BOOKS

Much of Stephen Prina’s post-conceptualist practice derives from his appropriation of cultural artefacts, which he then recontextualizes. In the publication accompanying the eponymous exhibition organized by The Renaissance Society at 333 Gallery in New York in 1989, Prina presents a selected and “veiled” anthology of monochromatic paintings by artists including Kazimir Malevich, Yves Klein, Gerhard Richter, and Ellsworth Kelly. While the facsimile works in the installation are covered in a spray-painted monochromatic green (the Papyrus Green poly used by Volkswagen in 1985), in the book they are replaced by white-framed black rectangles that retain the proportions of the original paintings. Each “tableau” is pasted onto a single green page, recomposing and subtly varying the display of the exhibition itself. Through these meta-abstractions, Prina examines the physical, institutional, and financial structures that condition the public display of canonical artworks.

MORE BOOKS