LONDON.- The show is over. Or is it? This exhibition is about abstraction and the end of painting, often proposed but never concluded. Christopher Wools statement in paintings, drawings and billboards, taken from Vasily Rozanovs nineteenth century definition of nihilism, contains sufficient irony to suggest that painting itself, the spectacle that surrounds it, and the ultimate questions it poses about life and death, are never quite over.
The negation of painting emerged in Europe after WWII in Francis Picabias last paintings, Lucio Fontanas punctured and slashed Concetto spaziale paintings, Yves Kleins Fire-Color works, and Piero Manzonis quest for neutral materiality in the Achromes. When first exhibited in 1953, Robert Rauschenbergs White Paintingsmonochromatic panel paintingswere unprecedented in their deceptive blankness. These works anticipated diverse interpretations of the neutral picture plane. Gerhard Richters paintings of the 1970s in shades of grey project a removed, indifferent power. Richard Serras Left Corner Horizontal (1977), a dense black expanse of oilstick on linen, produces a physical and spatial void that appears impenetrable.
A shared spirit of negation is evident in the anarchic actions that fueled the urban Punk movement, epitomized by Steven Parrinos physical attacks on the canvas and Kim Gordons evanescent wreaths. In Parrinos Untitled (1992), the anarchist symbol is sprayed in black engine enamel on white vellum. Ed Ruschas hermetic painted wordplay reaches cinematic finality with The End paintings, begun in the early 1980s. The silhouettes of Hourglass #4 (1987) and End (1993) are set against grey-spectrum horizons that evoke transitions of time and space.
Seeking new ways to negate or efface the picture plane, artists such as Douglas Gordon, Mark Grotjahn, Wade Guyton, Adam McEwen, Albert Oehlen, Richard Prince, and Rudolf Stingel represent sustained challenges to the limits of painting, both real and imagined.
The Show is Over continues the thread of Gagosian exhibitions such as Imageless Icons: Abstract Thoughts (2005); Crash (2010); and Malevich and the American Legacy (2011), which trace art-historical themes from the advent of Modernism to the present.
The exhibition is accompanied by a fully illustrated catalogue with an essay by Malcolm Bull.