Stretcher building and Supports/Surfaces

Today, for the first time, I built a canvas stretcher. Until now, I’ve been painting on paper and unstretched canvas.

The process of building this made me think about the tradition of oil painting on canvas. I feel a kind of pressure about the idea of making marks on an object that’s built to preserve them for centuries. It also made me think about the materiality and sculptural qualities of the stretcher and canvas. Art & Language drew attention to this in their 1967 work Painting / Sculpture.

Art&LanguagePaintingSculpture

Art & Language Painting / Sculpture (1967) acrylic on canvas, each 80 x 48cm

Mostly I view paintings as dematerialised images, reproduced in books and on digital screens. When I visit galleries, I enjoy the relationship between seeing a painting in person and seeing it’s reproduction. There are nearly always surprises, both ways. The difference between owning a reproduction and owning the original also interests me, philosophically and politically. But today, building a stretcher has brought my focus squarely onto paintings as objects.

I thought about artists who’ve made this into part of the subject of their work: Primarily, the 1960s-70s French movement named Supports/Surfaces. Until now, this group didn’t interest me much. From what I understand, their work had some of the spirit of literary deconstruction, and combined elements of minimalism, conceptual art, and installation, focussing on – as the name suggests –  the supports and surfaces which have traditionally carried painting. Daniel Dezeuze’s work particularly seems to epitomise this conjunction.

DanielDezeuzestretcher-covered-with-a-sheet-of-transparent-plastic-1967(1)

Daniel Dezeuze Stretcher (Covered With a Sheet of Transparent Plastic) (1967)

In 2014, the Supports/Surfaces movement was revisited in two exhibitions, prompting this informative article by Raphael Rubinstein (I haven’t read it all yet). One of those recent exhibitions was titled Supports/Surfaces is Alive and Well, which seems to be true, judging by how many younger artists are making new work that explores similar territory.

I’m not very familiar with any of the following artists but, superficially, I see three tendencies:

1: Paintings which retain the tradition of mark-making with paint on a pliable surface supported by a rectangle wooden stretcher, but disrupt the surface and partially reveal the stretcher, bringing in sculptural and conceptual concerns. ie. Diana Molzan, Richard Aldrich, and Merlin James.

DianaMolzan

Dianna Molzan Left (clockwise from left): Untitled (2010) oil on canvas on fir 140.9 x 121.9cm; Untitled (2009) oil on canvas on fir 60.9 x 50.8cm; Untitled (2010) oil on canvas on fir 60.9 x 50.8cm. Right: detail of Untitled (2010)

RichardAldrichUntitled2011-2012(2009)oilwaxcanvasonrubberoncutlinen

Richard Aldrich Untitled 2011 – 2012 (2009) oil and wax on canvas on rubber on cut linen 213.4 x 147.32cm

MerlinJames

Merlin James House and Cloud (2014) acrylic, wood and mixed media 72 x 56cm

2. Paintings which (I think) evoke images of canvases or stretcher supports, but are not necessarily themselves made using those materials. Examples here from R H Quaytman and Nathan Holden.

RHQuaytman

R H Quaytman Exhibition Guide, Chapter 15 [arrow painting in model] (2009) oil, silkscreen, gesso on wood 51 x 51cm

Nathan-Hylden

Nathan Hylden Untitled (2010) acrylic on aluminium 197 x 145cm

  1. Paintings on canvases that are stretched over structures whose shape departs from the conventional rectangle or square. ie. Wendy White, Rafal Bujnowski, Philippe Decrauzat.
WendyWhite

Wendy White 47 Catherine (2013) acrylic on canvas 243.8 x 342.9cm

RafalBujnowski2011

Rafal Bujnowski multiple works (2011) oil on canvas

PhilippeDecrauzatUntitled2014

Philippe Decrauzat Untitled (2014) acrylic on canvas 220 x 200cm

I don’t immediately feel inclined to try anything like this in my own work, but I’m interested that stretchers and canvas seem to play such a visible role in works that (are said to) occupy the space between traditional painting and conceptual art, from Fontana and Stella onward.

Spatial Concept 'Waiting' 1960 by Lucio Fontana 1899-1968

Lucio Fontana Spatial Concept ‘Waiting’ (1960) canvas 93 x 73cm

FrankStellaavicenna-1960_764

Frank Stella Avicenna (1960) aluminium oil paint on canvas 189.2 x 182.9cm

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4 thoughts on “Stretcher building and Supports/Surfaces

  1. Sam those are interesting musings. I told you I was “in”. I saw an exhibition at the Tate in London on Conceptual art in the 1960s 70s. the Art-Language movement thought about the words used to describe art as something to include and sometimes comment on in their pieces. Amongst other things of course. So there were lots of words on canvas or paper, saying what they wanted to depict.

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  2. My name’s not Sam, but thanks for the comment, Philip! I went to the Tate website to check the exhibition dates and found the Art & Language work that I’ve inserted into this post. I ought to see the exhibition before it closes, but I’m put off by the idea of so much text in one show. Does anyone read it all? Are we meant to?

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