By Craig G. Staff
Portray has usually been declared useless because the Sixties and but it refuses to die. Even the prestige and endured legitimacy of the medium has been time and again positioned in query. As such, portray has needed to consistently redefine its personal parameters and re-negotiate for itself a severe place inside of a broader, extra discursive set of discourses. Taking the yankee Clement Greenberg's 'Modernist Painting' as some extent of departure, After Modernist portray could be either a ancient survey and a serious re-examination of the contested and contingent nature of the medium of portray over the past 50 years. proposing the 1st serious account of portray, instead of artwork as a rule, this e-book offers a well timed exploration of what has remained a chronic and protean medium. Craig employees makes a speciality of yes advancements together with the connection of portray to Conceptual paintings and Minimalism, the pronouncement of work alleged loss of life, its reaction to deploy Art's foregrounding of web site, the way it was once capable of interpret rules round appropriation, simulation and hybridity and the way this present day portray could be understood as either imaging and imagining the digital.
After Modernist portray is a useful source for these trying to comprehend the subjects and matters that experience pertained to portray in the context of postmodernism and modern creative perform.
Read Online or Download After Modernist Painting: The History of a Contemporary Practice (International Library of Modern and Contemporary Art, Volume 3) PDF
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Additional resources for After Modernist Painting: The History of a Contemporary Practice (International Library of Modern and Contemporary Art, Volume 3)
Sample text
On the surface of the middle section of these newspapers a rectangular area of blue paint had been sprayed. Equally, in the area representing the processes of dispersal and coherence, whilst all of the newspapers had been placed neatly so that one edge of the newspaper sheet directly abutted the neighbouring one, covering the floor of the gallery space with a grid-like area of newsprint, variously shaped areas of blue paint had been intermittently sprayed onto certain sections of it. 13 In its precision and economy the piece, according to Richard Field, vexated the viewer to consider the following: ‘Can the terms of painting, with all its visual illusion and literary allusion, be reduced to four arrangements of two set constants (area of paper and area of paint)?
For Buren this was the vertical stripe, for Mosset, it was a black circle painted on a square, white ground. Parmentier, having folded his primed canvas into a series of pleats 38 centimetres wide and then spray-painted the concertinaed surface, subsequently unfolded it, exposing in the process the concealed and unpainted areas. Finally, Toroni’s application of paint was via a series of regularly placed imprints using a no. 50 brush. 7 centimetres in width, stemmed from his decision in 1965 to purchase striped awning cloth at the Marché St Pierre in Paris.
Given the existential dimension of On Kawara’s work at this time, his practice remained conceptually closer to the Polish artist Roman Opalka’s own process of self-documentation. In 1965 Opalka begun Opalka 1965/1 -∞, a lifelong project that in effect entailed the artist counting from 1 towards infinity. Each canvas or Detail, measuring 196 x 135 centimetres, the same dimensions as his studio door, became the receptacle for the accumulation of numbers that were hand-painted in white using a no.