After Modernist Painting: The History of a Contemporary by Craig G. Staff

By Craig G. Staff

Portray has usually been declared useless because the Nineteen Sixties and but it refuses to die. Even the prestige and endured legitimacy of the medium has been time and again put in query. As such, portray has needed to constantly redefine its personal parameters and re-negotiate for itself a serious place inside a broader, extra discursive set of discourses. Taking the yankee Clement Greenberg's 'Modernist Painting' as some degree of departure, After Modernist portray might be either a ancient survey and a severe second look of the contested and contingent nature of the medium of portray over the past 50 years. offering the 1st severe account of portray, instead of paintings ordinarily, this publication presents a well timed exploration of what has remained a continual and protean medium. Craig employees specializes in yes advancements together with the connection of portray to Conceptual paintings and Minimalism, the pronouncement of work alleged loss of life, its reaction to set up Art's foregrounding of web site, the way it was once in a position to interpret rules round appropriation, simulation and hybridity and the way this present day portray should be understood as either imaging and imagining the digital.

After Modernist portray is a useful source for these looking to comprehend the topics and matters that experience pertained to portray in the context of postmodernism and modern creative perform.

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Extra info for After Modernist Painting: The History of a Contemporary Practice (International Library of Modern and Contemporary Art, Volume 3)

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A month after, a series of Namuth’s photographs had accompanied Robert Goodnough’s article ‘Pollock Paints a Picture’ in the May edition of ArtNews in 1951 and by way of further corroborating this reading of the artist, the Museum of Modern Art screened the colour film of Pollock at work. ’34 One such artistic group was the Gutai Art Association. 35 In 1964 Kazuo Shiraga, an artist who was a member of the Gutai Art Association, created Tenkaisei Kohogi by opting to paint it not with his hands but with his feet.

This marked a shift in terms of both the operative conditions of painting and the protocols and procedures that governed its interpretation. By downgrading the visual, the inclusion of text meant that the conditions of possibility were such that painting could be read, as much as it could be seen. This further corroborated Conceptual Art’s emphasis upon art as a theoretical form of practice that eschewed the elicitation of pleasures the visual sense was inextricably bound up with. ’9 Certainly, there was a degree of confluence between Conceptual Art demoting, if not repudiating, modernism’s privileging of the visual sense and Bochner’s own attempts to disentangle the various historically received and culturally riven threads that had become entwined within the work of art.

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. Having initially used this material in the more conventional means as a support, by 1968 Buren was placing these stripes, newly liberated from functioning in their received sense as receptacles for paint, within and indeed beyond the confines of the museum and the gallery space.

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