By Craig G. Staff
Portray has frequently been declared useless because the Nineteen Sixties and but it refuses to die. Even the prestige and persevered legitimacy of the medium has been many times positioned in query. As such, portray has needed to continuously redefine its personal parameters and re-negotiate for itself a severe place inside a broader, extra discursive set of discourses. Taking the yank Clement Greenberg's 'Modernist Painting' as some extent of departure, After Modernist portray should be either a old survey and a severe re-assessment of the contested and contingent nature of the medium of portray during the last 50 years. proposing the 1st serious account of portray, instead of artwork typically, this e-book offers a well timed exploration of what has remained a power and protean medium. Craig employees makes a speciality of definite advancements together with the connection of portray to Conceptual artwork and Minimalism, the pronouncement of work alleged demise, its reaction to install Art's foregrounding of web site, the way it used to be capable of interpret principles round appropriation, simulation and hybridity and the way at the present time portray may be understood as either imaging and imagining the digital.
After Modernist portray is a useful source for these trying to comprehend the topics and concerns that experience pertained to portray in the context of postmodernism and modern inventive perform.
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Additional info for After Modernist Painting: The History of a Contemporary Practice (International Library of Modern and Contemporary Art, Volume 3)
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.
4 The difference was subtle but nevertheless significant. Whilst Greenberg tendentiously sought to reify what was, for him at least, the essence of painting, what in effect amounted to flatness and its delimitation, for other artists the construal of painting’s elements, fundamental or otherwise, did not automatically entail a change in their ontological status. Although painting was still turned in on itself, this was in order not to eulogise it but to critique it. In this respect, the paintings of Giulio Paolini can be seen as adumbrating a subsequent set of critical strategies that were directed towards and, moreover, sought to theoretically unpack painting’s received status and condition.
Organised around an admixture of poetry, humour and critique, Painting to Hammer a Nail In (1961), one of a series of dialogical works made under the auspices of what the artist described as ‘Instruction Paintings,’ invited willing members of the audience to hammer one of the nails that had been provided into what was a white monochrome painting. 41 Equally, Painting to Be Stepped On (1960) was also premised on the idea that the activity of painting was dialogic rather than autonomous, an intersubjective process wherein the categorical boundaries that ordinarily worked to distinguish the production of the object from its reception became rendered, to a certain extent, porous.
After Modernist Painting: The History of a Contemporary Practice (International Library of Modern and Contemporary Art, Volume 3) by Craig G. Staff