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

Painting

By Craig G. Staff

Portray has frequently been declared lifeless because the Sixties and but it refuses to die. Even the prestige and persisted legitimacy of the medium has been many times positioned in query. As such, portray has needed to consistently redefine its personal parameters and re-negotiate for itself a severe 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 can be either a old survey and a severe re-examination of the contested and contingent nature of the medium of portray during the last 50 years. providing the 1st severe account of portray, instead of paintings commonly, this publication offers a well timed exploration of what has remained a continual and protean medium. Craig employees specializes in sure advancements together with the connection of portray to Conceptual artwork and Minimalism, the pronouncement of work alleged dying, its reaction to deploy Art's foregrounding of website, the way it used to be in a position to interpret rules round appropriation, simulation and hybridity and the way this 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 concerns that experience pertained to portray in the context of postmodernism and modern inventive 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)

Sample text

Begun in January 1966, this on-going series has involved the artist inscribing upon a prepared monochrome surface the date the painting was made using the language of the country in which the painting was executed. Whilst certain limitations were imposed with regard to the format, for example the hand-painted sans serif font was white, other aspects, including the canvases’ size and colour, remained variable. As in the case of Ramsden’s 100% Abstract, On Kawara eschewed any overt, painterly detail in favour of a more straightforward and unembellished presentation of a certain number of key facts relating to its actual construction.

Notwithstanding the artist’s visual pun that was organised around the Renaissance’s proclivity to view painting as a form of ‘window’ onto the world, Paolini appeared to have divested painting, or, at least in this particular case, this painting (if we can indeed call it such), of any illusionistic attributes or characteristics. Instead, emphasis was accorded to the fundamental means by which painting had traditionally pictured the world. 5 As it was then Senza titolo functioned as a proto-conceptual statement about painting as much as it actually existed as one, deconstructing in the process both the conditions of production and by extension those of viewing as well.

Whilst certain limitations were imposed with regard to the format, for example the hand-painted sans serif font was white, other aspects, including the canvases’ size and colour, remained variable. As in the case of Ramsden’s 100% Abstract, On Kawara eschewed any overt, painterly detail in favour of a more straightforward and unembellished presentation of a certain number of key facts relating to its actual construction. However, unlike a work such as 100% Abstract, the presence of the artist was at least implied in the sense that by reading the painting in relation to the factual information it denoted, its execution necessarily encompassed, however obliquely, an autobiographical dimension.

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