By Craig G. Staff
Portray has frequently been declared lifeless because the Nineteen 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 serious place inside of a broader, extra discursive set of discourses. Taking the yank 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 during the last 50 years. providing the 1st serious account of portray, instead of paintings usually, this publication presents a well timed exploration of what has remained a chronic and protean medium. Craig employees specializes in convinced 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 used to be capable of interpret principles 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 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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Additional info for After Modernist Painting: The History of a Contemporary Practice (International Library of Modern and Contemporary Art, Volume 3)
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.
Hafif described the piece thus: Each gray would be painted on a separate small canvas. Each painting would be of the same size and manufacture, differences being only in the shade of gray and in unavoidable variations in the paint and its application. Each shade would be barely distinguishable from the next. The number of paintings would be unknown until all the possibilities were exhausted. 50 However, whilst all three artists have continued to key their respective enquiries, to a lesser or greater extent, into a set of concerns that first emerged during the period under question, the account of abstract painting as it developed during the 1970s and that will be discussed in the next chapter sought neither to negate painting per se nor simply to rehearse those strategies that Conceptual Art and Minimalism respectively adopted.
And if the answer must be a resounding “no,” then what are we to make of Theory of Painting? ’15 In so doing, the work became self-reflexive or self-referential to the extent that coterminous with the work’s meaning was also its rehearsal of a meta-commentary centring upon the construction, be it aesthetic, cultural or ideological, of this self-same meaning; what amounted to, in other words, a form of auto-critique. 31 AFTER MODERNIST PAINTING We may partly account for this imperative as being symptomatic of artists wanting to engage with the ideas of certain key twentiethcentury thinkers.