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

By Craig G. Staff

ISBN-10: 0857722301

ISBN-13: 9780857722300

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 put in query. As such, portray has needed to always 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 degree 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. offering the 1st severe account of portray, instead of paintings commonly, this ebook 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 paintings and Minimalism, the pronouncement of work alleged dying, its reaction to deploy 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 day portray may be understood as either imaging and imagining the digital.

After Modernist portray is a useful source for these looking 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 resources for After Modernist Painting: The History of a Contemporary Practice (International Library of Modern and Contemporary Art, Volume 3)

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Recalling a visit the artist made to Noland in 1967, Gilliam provides us with this telling statement: It was curious when I was there how much [Noland] was playing with a sculpture that he had made with [Anthony] Caro, and how 23 AFTER MODERNIST PAINTING much he talked about his friend David Smith who had died, and how much he sort of suggested that there was no difference between painting and sculpture at all … the interesting thing is that, since that point … I haven’t forgotten it. 50 Firstly, the paintings played fast and loose with modernism’s articulation – both verbal and physical – of painting.

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)?

24 Seemingly, then, the singularly destructive act from which this series of paintings was born was revelatory. In terms of artistic precedent, whilst on one level the Tirs literally reimagined Jasper Johns’s own target paintings, the work’s destructive bent appeared perhaps closer in sensibility to Robert Rauschenberg’s Erased de Kooning Drawing (1953), a piece that the artist had ‘authored’ almost ten years prior to Saint Phalle’s Tirs. Understood as representing the oedipal-like struggle between, on the one hand, the hubristic fathers of Abstract Expressionism and, on the other, the recalcitrant artists who sought to challenge their forebears’ ideological and artistic imperatives, the facts of this particular incident have been well rehearsed.

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After Modernist Painting: The History of a Contemporary Practice (International Library of Modern and Contemporary Art, Volume 3) by Craig G. Staff

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