By Craig G. Staff
Portray has usually been declared lifeless because the Sixties and but it refuses to die. Even the prestige and persisted legitimacy of the medium has been again and again positioned in query. As such, portray has needed to regularly 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 historic survey and a serious second look of the contested and contingent nature of the medium of portray over the past 50 years. proposing the 1st serious account of portray, instead of artwork regularly, this publication presents a well timed exploration of what has remained a power and protean medium. Craig employees makes a speciality of convinced advancements together with the connection of portray to Conceptual paintings and Minimalism, the pronouncement of work alleged demise, its reaction to set up Art's foregrounding of web site, the way it used to be in a position to interpret principles round appropriation, simulation and hybridity and the way this present day portray will be understood as either imaging and imagining the digital.
After Modernist portray is a useful source for these trying to comprehend the topics and matters that experience pertained to portray in the context of postmodernism and modern creative perform.
Read Online or Download After Modernist Painting: The History of a Contemporary Practice (International Library of Modern and Contemporary Art, Volume 3) PDF
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Additional resources for After Modernist Painting: The History of a Contemporary Practice (International Library of Modern and Contemporary Art, Volume 3)
A small number also reproduced a statement from what would have been at the time of the painting’s execution a prominent art critic. Clement Greenberg (1966–8) was one such painting. Again, anonymously painted (Baldessari hired a professional sign painter), in a uniform layer of black acrylic painted directly onto a monochromatic ground, Clement Greenberg (the painting by Baldessari and not the formalist art critic) reproduced ad verbatim the following passage from Greenberg’s text ‘Complaints of an Art Critic,’ first published in Artforum in 1967: Esthetic judgments are given and contained in the immediate experiences of art.
28 Moreover, further credence was given to this account of Pollock through the documentary footage of the artist at work in his studio in East Hampton that was taken by the young German émigré photographer Hans Namuth. 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.
Whilst in Buren’s case the negation of the personal became mobilised through the ostensibly anonymous nature of the stripe, along with the photographic image Gerhard Richter’s choice of depersonalised subject matter included working with a set of colour charts. Non-hierarchical and, at least in any received sense, non-expressive, Richter’s 18 colour chart paintings of 1966 were banal, almost deadpan in the way that Warhol’s silk-screens of Campbell’s soup cans were. Richter had acquired the commercial colour charts from a number of trade shops around Dusseldorf.