By Craig G. Staff
Portray has usually been declared lifeless because the Nineteen Sixties and but it refuses to die. Even the prestige and endured legitimacy of the medium has been many times positioned 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 yank Clement Greenberg's 'Modernist Painting' as some degree of departure, After Modernist portray may be either a ancient survey and a serious re-examination of the contested and contingent nature of the medium of portray over the past 50 years. offering the 1st serious account of portray, instead of artwork typically, this e-book presents a well timed exploration of what has remained a power and protean medium. Craig employees specializes in definite advancements together with the connection of portray to Conceptual artwork and Minimalism, the pronouncement of work alleged loss of life, 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 present day portray will be understood as either imaging and imagining the digital.
After Modernist portray is a useful source for these looking to comprehend the topics and matters that experience pertained to portray in the context of postmodernism and modern creative 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)
Rather than stretch a more traditional support such as a length of canvas or linen onto the painting’s frame, Paolini chose instead clear plastic, which contained, but did not conceal, both the frame and the tin of paint. 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.
Ostensibly, by inverting the word ‘reality’ and placing it centrally upon a monochrome ground, it appeared that the liminal threshold separating the actual realm of the viewer from the fictive realm of the painting had been, in effect, breached. Having moved through the looking glass that Project for an Artistic Attitude’s text functioned on one level as, the viewer now inhabited the hypothetical realm that certain accounts of the monochrome had implied. However, by being unable to relinquish painting’s prior ontological condition (that is, the viewer continued to see ‘reality,’ continued to have ‘reality’ in their sight, despite the fact that they now stood both somehow behind and indeed beyond it), Project for an Artistic Attitude worked to reveal their co-dependency, albeit in a way that, as a project, it became reflexively stage-managed.
Other paintings by Ramsden during this period sought to debunk the ontological claims that had been made on behalf of abstraction through countering its proclivity to imply the fictive by simply stating the factual. To this end 100% Abstract (1968) merely detailed, or rather deadpanned, the four percentages that collectively went to make up its physical constitution. Again, whilst the title implied verification, the four 36 auto-critique percentages, totalling 100 percent, short-circuited those ambitions and in the process short-changed the viewer by merely stating how the artwork had been constituted physically, rather than metaphysically.
After Modernist Painting: The History of a Contemporary Practice (International Library of Modern and Contemporary Art, Volume 3) by Craig G. Staff