By Craig G. Staff
Portray has frequently been declared lifeless because the Sixties and but it refuses to die. Even the prestige and endured legitimacy of the medium has been again and again put 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-assessment of the contested and contingent nature of the medium of portray during the last 50 years. featuring the 1st severe account of portray, instead of artwork often, this ebook presents a well timed exploration of what has remained a continual and protean medium. Craig employees specializes in definite 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 website, the way it used to be capable of interpret rules round appropriation, simulation and hybridity and the way this 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 inventive perform.
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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)
1 If there were any discernable affinities between the broad range of approaches to painting we have thus far considered, then they arguably centred upon, albeit it in a loose sense, a respective set of attempts to outflank or circumvent the reductivising impulse that marked the project of both Greenberg and Minimalism. ’3 Whilst the artists who will be discussed within this chapter were unwilling to yield to Greenberg’s edicts, they were equally reluctant to relinquish entirely Minimalism’s emphasis upon the necessity to eschew illusionism in favour of a more theoretical form of practice.
53 Arguably, this particular preoccupation that was shared by certain artists and that became played out during the second half of the 1960s was preceded by the exhibition The Shaped Canvas at the Guggenheim Museum in New York in 1964 and, interestingly, included the shaped canvases of Frank Stella. Whilst the work of Sam Gilliam tendentiously played the two-dimensional off of the three-dimensional in order to make a work that ‘was both about painting and sculpture,’ other artists adopted the same strategy as the means by which they could move painting into the realms of architectural space.
31 Moreover, the adoption of such working methods enabled artists to engage with the medium of painting whilst at the same time sidestep considerations around formalism’s conflation of painting with the primacy of the aesthetic. In an attempt to return painting to its ostensibly elemental state, the statements and actions of the BMPT group, consisting of Daniel Buren, Olivier Mosset, Michel Parmentier and Niele Toroni, began on 3 January 1967 at the 18e Salon de la Jeune Peinture or so-called Salon of Young Painting at the Musée d’Art Moderne in Paris.
After Modernist Painting: The History of a Contemporary Practice (International Library of Modern and Contemporary Art, Volume 3) by Craig G. Staff