By Craig G. Staff
Portray has frequently been declared lifeless because the Sixties and but it refuses to die. Even the prestige and persevered legitimacy of the medium has been many times put in query. As such, portray has needed to constantly 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 should be either a historic survey and a severe second look 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 paintings as a rule, this booklet offers a well timed exploration of what has remained a power and protean medium. Craig employees makes a speciality of yes advancements together with the connection of portray to Conceptual paintings and Minimalism, the pronouncement of work alleged loss of life, its reaction to deploy Art's foregrounding of website, the way it was once capable of 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 trying to comprehend the topics and concerns 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)
The shooting is the moment. It’s the only thing that lives because everything is dead afterwards. Nothing lives. ’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.
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. To this end, whilst Minimalism gravitated towards the phenomenology of Maurice Merleau-Ponty as a means of providing both a legitimising rationale and a degree of critical purchase within the world of meaning, the philosophy of Ludwig Wittgenstein arguably provided an interpretive context within which the more cerebral and de-subjectivised approach to art making – an approach Conceptual Art, for the most part, ushered in – could be understood.
In 1964, in a radio interview, Stella claimed that ‘My painting is based on the fact that what is there is there. It really is an object. ’44 Three years later, Ryman would invoke the law of identity in order to make, broadly speaking, the same claims on behalf of his own practice: ‘What the painting is, is exactly what [you] see: the paint on the corrugated and the color of the corrugated and the way it’s done and the way it feels. ’45 Indeed, critics weren’t necessarily immune from this tendency of summoning the law of identity as a means of legitimising the ostensibly plainspoken matter-of-factness of painting.