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After Modernist Painting: The History of a Contemporary Practice (Anglais) Broché – 18 novembre 2014

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Painting has often been declared dead since the 1960s and yet it refuses to die. Even the status and continued legitimacy of the medium has been repeatedly placed in question. As such, painting has had to continually redefine its own parameters and re-negotiate for itself a critical position within a broader, more discursive set of discourses. Taking the American Clement Greenberg's 'Modernist Painting' as a point of departure, After Modernist Painting will be both a historical survey and a critical re-evaluation of the contested and contingent nature of the medium of painting over the last 50 years. Presenting the first critical account of painting, rather than art generally, this book provides a timely exploration of what has remained a persistent and protean medium. Craig Staff focuses on certain developments including the relationship of painting to Conceptual Art and Minimalism, the pronouncement of paintings alleged death, its response to Installation Art's foregrounding of site, how it was able to interpret ideas around appropriation, simulation and hybridity and how today painting can be understood as both imaging and imagining the digital.After Modernist Painting is an invaluable resource for those seeking to understand the themes and issues that have pertained to painting within the context of postmodernism and contemporary artistic practice.

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Commentaires client les plus utiles sur (beta) 2 commentaires
A Curious Enquiry 14 octobre 2014
Par Storyboard123 - Publié sur
Format: Format Kindle
With all due to respect to individual opinion I find ‘Seer's’ review somewhat disingenuous to this book and feel it should not be the sole given response to this work; personal I find the tone somewhat angry rather than helpful.

In terms of ‘false premise’ this book does indeed start with a Greenbergian premise but that does not make it false. A premise is simply a place to start, a provocation or an incitement in which to follow or to argue. Any utterance, be it artistic or otherwise, needs premise to contextualise it suggestion. The error in ‘Seers’ review is that, by no means does this book suggest that ‘all art’ is spurned from Greenberg’s claims. This book runs counter to claims of ‘all art’ and seeks to explore diversity, particularly amongst activities around painting. Furthermore within its treatment of painting, somewhat uniquely and refreshingly, the book does not ascribe this to a linear history but engages with the much more labile occurrences of painterly propositions; the multiplicity of histories. In this way it raises awareness and insight in to some curious and beautiful acts of painting and its expanded field that often full beyond the purview of the standard ‘history of painting’ books. Greenberg within this book is used (and acknowledged) as one possible device, or point of departure, for seeking thoughtful attendance to, what is evermore becoming a contended and complex field.

In terms of criticality, the way this book maps the topology of painting through propositions, rather than A begets B, is the ‘intellectual substance’ or ‘intellectual content’ (should the two be divisible). Through the very appreciation of the diverse propositions that painting becomes entangled with, as one reads the book one is introduced the lay lines, like myriad of flex, that run through its discourse; not only vertically from past to present but also across its horizontal axis and through every degree between. Within this book the reader is offered the opportunity to look behind painting, alongside painting, to see how its ideas coalesce or rub and furnish painting practice with new ever new centrifugal ‘premise’. The way the book succeeds in generating a considered and approachable discussion of the apparently heterogeneous is a wonderful achievement ‘Anyone who knows anything about art’ (Seer) will know that it is not art as singular entity but is art(s) as multifarious definitions, concerns and approaches and to see how given of instances of painting collide to push and press the mediums remit is a rewarding read.

In summation I would offer that this book does not offer the weighty claims that ‘Seer's review condemns it for; it does not purport to underscore all painting let all alone all ‘art’. In its discussion of propositions, trajectories and ideas that are infused with painting this book sets it’s self out as a proposition. It is an offer, an elucidation, a suggestion of one way in which one can begin to approach a medium that is much more than simply its canon. As it begins with a premise it ends with a premise; that the reader may build upon the inherent ideas to create their own propositions around painting, to explore the full scope and diversity that no book could capture.

As for being ‘left in the dark’ (Seer) I don’t think the curiosities of art will ever be fully illuminated but maybe with this book in hand we have a torch to help guide us on our way.
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Garbage 28 juin 2013
Par Seer - Publié sur
Format: Broché
This book is junk, not worth the paper it is written on. It's empty of any kind of intellectual substance, devoid of intellectual content, no critique, it starts from a false premise, that art is about what Clement Greenberg said it was about and then just lists what this person did and then what this person did, full of pointless biographical stuff, like this artist lived on this street and then they moved to another street, no kidding.Anyone who knows anything about art will think it's a joke, anyone who knows nothing about art, will be left in the dark.
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