After Modernist Painting: The History of a Contemporary Practice (Anglais) Broché – 18 novembre 2014
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Description du produit
Revue de presse
David Ryan, Reader in Fine Art, Anglia Ruskin University
The book's phenomenal achievement is to steadily guide the reader through a multitude of competing theories and debates around what painting is, whilst being grounded in the diverse practices of individual artists as they speculatively push at the frontiers of hat painting might become. --Dan Hays, artist
'A broad and comprehensive history... touches upon an often staggering array of canonical and overlooked practices.' --Art Monthly
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Commentaires client les plus utiles sur Amazon.com
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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