Painting in the Round (original) (raw)
Related papers
2017
This book is a map of painting and the questions that confront its ongoing status in the professional domain of contemporary art. It involves searching the full spectrum of painting, from the processes that take place in the artist’s studio right through to the intellectual arguments that position and justify certain disciplines and genres of painting above others. Painting is a major art form that has been both rejected and revered. It is often rejected as an outdated tradition very long in the tooth, 40,000 years if we go back to Lascaux and the rock paintings of the original Australians. Surely something so old is irrelevant by now, lost in the stories of its own past, tangled up in conventions that are like old coins, details worn away, but still shopped around as common currency. On the other hand painting is revered because so many still practice it, passionate students arriving at art school, art markets dealing in new and old masters, galleries selling painted canvases for appreciation, investment and decoration. Painting, together with Sculpture and Architecture, forms an original triad of classical arts dating back to ancient Greece. Since that time painting has been the dominant art form, with an ability to say anything about everything, including self and world, politics and literature, science and popular culture. All of it is done in the hushed silence of colour on an immobilized surface. Over the last 100 years the position of painting has been questioned and vanquished many times, in particular by photography and new media. Yet somehow it lives on, commanding our respect like an immortal warrior or at least some kind of urban zombie. It has become a hybrid of the living and the dead, something contemporary and something remembered, involving the use of craft materials that can plug into electronic media, sculptural objects, performative events and theoretical texts. All of these elements form a new kind of contemporary practice for painting that struggles for a proper name.
Painting After the End of Painting (11/2016)
Brief essay framing recent tendencies in contemporary painting, regarding the idea of end of art (A. Danto / H. Belting) and its revaluation in face of new media and internet culture.
I LIKE AMERICA: Painting in the Expanded Field
2017
I would like to thank my first and second readers, Gabriele Evertz and Joachim Pissaro respectively, who have both been pivotal mentors. I would like to express my gratitude Drew Beatie and the Evelyn Kossak Painting Committee for awarding me with the instrumental travel grant, which informed much of this work. I would like to thank the numerous individuals, curators, and museums that lent their support to my research, in particular, the Metropolitan Museum of Art, the Journey Museum, the Denver Museum, the Joslyn Art Museum, the Red Cloud Collection, and the Center for American Indian and Native Studies. My thesis would not have been possible without Ms. Evelyn C. Kossak and her continuous and generous support for the painting programs at Hunter College. I would like to thank the MFA chairman, Joel Carreiro, and the art department chair, Howard Singerman. I am thankful for all the wonderful professors of history that I have had the pleasure to study under, particularly William C. Agee and Robert Morris. I would like to extend my thanks to my curatorial mentors, Juan Puntes and Chus Martinez. I am indebted to Jerome A. Cohen and Joan Lebold Cohen for underwriting the Cohen Center for Visual Art, which I have used as a laboratory for the development of an understanding of new institutionalism. My immense thanks also goes to my gallerist, Ethan Cohen, for giving my work an international platform.
Art Style Magazine | Volume 1 | Issue 1 | March 2019
2019
Art Style | Art & Culture International Magazine is an open access, biannual, and peer–reviewed online magazine that aims to bundle cultural diversity. All values of cultures are shown in their varieties of art. Beyond the importance of the medium, form, and context in which art takes its characteristics, we also consider the significance of socio-cultural, historical, and market influence. Thus, there are different forms of visual expression and perception through the media and environment. The images relate to the cultural changes and their time-space significance—the spirit of the time. Hence, it is not only about the image itself and its description but rather its effects on culture, in which reciprocity is involved. For example, a variety of visual narratives—like movies, TV shows, videos, performances, media, digital arts, visual technologies and video game as part of the video's story, communications design, and also, drawing, painting, photography, dance, theater, litera...