Journal of Contemporary Painting最新文献_第2页

Liquid gestures: The language of that land 液体手势:那片土地的语言

Journal of Contemporary Painting Pub Date : 2023-04-01 DOI: 10.1386/jcp_00049_1

Melissa Gordon

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Helen Frankenthaler: Something new in terms of nature 海伦·弗兰肯塞勒:在自然方面是新的东西

Journal of Contemporary Painting Pub Date : 2023-04-01 DOI: 10.1386/jcp_00047_1

Alison Rowley

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The bureaucracy of freedom 自由的官僚主义

Journal of Contemporary Painting Pub Date : 2023-04-01 DOI: 10.1386/jcp_00050_1

Katie Pratt

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Cullinan Richards: A visit to the studio, 9 December 2022, Painting Fluid Thinking1 库利南·理查兹:工作室之旅，2022年12月9日，《流体思维》

Journal of Contemporary Painting Pub Date : 2023-04-01 DOI: 10.1386/jcp_00051_1

Joan Key

{"title":"Cullinan Richards: A visit to the studio, 9 December 2022, Painting Fluid Thinking1","authors":"Joan Key","doi":"10.1386/jcp_00051_1","DOIUrl":"https://doi.org/10.1386/jcp_00051_1","url":null,"abstract":"The long-term collaboration of Charlotte Cullinan and Jeanine Richards, originally predicated on painting, extends to its studio management; conceptions of work-sharing; design of formats of presentation and exhibition strategy. This raises a question of how far the conception of ‘a painting’ could hold in a context where paintings’ contiguity with boundaries and processes is already a debate arising from variables explored through shared production. The positioning of painting as ‘installation’ further destabilizes the discreet objecthood of a painting resolved within a solidifying frame. Taking up a conception of fluid materiality as a metaphor for this instability, reference is made to both painting and feminist philosophy: Helen Frankenthaler’s development of a painterly language of fluid applications and Luce Irigaray’s terminology of ‘fluidity’ as a physical and discursive interrelation, based in a double experience of feminine physiology. Frankenthaler’s fluid paint and Irigaray’s poetics of fluidity, devised to imagine a non-hierarchical discourse, are contemporaneous but may have no historic connection. The term ‘fluid’, drawn from both these sources, will be used to read an imaginative and purposeful resistance to idealizing the authority of formal explanations of painting present within Cullinan Richards’s practice.","PeriodicalId":40089,"journal":{"name":"Journal of Contemporary Painting","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135778013","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Frankenthaler, woodcuts and Japan 弗兰肯塔勒，木刻和日本

Journal of Contemporary Painting Pub Date : 2023-04-01 DOI: 10.1386/jcp_00048_1

Suzanne Boorsch

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Painting as technology: Toolpaths and pathways in Cheyney Thompson’s work 绘画作为技术：Cheyney Thompson作品中的工具路径

IF 0.2

Journal of Contemporary Painting Pub Date : 2021-10-01 DOI: 10.1386/jcp_00025_1

P. Gottschaller

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Speculative scholarship: Between text and image 思辨学术：在文本和图像之间

IF 0.2

Journal of Contemporary Painting Pub Date : 2021-10-01 DOI: 10.1386/jcp_00027_1

Christina Mamakos

{"title":"Speculative scholarship: Between text and image","authors":"Christina Mamakos","doi":"10.1386/jcp_00027_1","DOIUrl":"https://doi.org/10.1386/jcp_00027_1","url":null,"abstract":"This experimental text considers the application of painting as a philosophical practice through an inquiry of what it actually means to have knowledge of an artwork. That is, what does it mean to think materially, in Hubert Damisch’s words, ‘what does it mean for a painter\u0000 to think?’. Within this context emerges a dialogue between the cognitive, the analytic and the poetic, seeking to embody and offer a picture of the experience of the visible. This grows from an interest in the philosophy of perception, specifically engaging current approaches\u0000 in embodied cognition and blending theory, considering vision and visual perception as an ontologic process. The text presented below seeks to explore the possibilities of carrying over this philosophical terrain to questions of received language, ideas of originality and problems of authorship.\u0000 This is a painter’s task ‐ an approach to ‘text as image’ ‐ and is not only about devising and exploring a specific format to speak about how painting works but also about staging a compositional technique and textual act of re-production between experimental\u0000 writing and the material practice of painting. Presenting unorthodox academic writing seeks to situate ideas not only within scholarship but also in how that scholarship might be transmitted effectively.","PeriodicalId":40089,"journal":{"name":"Journal of Contemporary Painting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43437415","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

New frontier: Three painters from Shenzhen and their relation with the Hong Kong art market 新边疆：三位深圳画家及其与香港艺术市场的关系

IF 0.2

Journal of Contemporary Painting Pub Date : 2021-10-01 DOI: 10.1386/jcp_00030_1

F. Vigneron

{"title":"New frontier: Three painters from Shenzhen and their relation with the Hong Kong art market","authors":"F. Vigneron","doi":"10.1386/jcp_00030_1","DOIUrl":"https://doi.org/10.1386/jcp_00030_1","url":null,"abstract":"Drawn towards Hong Kong because of what appears to be a thriving art market, many artists from the People’s Republic of China are now looking towards Shenzhen, the Special Economic Zone created nearby in the 1980s, for conducting their practices. Launched as an economic testing\u0000 ground by Deng Xiaping, Shenzhen is now experiencing new and profound changes. The development of new art institutions has been the reason for the emergence of an art scene that is fostering the creation of original art practices, especially in the field of painting. This article takes as\u0000 example three practitioners and explains the reasons why they have chosen to live there and how they are negotiating their position from this city within the local art ecology as well as the art market of Hong Kong. The first of these artists, Liang Quan (), has lived in Shenzhen since the\u0000 1990s and is a representative of contemporary forms of literati painting, while the other two, Zhou Li () and Xue Feng (), are more recent arrivals who are both abstract painters engaging sometimes in the creation of installations and public art projects. To better understand the position\u0000 of these artists towards the demands of an art market, this article will also explain how the idea of commoditization, which was so repellent to the practitioners of institutional critique in the Euro-American context of the 1960s and 1970s, has not been experienced in Mainland China in quite\u0000 the same way.","PeriodicalId":40089,"journal":{"name":"Journal of Contemporary Painting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44228249","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Nexus, veil: Robert Ryman and the equivocal spaces of abstraction Nexus，面纱：罗伯特·赖曼与模棱两可的抽象空间

IF 0.2

Journal of Contemporary Painting Pub Date : 2021-10-01 DOI: 10.1386/jcp_00031_1

April Virgoe

{"title":"Nexus, veil: Robert Ryman and the equivocal spaces of abstraction","authors":"April Virgoe","doi":"10.1386/jcp_00031_1","DOIUrl":"https://doi.org/10.1386/jcp_00031_1","url":null,"abstract":"It is now understood that the two great defining points in the history of western painting ‐ the emergence of illusory space in the Quattrocento and its disavowal in the mid-twentieth century ‐ represent significant shifts in a perpetual tide in which pictorial space is\u0000 re-invented. Outside of modernist teleology, the ‘abstract’ in painting is a malleable term, denoting a tendency, or a move away from, rather than a polemic against depiction. How productively, then, can notions of pictorial space be mapped between ‘abstraction’ and\u0000 ‘figuration’? In this article, I focus on the work of the American painter Robert Ryman (1930‐2019). Ryman defined his work as ‘realist’ and deployed a materialism that foregrounded the processes of painting. His paintings are both disarmingly simple and spatially\u0000 complex, and, despite his disavowal of illusion, this complexity is, paradoxically, concerned with the production of pictorial space. I bring together two texts, Hubert Damisch’s A Theory of /Cloud/ and Hanneke Grootenboer’s The Rhetoric of Perspective, to address\u0000 the complex and contradictory spaces in Ryman’s paintings and to suggest that they enter into a negotiation with a perspective that is something very different to a rebuttal. To look at Ryman again in this way is to offer a rethinking of the paradoxical spaces of abstract painting, its\u0000 past and its present.","PeriodicalId":40089,"journal":{"name":"Journal of Contemporary Painting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46471848","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Avis Newman’s The Weight of Souls 1 : Studio M, Rochelle School, London, 10 June‐30 July 2021 阿维斯·纽曼的《灵魂的重量1》:工作室M，罗谢尔学校，伦敦，2021年6月10日至7月30日

IF 0.2

Journal of Contemporary Painting Pub Date : 2021-10-01 DOI: 10.1386/jcp_00033_7

J. Key

引用次数: 0