Review of: Lonnie Holley: Tangled Up in de Kooning’s Fence, Curated by Alison M. Gingera South Etna Montauk Foundation, New York, 1 May–1 August 2021 Lonnie Holley at the Elaine de Kooning House: Everything That Wasn’t White Parrish Art Museum, Water Mill, New York, 24 April–6 September 2021
回顾:Lonnie Holley: Tangled in de Kooning 's Fence，由Alison M. Gingera South Etna Montauk Foundation策展，纽约，2021年5月1日- 8月1日
{"title":"Lonnie Holley: Tangled Up in de Kooning’s Fence, Curated by Alison M. Gingera\u0000Lonnie Holley at the Elaine de Kooning House: Everything That Wasn’t White","authors":"Barry Schwabsky","doi":"10.1386/jcp_00043_7","DOIUrl":"https://doi.org/10.1386/jcp_00043_7","url":null,"abstract":"Review of: Lonnie Holley: Tangled Up in de Kooning’s Fence, Curated by Alison M. Gingera\u0000 South Etna Montauk Foundation, New York, 1 May–1 August 2021\u0000 \u0000 Lonnie Holley at the Elaine de Kooning House: Everything That Wasn’t White\u0000 \u0000 Parrish Art Museum, Water Mill, New York, 24 April–6 September 2021","PeriodicalId":40089,"journal":{"name":"Journal of Contemporary Painting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-04-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45022077","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}
This interview considers Matthew Higgs’s role in programming work by self-taught artists and those with developmental disabilities within the context of White Columns, a non-profit artist-run space located in Chelsea, New York City. The conversation describes the active support of work before any critical or institutional consensus emerges around it and explores how painting by self-taught artists and those with developmental disabilities can provide a productive counterpoint to self-reflexive work or art more critical of the narrative of painting as a medium. The term ‘outsider’ is also scrutinized as a useful generalization for painting that operates outside of conventional forms of education and existing foundational narratives in culture. Also discussed is the impact of exemplary historical curators and dealers in the United States and Germany who serve to act as model ‘maverick iconoclasts’.
{"title":"Matthew Higgs interviewed by Andrew Hunt","authors":"Andrew Hunt","doi":"10.1386/jcp_00039_7","DOIUrl":"https://doi.org/10.1386/jcp_00039_7","url":null,"abstract":"This interview considers Matthew Higgs’s role in programming work by self-taught artists and those with developmental disabilities within the context of White Columns, a non-profit artist-run space located in Chelsea, New York City. The conversation describes the active support of work before any critical or institutional consensus emerges around it and explores how painting by self-taught artists and those with developmental disabilities can provide a productive counterpoint to self-reflexive work or art more critical of the narrative of painting as a medium. The term ‘outsider’ is also scrutinized as a useful generalization for painting that operates outside of conventional forms of education and existing foundational narratives in culture. Also discussed is the impact of exemplary historical curators and dealers in the United States and Germany who serve to act as model ‘maverick iconoclasts’.","PeriodicalId":40089,"journal":{"name":"Journal of Contemporary Painting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-04-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44440888","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}
In this text the relation between art therapy and art as such is explored, drawing on moments in the emergence of art therapy practice in a western context. The text examines differences in the role of imagination for art and art therapy, and identifies the roles of audience and conceptual rationale as points of difference between the two.
{"title":"Apart from judgement","authors":"H. Johnson","doi":"10.1386/jcp_00041_1","DOIUrl":"https://doi.org/10.1386/jcp_00041_1","url":null,"abstract":"In this text the relation between art therapy and art as such is explored, drawing on moments in the emergence of art therapy practice in a western context. The text examines differences in the role of imagination for art and art therapy, and identifies the roles of audience and conceptual rationale as points of difference between the two.","PeriodicalId":40089,"journal":{"name":"Journal of Contemporary Painting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-04-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44490232","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}
Review of: Paradise Edict, Michael Armitage, Curated by Anna Schneider Haus der Kunst, Munich, 4 September 2020–18 April 20
评论：《天堂法令》，Michael Armitage，Anna Schneider Haus der Kunst策展，慕尼黑，2020年9月4日至4月18日
{"title":"Paradise Edict, Michael Armitage, Curated by Anna Schneider","authors":"R. Garnett","doi":"10.1386/jcp_00045_7","DOIUrl":"https://doi.org/10.1386/jcp_00045_7","url":null,"abstract":"Review of: Paradise Edict, Michael Armitage, Curated by Anna Schneider\u0000 Haus der Kunst, Munich, 4 September 2020–18 April 20","PeriodicalId":40089,"journal":{"name":"Journal of Contemporary Painting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-04-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49459212","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}
The editorial surveys the current terrain of contemporary self-taught and outsider art. Using Deleuze and Guattari’s Towards a Minor Literature to suggest a specific category of minor painting, the text discusses how museological discourse on outsider art that developed over the twentieth century has been transformed over the past decade by large museum exhibitions and smaller community organizations’ activities. These include key examples such as the National Gallery of Art, Washington’s exhibition Outliers and American Vanguard Art curated by Lynne Cooke, and White Columns’s exemplary programme that supports visionary and self-taught artists in New York City. The text outlines how these examples alongside curatorial activism and reappraisal have attempted to recalibrate art history and provides an analysis of the inclusion of outsider and self-taught art in biennales such as Venice, quinquennials such as Documenta and small publicly funded spaces with a desire for equality and inclusion.
{"title":"Minor painting: Outsiders and outliers","authors":"Andrew Hunt","doi":"10.1386/jcp_00036_2","DOIUrl":"https://doi.org/10.1386/jcp_00036_2","url":null,"abstract":"The editorial surveys the current terrain of contemporary self-taught and outsider art. Using Deleuze and Guattari’s Towards a Minor Literature to suggest a specific category of minor painting, the text discusses how museological discourse on outsider art that developed over the twentieth century has been transformed over the past decade by large museum exhibitions and smaller community organizations’ activities. These include key examples such as the National Gallery of Art, Washington’s exhibition Outliers and American Vanguard Art curated by Lynne Cooke, and White Columns’s exemplary programme that supports visionary and self-taught artists in New York City. The text outlines how these examples alongside curatorial activism and reappraisal have attempted to recalibrate art history and provides an analysis of the inclusion of outsider and self-taught art in biennales such as Venice, quinquennials such as Documenta and small publicly funded spaces with a desire for equality and inclusion.","PeriodicalId":40089,"journal":{"name":"Journal of Contemporary Painting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-04-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42559754","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}
This introductory editorial surveys a range of minor painting practices. It considers how minor painting might be defined, not in order to fix its designation, but to assess its implications, especially in relation to institutional authority, art’s historicity, art education and the authorial subject. There are discussions of Jim Shaw, Henry Darger, contributors to the current issue and others. These lead on to questions about art education. Rather than propose resolutions, the text instead traces the frictions between minor painting and institutional renderings of art education. The text emphasizes the ultimate inability of minor painting to escape or resist the institutional framing of painting. In reading Deleuze and Guattari’s Minor Literature book, the voice of community, rather than the individual subject, becomes important. Taking up the figure of community, the essay ends by placing the painter Norman Lewis in relation to a minor intervention within the milieu of Abstract Expressionism.
{"title":"Minor matters of major importance:1 On the vicissitudes of minor painting","authors":"J. Chilver","doi":"10.1386/jcp_00037_2","DOIUrl":"https://doi.org/10.1386/jcp_00037_2","url":null,"abstract":"This introductory editorial surveys a range of minor painting practices. It considers how minor painting might be defined, not in order to fix its designation, but to assess its implications, especially in relation to institutional authority, art’s historicity, art education and the authorial subject. There are discussions of Jim Shaw, Henry Darger, contributors to the current issue and others. These lead on to questions about art education. Rather than propose resolutions, the text instead traces the frictions between minor painting and institutional renderings of art education. The text emphasizes the ultimate inability of minor painting to escape or resist the institutional framing of painting. In reading Deleuze and Guattari’s Minor Literature book, the voice of community, rather than the individual subject, becomes important. Taking up the figure of community, the essay ends by placing the painter Norman Lewis in relation to a minor intervention within the milieu of Abstract Expressionism.","PeriodicalId":40089,"journal":{"name":"Journal of Contemporary Painting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-04-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42049656","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}
{"title":"Marking Time: Art in the Age of Mass Incarceration, Curated by Nicole R. Fleetwood","authors":"Adam Simon","doi":"10.1386/jcp_00044_7","DOIUrl":"https://doi.org/10.1386/jcp_00044_7","url":null,"abstract":"Review of: Marking Time: Art in the Age of Mass Incarceration, Curated by Nicole R. Fleetwood\u0000 MoMA/PS1, New York, 17 September 2020–5 April 2021","PeriodicalId":40089,"journal":{"name":"Journal of Contemporary Painting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-04-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45320160","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}
My paintings offer glimpses into detailed, private narratives – a world outside of everyday existence with a logic all its own. They are at once sincere and absurd. ‘Damozels’ in mountainous gowns, inquiring dogs and readers of tiny books, all perform their secret rituals. I use cartoonish imagery – thought bubbles, flowers, question marks, Sleep-Zs, popping eyes – as simple signifiers in a space which is constantly dissolving/morphing/ complicating into something else.
{"title":"A mountain girl with skyblue teeth","authors":"Daisy Sheff","doi":"10.1386/jcp_00038_7","DOIUrl":"https://doi.org/10.1386/jcp_00038_7","url":null,"abstract":"My paintings offer glimpses into detailed, private narratives – a world outside of everyday existence with a logic all its own. They are at once sincere and absurd. ‘Damozels’ in mountainous gowns, inquiring dogs and readers of tiny books, all perform their secret rituals. I use cartoonish imagery – thought bubbles, flowers, question marks, Sleep-Zs, popping eyes – as simple signifiers in a space which is constantly dissolving/morphing/ complicating into something else.","PeriodicalId":40089,"journal":{"name":"Journal of Contemporary Painting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-04-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45291821","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}
‘Netherlandish painting as contemporary art’ represents a section from the fifth chapter of the book Die Wahrheit der Niederländischen Malerei. Eine Archäologie der Gegenwartskunst, which has been published recently in German by Brill/Fink in Paderborn in an English translation. The general argument of that book can be found in the assumption that it is not the overcoming of the Italian tradition by singular modernist artists which made modern and contemporary art possible, but rather a subtle and ongoing transformation of the Netherlandish tradition into the institutional, medial and discursive spaces of modernity. The selected section will lead the reader directly into a discussion of painting in Delft in the 1650s, referring particularly to the conceptual framework of what is called ‘the analytical image’, which the author proposes to understand as one of the essential stakes by which painting began to struggle for its status as art in the modern sense.
“作为当代艺术的荷兰绘画”是Die Wahrheit der Niederländischen Malerei一书第五章的一部分。Eine Archäologie der Gegenwartskunst，最近由Brill/Fink在帕德伯恩出版了德文译本。这本书的一般论点可以在这样的假设中找到，即使现当代艺术成为可能的不是单个现代主义艺术家对意大利传统的克服，而是将荷兰传统微妙而持续地转变为现代性的制度、媒介和话语空间。选定的部分将引导读者直接进入讨论绘画在代尔夫特在17世纪50年代，特别指的是什么被称为“分析图像”的概念框架，作者建议理解为一个重要的利害关系，绘画开始为其地位而斗争，在现代意义上的艺术。
{"title":"Netherlandish painting as contemporary art","authors":"Helmut Draxler","doi":"10.1386/jcp_00042_1","DOIUrl":"https://doi.org/10.1386/jcp_00042_1","url":null,"abstract":"‘Netherlandish painting as contemporary art’ represents a section from the fifth chapter of the book Die Wahrheit der Niederländischen Malerei. Eine Archäologie der Gegenwartskunst, which has been published recently in German by Brill/Fink in Paderborn in an English translation. The general argument of that book can be found in the assumption that it is not the overcoming of the Italian tradition by singular modernist artists which made modern and contemporary art possible, but rather a subtle and ongoing transformation of the Netherlandish tradition into the institutional, medial and discursive spaces of modernity. The selected section will lead the reader directly into a discussion of painting in Delft in the 1650s, referring particularly to the conceptual framework of what is called ‘the analytical image’, which the author proposes to understand as one of the essential stakes by which painting began to struggle for its status as art in the modern sense.","PeriodicalId":40089,"journal":{"name":"Journal of Contemporary Painting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-04-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44196652","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}
This article discusses the idea of ‘peasant-painting’ as minor painting, playing with the contrast between ‘paintings-of-peasants’ and ‘paintings-by-peasants’. I argue that the appearance of the figure of the peasant as a genre of Western European painting is inextricably linked with the rise of capitalism and the construction of the modern individualized self, separate from nature. Through ‘naturalistic’ images of peasants in landscapes this in turn enabled the bourgeois gaze to naturalize unequal capitalistic relations. I shall then contrast these paintings-of-peasants, with paintings-by-peasants in the Southwest of Sweden. By examining the conditions of their emergence and circulation, and their use and meaning, we can see that these peasants had an alternative conception of the self and a peasant cosmopolitics which did not separate humans from non-humans. I argue that their practice was a minor painting which formed a communal resistance to the modernizing project in the mid-eighteenth to mid-nineteenth centuries.
{"title":"The peasant paints: Minor painting and peasant cosmopolitics","authors":"S. Holmwood","doi":"10.1386/jcp_00040_1","DOIUrl":"https://doi.org/10.1386/jcp_00040_1","url":null,"abstract":"This article discusses the idea of ‘peasant-painting’ as minor painting, playing with the contrast between ‘paintings-of-peasants’ and ‘paintings-by-peasants’. I argue that the appearance of the figure of the peasant as a genre of Western European painting is inextricably linked with the rise of capitalism and the construction of the modern individualized self, separate from nature. Through ‘naturalistic’ images of peasants in landscapes this in turn enabled the bourgeois gaze to naturalize unequal capitalistic relations. I shall then contrast these paintings-of-peasants, with paintings-by-peasants in the Southwest of Sweden. By examining the conditions of their emergence and circulation, and their use and meaning, we can see that these peasants had an alternative conception of the self and a peasant cosmopolitics which did not separate humans from non-humans. I argue that their practice was a minor painting which formed a communal resistance to the modernizing project in the mid-eighteenth to mid-nineteenth centuries.","PeriodicalId":40089,"journal":{"name":"Journal of Contemporary Painting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-04-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44361818","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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