{"title":"Painting during a Pandemic: Caroline Walker’s Women in Interiors : Caroline Walker, Nearby, GRIMM, New York, 25 March‐1 May 2021","authors":"R. Arya","doi":"10.1386/jcp_00032_7","DOIUrl":"https://doi.org/10.1386/jcp_00032_7","url":null,"abstract":"","PeriodicalId":40089,"journal":{"name":"Journal of Contemporary Painting","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49359364","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":"Evan Roth’s ‘Red Lines’ with Landscapes : The Usher Gallery, Lincoln, 1 June‐15 September 2019","authors":"Andrew Bracey, J. Rimmer","doi":"10.1386/jcp_00034_7","DOIUrl":"https://doi.org/10.1386/jcp_00034_7","url":null,"abstract":"","PeriodicalId":40089,"journal":{"name":"Journal of Contemporary Painting","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48143997","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 is a visual conjuring of sensations of pleasure, curiosity, unease, disruption and volatility. A comprehension of interiors, exteriors and their landscapes. Repetition, connection and the macro, micro experience of traversing an environment. Stopping to focus or taking in a wider analysis and how we piece together and digest experience. What we choose to see, how we look and what we edit.
{"title":"Portrait of landscape","authors":"Caragh Thuring","doi":"10.1386/jcp_00035_7","DOIUrl":"https://doi.org/10.1386/jcp_00035_7","url":null,"abstract":"This is a visual conjuring of sensations of pleasure, curiosity, unease, disruption and volatility. A comprehension of interiors, exteriors and their landscapes. Repetition, connection and the macro, micro experience of traversing an environment. Stopping to focus or taking in a wider\u0000 analysis and how we piece together and digest experience. What we choose to see, how we look and what we edit.","PeriodicalId":40089,"journal":{"name":"Journal of Contemporary Painting","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47407320","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 explores my own painting practice in relation to my pedagogical experience in both China and the United Kingdom, in order to see how traditional painting and the pedagogy of painting can be repurposed in forms of contemporary painting. Discussion in this article will be based on three examples of my expanded painting practice that engage with the notion of ‘the apparatus’ (Foucault) of painting in relation to the studio, as well as through different materials and mediums: painting, installation, performance, video and so on. The apparatus is, of course, not just about media but about the whole process of painting and its encounter. In these examples of practice, aspects of the apparatus of painting are revisited and re-visioned. Also, these examples demonstrate my thinking around the apparatus of painting’s relation to the loop. Importantly, as a painter, this article offers my practice’s response to the question: how does a contemporary (Chinese) painter go forward in the teaching and making of art? This question is vital, especially when there are (Chinese) traditions and histories that should be acknowledged and drawn on, in order to avoid simply repeating or adopting western modes of art practice.
{"title":"Contemporary painting, the ‘loop’ and the Chinese context","authors":"Yifei He","doi":"10.1386/jcp_00026_1","DOIUrl":"https://doi.org/10.1386/jcp_00026_1","url":null,"abstract":"This article explores my own painting practice in relation to my pedagogical experience in both China and the United Kingdom, in order to see how traditional painting and the pedagogy of painting can be repurposed in forms of contemporary painting. Discussion in this article will be\u0000 based on three examples of my expanded painting practice that engage with the notion of ‘the apparatus’ (Foucault) of painting in relation to the studio, as well as through different materials and mediums: painting, installation, performance, video and so on. The apparatus is,\u0000 of course, not just about media but about the whole process of painting and its encounter. In these examples of practice, aspects of the apparatus of painting are revisited and re-visioned. Also, these examples demonstrate my thinking around the apparatus of painting’s relation to the\u0000 loop. Importantly, as a painter, this article offers my practice’s response to the question: how does a contemporary (Chinese) painter go forward in the teaching and making of art? This question is vital, especially when there are (Chinese) traditions and histories that should be acknowledged\u0000 and drawn on, in order to avoid simply repeating or adopting western modes of art practice.","PeriodicalId":40089,"journal":{"name":"Journal of Contemporary Painting","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47487559","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 challenge posed to nineteenth-century painting is placed in the context of current uncertainties about artificial intelligence. It is argued that at the centre of photography was an ‘artificial retina’, generating a highly unified pictoriality. Impressionism adopts this retinal or optical model. Before photography paintings were organized around perspective, allowing more spatial drama. However, perspective is also an example of artificial intelligence, based on eyesight. Cézanne disrupts the unity of Impressionism reintroducing elements of the pre-photographic, combining two scopic regimes. A feature of this hybrid approach is the diagonal, initially connecting the picture plane to the horizon, but modified in response to the photograph. This can be observed in many works from Cézanne to Matisse and beyond. Further examples of the function of this diagonal are discussed in reference to contemporary works by Tomma Abts, Sharon Hall and Marc Vaux.
{"title":"Before and after photography","authors":"D. Sweet","doi":"10.1386/jcp_00029_1","DOIUrl":"https://doi.org/10.1386/jcp_00029_1","url":null,"abstract":"The challenge posed to nineteenth-century painting is placed in the context of current uncertainties about artificial intelligence. It is argued that at the centre of photography was an ‘artificial retina’, generating a highly unified pictoriality. Impressionism adopts this\u0000 retinal or optical model. Before photography paintings were organized around perspective, allowing more spatial drama. However, perspective is also an example of artificial intelligence, based on eyesight. Cézanne disrupts the unity of Impressionism reintroducing elements of the pre-photographic,\u0000 combining two scopic regimes. A feature of this hybrid approach is the diagonal, initially connecting the picture plane to the horizon, but modified in response to the photograph. This can be observed in many works from Cézanne to Matisse and beyond. Further examples of the function\u0000 of this diagonal are discussed in reference to contemporary works by Tomma Abts, Sharon Hall and Marc Vaux.","PeriodicalId":40089,"journal":{"name":"Journal of Contemporary Painting","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47744761","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 examines the work of Shirley Kaneda, the Korean-Japanese American artist. It discusses various paintings from Kaneda’s output, both from the 1990s and from the last six years, in order to draw out her concerns and intentions. In this light it also explores her statements from articles and interviews in thinking through her intertwining of both theoretical and painterly concerns. It moves from the context of her early work in the Conceptual Abstraction exhibition of 1991 at the Sidney Janis Gallery in New York, to the actual form and procedures that the work implements. Formalism, or post-formalism here, develops the means to deconstruct certain inherited tropes of modernism and provide a new re-formation of them, and here Kaneda draws both on feminist, modernist and poststructuralist ideas. This also has implications for the viewer and how the work frames and proposes material for an encounter with these elements. The bracketing of early and recent work highlights ongoing continuities and differences within Kaneda’s oeuvre.
{"title":"Shirley Kaneda: Doubled prisms","authors":"David Ryan","doi":"10.1386/jcp_00028_1","DOIUrl":"https://doi.org/10.1386/jcp_00028_1","url":null,"abstract":"This article examines the work of Shirley Kaneda, the Korean-Japanese American artist. It discusses various paintings from Kaneda’s output, both from the 1990s and from the last six years, in order to draw out her concerns and intentions. In this light it also explores her statements\u0000 from articles and interviews in thinking through her intertwining of both theoretical and painterly concerns. It moves from the context of her early work in the Conceptual Abstraction exhibition of 1991 at the Sidney Janis Gallery in New York, to the actual form and procedures that\u0000 the work implements. Formalism, or post-formalism here, develops the means to deconstruct certain inherited tropes of modernism and provide a new re-formation of them, and here Kaneda draws both on feminist, modernist and poststructuralist ideas. This also has implications for the viewer and\u0000 how the work frames and proposes material for an encounter with these elements. The bracketing of early and recent work highlights ongoing continuities and differences within Kaneda’s oeuvre.","PeriodicalId":40089,"journal":{"name":"Journal of Contemporary Painting","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42781621","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 attends to the practice of painter Virginia Bodman (1954) to illuminate the gap between the operations of the maternal body as a metaphor for painting in phenomenology, and the lived experience of that body inside and outside the painter’s studio. Structured in three sections, it offers close readings of works made by Virginia Bodman over a period of 26 years. Bodman had been a painter of considerable professional standing by the time she became pregnant with her first child in 1988. This article considers the way in which the push and pull of liquid matter reveals a becoming-mother’s negotiation of the transformation of the self and history in paint. In so doing, it mobilizes Griselda Pollock’s (1999) argument that the mother/Other can be a site of political agency. To consider the complex questions of immersivity, professional identity and time in the context of maternal experience is to enable a reappraisal of the radical conceptual value that Elkins (1999) and Merleau-Ponty (1961) assigned to the maternal body as a metaphor of painting and studio practice. This article argues that the tangle of matter, movement and memory in Bodman’s dialogues with Picasso and Vaughan illuminate strategies to overcome this professional displacement.
{"title":"Maternity beyond metaphor: Painting, the studio and the lived experience of sexual difference in the work of Virginia Bodman","authors":"Vanessa Corby","doi":"10.1386/jcp_00024_1","DOIUrl":"https://doi.org/10.1386/jcp_00024_1","url":null,"abstract":"This article attends to the practice of painter Virginia Bodman (1954) to illuminate the gap between the operations of the maternal body as a metaphor for painting in phenomenology, and the lived experience of that body inside and outside the painter’s studio. Structured in three\u0000 sections, it offers close readings of works made by Virginia Bodman over a period of 26 years. Bodman had been a painter of considerable professional standing by the time she became pregnant with her first child in 1988. This article considers the way in which the push and pull of liquid matter\u0000 reveals a becoming-mother’s negotiation of the transformation of the self and history in paint. In so doing, it mobilizes Griselda Pollock’s (1999) argument that the mother/Other can be a site of political agency. To consider the complex questions of immersivity, professional identity\u0000 and time in the context of maternal experience is to enable a reappraisal of the radical conceptual value that Elkins (1999) and Merleau-Ponty (1961) assigned to the maternal body as a metaphor of painting and studio practice. This article argues that the tangle of matter, movement and memory\u0000 in Bodman’s dialogues with Picasso and Vaughan illuminate strategies to overcome this professional displacement.","PeriodicalId":40089,"journal":{"name":"Journal of Contemporary Painting","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41993670","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}
Sandwiched between the post-medium condition, and the potential erasure of all traditional media coming from the digital horizon, Michaël Borremans delivers highly constructed paintings and films that negotiate temporal disjunctions and intermedial relations together with an expanded form of exhibition. This article sets out to unpick some of the underlying mechanisms at play beneath the surface of his work, and to uncover some of the reasons why it might be deemed to be relevant; a question the artist himself appears to be at pains to answer.
{"title":"The most dangerous game","authors":"M. Rossi","doi":"10.1386/jcp_00004_1","DOIUrl":"https://doi.org/10.1386/jcp_00004_1","url":null,"abstract":"Sandwiched between the post-medium condition, and the potential erasure of all traditional media coming from the digital horizon, Michaël Borremans delivers highly constructed paintings and films that negotiate temporal disjunctions and intermedial relations together with an expanded\u0000 form of exhibition. This article sets out to unpick some of the underlying mechanisms at play beneath the surface of his work, and to uncover some of the reasons why it might be deemed to be relevant; a question the artist himself appears to be at pains to answer.","PeriodicalId":40089,"journal":{"name":"Journal of Contemporary Painting","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41372633","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":"To and Fro, Jo McGonigal and Mary Maclean, Raum X Gallery, London, UK, September 2017","authors":"Helen E. Robertson","doi":"10.1386/jcp_00009_7","DOIUrl":"https://doi.org/10.1386/jcp_00009_7","url":null,"abstract":"","PeriodicalId":40089,"journal":{"name":"Journal of Contemporary Painting","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47218340","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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