This article considers the work of the late Swedish painter Dick Bengtsson. It is conceived in an attempt to locate Bengtsson’s complex use of surface beyond the discourse of ‘sign games’ that has largely surrounded his practice to date. In addressing the limitations of a postmodern agenda concerned with Bengtsson’s prowess as a particular type of conceptual artist, this article explores his use of materials within individual artworks to elucidate less developed dimensions within his production.
{"title":"Forging reality: Surface and reductionism in the work of Dick Bengtsson","authors":"S. Willems","doi":"10.1386/jcp_00002_1","DOIUrl":"https://doi.org/10.1386/jcp_00002_1","url":null,"abstract":"This article considers the work of the late Swedish painter Dick Bengtsson. It is conceived in an attempt to locate Bengtsson’s complex use of surface beyond the discourse of ‘sign games’ that has largely surrounded his practice to date. In addressing the limitations\u0000 of a postmodern agenda concerned with Bengtsson’s prowess as a particular type of conceptual artist, this article explores his use of materials within individual artworks to elucidate less developed dimensions within his production.","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":"48052168","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}
Hopkins’ painterly abstraction reflects on a universe of disordering contingencies in everyday experience, questioning how painting can refer to such qualities of experience without engaging in representation. The immediate act of placing paint on the canvas extends to metaphorical concerns with process: how to maintain that sensation of immediacy if repetitions occur within a sequence of gestural responses. Hopkins’ work adopts different approaches at different stages; degrees of immediacy remain a consideration while attachment to a variety of motifs develops. Paintings remain continuously open to change as more reflexive approaches to the ironies of maintaining immediacy in re-presentation emerge. Resources are both visual and philosophical: the questioning of logic with ‘associationism’ found in the writings of David Hume and influencing Lawrence Sterne, a fascination with Spanish painting and its influence on Robert Motherwell, who was in turn influenced by A. N. Whitehead.
霍普金斯的绘画抽象反映了日常经验中无序的偶然事件，质疑绘画如何在不参与表现的情况下引用这些经验的品质。将颜料放在画布上的即时行为延伸到对过程的隐喻性关注:如果在一系列手势反应中发生重复，如何保持即时感。霍普金斯的研究在不同阶段采用了不同的方法;当对各种主题的依恋发展时，直接程度仍然是一个考虑因素。随着在再现中保持即时性的反身性方法的出现，绘画仍然不断地开放变化。资源既有视觉上的，也有哲学上的:在大卫·休谟(David Hume)的作品中发现的“联想主义”对逻辑的质疑，影响了劳伦斯·斯特恩(Lawrence Sterne);对西班牙绘画的迷恋，影响了罗伯特·马瑟韦尔(Robert Motherwell)，后者又受到a·n·怀特黑德(a . N. Whitehead)的影响。
{"title":"Clyde Hopkins: Abstraction as experience","authors":"J. Key","doi":"10.1386/jcp_00007_1","DOIUrl":"https://doi.org/10.1386/jcp_00007_1","url":null,"abstract":"Hopkins’ painterly abstraction reflects on a universe of disordering contingencies in everyday experience, questioning how painting can refer to such qualities of experience without engaging in representation. The immediate act of placing paint on the canvas extends to metaphorical\u0000 concerns with process: how to maintain that sensation of immediacy if repetitions occur within a sequence of gestural responses. Hopkins’ work adopts different approaches at different stages; degrees of immediacy remain a consideration while attachment to a variety of motifs develops.\u0000 Paintings remain continuously open to change as more reflexive approaches to the ironies of maintaining immediacy in re-presentation emerge. Resources are both visual and philosophical: the questioning of logic with ‘associationism’ found in the writings of David Hume and influencing\u0000 Lawrence Sterne, a fascination with Spanish painting and its influence on Robert Motherwell, who was in turn influenced by A. N. Whitehead.","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":"48078057","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}
By the mid-1960s the notion of medium specificity had come to define that which was most insular and protectionist about painting, with the idea of medium specificity entirely synonymous with the formalist criticism of Clement Greenberg. As such, the richness of the term, and its historical situatedness, was lost behind a particular defence of the virtues of modernist painting. This article attempts to draw out the history and nuances of medium specificity: to trace its development within an extended body of speculation ‐ commonly termed formalist ‐ in order to re-open a discussion, too often sidestepped within contemporary discourse, as to the relationship that exists between the work of art and that which the work of art can claim to bear witness to.
{"title":"The context of medium specificity: From Riegl to Greenberg","authors":"T. Palin","doi":"10.1386/jcp_00003_1","DOIUrl":"https://doi.org/10.1386/jcp_00003_1","url":null,"abstract":"By the mid-1960s the notion of medium specificity had come to define that which was most insular and protectionist about painting, with the idea of medium specificity entirely synonymous with the formalist criticism of Clement Greenberg. As such, the richness of the term, and its historical\u0000 situatedness, was lost behind a particular defence of the virtues of modernist painting. This article attempts to draw out the history and nuances of medium specificity: to trace its development within an extended body of speculation ‐ commonly termed formalist ‐ in order to\u0000 re-open a discussion, too often sidestepped within contemporary discourse, as to the relationship that exists between the work of art and that which the work of art can claim to bear witness to.","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":"43389611","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":"Methods of Modern Construction","authors":"B. Harland","doi":"10.1386/jcp_00001_7","DOIUrl":"https://doi.org/10.1386/jcp_00001_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":"45793553","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: Painting Beyond Itself: The Medium in the Post-Medium Condition, Isabella Graw and Ewa Lajer-Burcharth (eds) (2016)Berlin: Sternberg Press, 292 pp.,ISBN 978-3-95679-007-2, p/bk, £13.95
{"title":"Painting Beyond Itself: The Medium in the Post-Medium Condition, Isabella Graw and Ewa Lajer-Burcharth (eds) (2016)","authors":"Alison Green","doi":"10.1386/jcp_00006_5","DOIUrl":"https://doi.org/10.1386/jcp_00006_5","url":null,"abstract":"Review of: Painting Beyond Itself: The Medium in the Post-Medium Condition, Isabella Graw and Ewa Lajer-Burcharth (eds) (2016)Berlin: Sternberg Press, 292 pp.,ISBN 978-3-95679-007-2, p/bk, £13.95","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":"48838769","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}
Yve-Alain Bois’ Painting as Model was first published in 1993 and it still stands as one of the most important collection of essays, looking at painting as both a conceptual and material enquiry. The aim of this issue of the Journal of Contemporary Painting is to revisit Painting as Model from a contemporary perspective so as to examine its ongoing impact. To do this we have also translated into English key texts by Bois that throw new light on the context of his thinking. Also translated here, for the first time in English, is Hubert Damisch’s chapter, La Peinture est un vrai trois, from his 1984 book Fenetre jaune cadmium. Damisch’s book can be considered as the crucial contextual background to Bois’ methodology, as he explored in the article that gave Painitng as Model its title. We believe that the historical material provided here will give greater insight into Bois’ work. Introduction co-written with Laura Lisbon and Dan Sturgis for an edition of the Journal of Contemporary Painting that revisits Yves-Alain Bois' Painting as Model, published in the 1990s that was an iconic text of the period that is still relevant today. Mick Finch, Laura Lisbon and Dan Sturgis, co-edited this issue of the Journal.
伊夫·阿兰·博伊斯的《作为模特的绘画》于1993年首次出版，它仍然是最重要的散文集之一，将绘画视为一种概念和材料的探索。本期《当代绘画杂志》的目的是从当代的角度重新审视绘画作为模型，以考察其持续的影响。为了做到这一点，我们还将博伊斯的关键文本翻译成了英语，这些文本为他的思想背景提供了新的线索。Hubert Damisch 1984年出版的《Fenetre jaune镉》一书中的《La Peinture est un vrai trois》一章也首次在这里用英语翻译。Damisch的书可以被认为是Bois方法论的关键背景，正如他在文章中所探讨的那样，该文章将Painitng命名为Model。我们相信，这里提供的历史资料将对博伊斯的工作有更深入的了解。与Laura Lisbon和Dan Sturgis共同为《当代绘画杂志》撰写的引言，回顾了伊夫·阿兰·博伊斯在20世纪90年代出版的《作为模特的绘画》，这是该时期的标志性文本，至今仍有意义。米克·芬奇、劳拉·里斯本和丹·斯特吉斯共同编辑了本期《华尔街日报》。
{"title":"Painting as ReModel","authors":"Daniel Sturgis, L. Lisbon, Mick Finch","doi":"10.1386/JCP.5.1.3_2","DOIUrl":"https://doi.org/10.1386/JCP.5.1.3_2","url":null,"abstract":"Yve-Alain Bois’ Painting as Model was first published in 1993 and it still stands as one of the most important collection of essays, looking at painting as both a conceptual and material enquiry. The aim of this issue of the Journal of Contemporary Painting is to revisit Painting as Model from a contemporary perspective so as to examine its ongoing impact. To do this we have also translated into English key texts by Bois that throw new light on the context of his thinking. Also translated here, for the first time in English, is Hubert Damisch’s chapter, La Peinture est un vrai trois, from his 1984 book Fenetre jaune cadmium. Damisch’s book can be considered as the crucial contextual background to Bois’ methodology, as he explored in the article that gave Painitng as Model its title. We believe that the historical material provided here will give greater insight into Bois’ work. \u0000 \u0000Introduction co-written with Laura Lisbon and Dan Sturgis for an edition of the Journal of Contemporary Painting that revisits Yves-Alain Bois' Painting as Model, published in the 1990s that was an iconic text of the period that is still relevant today. \u0000 \u0000Mick Finch, Laura Lisbon and Dan Sturgis, co-edited this issue of the Journal.","PeriodicalId":40089,"journal":{"name":"Journal of Contemporary Painting","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/JCP.5.1.3_2","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49264717","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":"Description and resistance: On Yve-Alain Bois’s Painting as Model","authors":"Lisa Florman","doi":"10.1386/JCP.5.1.83_1","DOIUrl":"https://doi.org/10.1386/JCP.5.1.83_1","url":null,"abstract":"","PeriodicalId":40089,"journal":{"name":"Journal of Contemporary Painting","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44523039","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":"Exhibition Reviews","authors":"Joanne Morra, Ella S. Mills","doi":"10.1386/jcp.5.1.195_7","DOIUrl":"https://doi.org/10.1386/jcp.5.1.195_7","url":null,"abstract":"","PeriodicalId":40089,"journal":{"name":"Journal of Contemporary Painting","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49241408","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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