While most of Hubert Damisch’s major books have been made available in English since the publication of Yve-Alain Bois’ review essay ‘Painting as model’, it nonetheless remains a shame that Fenetre Jaune Cadmium (Damisch 1984) – the subject of Bois’ review – has not been translated. Although best known as a specialist in Renaissance art, the essays of Fenetre show how Damisch’s distinct art-theoretical project emerges from his early writings on modernist and post-war painting, phenomenology and structuralism. This paper argues that Damisch’s writings and Bois’ essay serves as a crux for the October journal. October was at the forefront of the critique against painting during the early 1980s, but the publication of ‘Painting as model’ suggests a sea change in the journal. I shall examine how Damisch’s entwining of phenomenology and structuralism, as a model for October that helped it revise its understanding of painting and for rethinking the relationship between art history and art criticism.
{"title":"The intertwining – Damisch, Bois, and October’s rethinking of painting","authors":"Matthew S. Bowman","doi":"10.1386/JCP.5.1.99_1","DOIUrl":"https://doi.org/10.1386/JCP.5.1.99_1","url":null,"abstract":"While most of Hubert Damisch’s major books have been made available in English since the publication of Yve-Alain Bois’ review essay ‘Painting as model’, it nonetheless remains a shame that Fenetre Jaune Cadmium (Damisch 1984) – the subject of Bois’ review – has not been translated. Although best known as a specialist in Renaissance art, the essays of Fenetre show how Damisch’s distinct art-theoretical project emerges from his early writings on modernist and post-war painting, phenomenology and structuralism. This paper argues that Damisch’s writings and Bois’ essay serves as a crux for the October journal. October was at the forefront of the critique against painting during the early 1980s, but the publication of ‘Painting as model’ suggests a sea change in the journal. I shall examine how Damisch’s entwining of phenomenology and structuralism, as a model for October that helped it revise its understanding of painting and for rethinking the relationship between art history and art criticism.","PeriodicalId":40089,"journal":{"name":"Journal of Contemporary Painting","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41320913","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":"Painting as Model: An interview with Yve-Alain Bois","authors":"Philip Armstrong","doi":"10.1386/JCP.5.1.7_7","DOIUrl":"https://doi.org/10.1386/JCP.5.1.7_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":"https://sci-hub-pdf.com/10.1386/JCP.5.1.7_7","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41885394","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":"The future anterior: On a canvas by Christian Bonnefoi","authors":"Yve-Alain Bois","doi":"10.1386/JCP.5.1.49_7","DOIUrl":"https://doi.org/10.1386/JCP.5.1.49_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":"43605249","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":"The algorithm and painting semi-skilled: Notes for an exhibition","authors":"C. Reitz","doi":"10.1386/JCP.5.1.177_1","DOIUrl":"https://doi.org/10.1386/JCP.5.1.177_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":"41963526","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":"Painting is truly threefold","authors":"Hubert Damisch","doi":"10.1386/JCP.5.1.19_7","DOIUrl":"https://doi.org/10.1386/JCP.5.1.19_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":"48825257","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":"A world for us: On the prefiguration of reconciliation in Barnett Newman’s painting","authors":"Daniel Neofetou","doi":"10.1386/JCP.5.1.147_1","DOIUrl":"https://doi.org/10.1386/JCP.5.1.147_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":"https://sci-hub-pdf.com/10.1386/JCP.5.1.147_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49490638","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}
Published in the Journal of Contemporary Painting Volume (5): Issue (1) 2019, Models of Attention, was developed from a paper presented at the “Painting as Remodel: Revisiting ‘Painting as Model’" symposium, Camberwell College of Art, UAL, 21 June 2018, that responded to Yve-Alain Bois’ seminal text ‘Painting as Model’, and opened by a keynote by Bois. The JCP volume publishes newly translated texts by Bois alongside articles generated by the symposium. In 'Models of Attention' the question posed by Yve-Alain Bois via Hubert Damisch in Painting as Model, ‘what is the mode of thought of which painting is the stake?’ (1990) is shifted to what is the mode of attention? Informed by current cognitive and neuropsychological research, paintings combative art history is assessed through the lens of attention. The unravelling of modernist painting is proposed as a conflict between models of attention, and divergent attentional expectations. Modernist values of immediacy, presentness, wholeness are considered conditions of an ideal attentional experience, one that attempts to hold back a partial, fragmented and distracted counter experience of modernity. Painting as Model argued for painting’s specificity, pulling away from a formalism that reduces painting to the visual, and theoretical structures that bypass the made object. This article proposes an attentional-specificity for painting; the limits of attentional capacity, distinctions between focused, distributed and divided attention correlating with the cognitive complexity held by the structural, spatial and material conditions of painting. Yve-Alain Bois’ text Painting as Model, first published in 1990, is still cited as a key collection of essays, positioning painting as being both a conceptual and a material enquiry. The symposium and Journal edition responds to Bois's position that one must concentrate on both the formal elements of a work of art and its physical qualities to fully understand its totality and makes a significant contribution to contemporary discourses on painting.
{"title":"Models of attention","authors":"M. Derby","doi":"10.1386/JCP.5.1.135_1","DOIUrl":"https://doi.org/10.1386/JCP.5.1.135_1","url":null,"abstract":"Published in the Journal of Contemporary Painting Volume (5): Issue (1) 2019, Models of Attention, was developed from a paper presented at the “Painting as Remodel: Revisiting ‘Painting as Model’\" symposium, Camberwell College of Art, UAL, 21 June 2018, that responded to Yve-Alain Bois’ seminal text ‘Painting as Model’, and opened by a keynote by Bois. \u0000 \u0000The JCP volume publishes newly translated texts by Bois alongside articles generated by the symposium. \u0000 \u0000In 'Models of Attention' the question posed by Yve-Alain Bois via Hubert Damisch in Painting as Model, ‘what is the mode of thought of which painting is the stake?’ (1990) is shifted to what is the mode of attention? Informed by current cognitive and neuropsychological research, paintings combative art history is assessed through the lens of attention. The unravelling of modernist painting is proposed as a conflict between models of attention, and divergent attentional expectations. Modernist values of immediacy, presentness, wholeness are considered conditions of an ideal attentional experience, one that attempts to hold back a partial, fragmented and distracted counter experience of modernity. Painting as Model argued for painting’s specificity, pulling away from a formalism that reduces painting to the visual, and theoretical structures that bypass the made object. This article proposes an attentional-specificity for painting; the limits of attentional capacity, distinctions between focused, distributed and divided attention correlating with the cognitive complexity held by the structural, spatial and material conditions of painting. \u0000 \u0000Yve-Alain Bois’ text Painting as Model, first published in 1990, is still cited as a key collection of essays, positioning painting as being both a conceptual and a material enquiry. The symposium and Journal edition responds to Bois's position that one must concentrate on both the formal elements of a work of art and its physical qualities to fully understand its totality and makes a significant contribution to contemporary discourses on painting.","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":"45973468","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":"Unframing painting, ‘pushing back the walls’","authors":"É. Alliez, J. Bonne","doi":"10.1386/JCP.5.1.117_1","DOIUrl":"https://doi.org/10.1386/JCP.5.1.117_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":"44487835","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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