{"title":"Models of painterly abstraction and Strzemiński’s ‘Unist adventure’ (1923–1936)","authors":"A. Salamon","doi":"10.1386/JCP.5.1.163_1","DOIUrl":"https://doi.org/10.1386/JCP.5.1.163_1","url":null,"abstract":"","PeriodicalId":40089,"journal":{"name":"Journal of Contemporary Painting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45085231","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}
As a dramatist, Kuo Pao Kun (1939–2002) has written, translated, adapted, directed and designed more than 40 theatre productions, many of which have introduced new dramaturgy and aesthetic experiences to the Singaporean audiences and beyond. He was also an inspiring teacher and a farsighted visionary, who founded various institutions for the cultivation of theatre practitioners, for the production of innovative theatrical pieces, for the incubation of artistic ideas, and for the facilitation of cross-cultural interactions and intellectual exchanges. This visual essay focuses on a selection of seminal works by Kuo, illustrating his creative journey spanning over three decades.
{"title":"Visual Essay","authors":"C. Bonnefoi","doi":"10.1386/jcp.5.1.65_7","DOIUrl":"https://doi.org/10.1386/jcp.5.1.65_7","url":null,"abstract":"As a dramatist, Kuo Pao Kun (1939–2002) has written, translated, adapted, directed and designed more than 40 theatre productions, many of which have introduced new dramaturgy and aesthetic experiences to the Singaporean audiences and beyond. He was also an inspiring teacher and a farsighted visionary, who founded various institutions for the cultivation of theatre practitioners, for the production of innovative theatrical pieces, for the incubation of artistic ideas, and for the facilitation of cross-cultural interactions and intellectual exchanges. This visual essay focuses on a selection of seminal works by Kuo, illustrating his creative journey spanning over three decades.","PeriodicalId":40089,"journal":{"name":"Journal of Contemporary Painting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42868003","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 anteriority of the future","authors":"Christian Bonnefoi","doi":"10.1386/JCP.5.1.77_7","DOIUrl":"https://doi.org/10.1386/JCP.5.1.77_7","url":null,"abstract":"","PeriodicalId":40089,"journal":{"name":"Journal of Contemporary Painting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48225703","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":"On the Leper Squint paintings of Michael Simpson","authors":"A. Price","doi":"10.1386/jcp.4.2.249_1","DOIUrl":"https://doi.org/10.1386/jcp.4.2.249_1","url":null,"abstract":"","PeriodicalId":40089,"journal":{"name":"Journal of Contemporary Painting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41514397","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}
: There is an ongoing revaluation of Pierre Bonnard, beginning with a retrospective at the Centre Georges Pompidou in 1984 and witnessed most recently in ‘Pierre Bonnard; Painting Arcadia’ at the Fine Arts Museum, San Francisco 2016. The resulting body of literature, from reviews to catalogue essays, operates to subsume Bonnard within the modernist canon. However the gender ambiguities in Bonnard’s practice problematize these attempts to read his paintings using modernist tropes. In particular, his depiction of his wife Marthe de Méligny in the bathtub does not fit easily within the genre of ‘the bather’. Across the literature there has been the occultation of a specific woman (Marthe), replacing her with the Ophelia stereotype through an extension of Toril Moi’s ‘death dealing’ binarism. As a consequence of reiterated speculation regarding Marthe’s mental health she continues to be characterised as the neurotic woman disintegrating in the bath/sarcophagus. This article argues that the literature creates a deathly and deadly porous woman. Reviewing the weight of gendered metaphoric language the article will offer a reading of the bath series and Bonnard’s late interiors based on the recognition of his difference – a difference which ruptures genre.
：对Pierre Bonnard的重新估价正在进行中，从1984年乔治·蓬皮杜中心的回顾展开始，最近的一次是在“Pierre Bonnald；绘画阿卡迪亚在美术馆，旧金山2016。由此产生的文学作品，从评论到目录散文，都将博纳尔纳入现代主义经典。然而，博纳尔实践中的性别模糊性使人们试图用现代主义的比喻来解读他的画作。特别是，他对妻子Marthe de Méligny在浴缸里的描绘不太符合“沐浴者”的风格。在整个文学作品中，都有一个特定女性（Marthe）的伪装，通过Toril Moi的“处理死亡”二元主义的延伸，用奥菲利亚的刻板印象取代了她。由于反复猜测Marthe的心理健康状况，她继续被描述为一个在浴缸/石棺中崩溃的神经质女人。这篇文章认为，文学创造了一个致命的多孔女性。回顾性别隐喻语言的重要性，这篇文章将在认识到博纳尔的差异的基础上，对沐浴系列和博纳尔后期的室内设计进行解读——这种差异打破了流派。
{"title":"Who killed Marthe Bonnard? Madness, morbidity and Pierre Bonnard’s The Bath","authors":"L. Wallace","doi":"10.1386/JCP.4.2.267_1","DOIUrl":"https://doi.org/10.1386/JCP.4.2.267_1","url":null,"abstract":": There is an ongoing revaluation of Pierre Bonnard, beginning with a retrospective at the Centre Georges Pompidou in 1984 and witnessed most recently in ‘Pierre Bonnard; Painting Arcadia’ at the Fine Arts Museum, San Francisco 2016. The resulting body of literature, from reviews to catalogue essays, operates to subsume Bonnard within the modernist canon. However the gender ambiguities in Bonnard’s practice problematize these attempts to read his paintings using modernist tropes. In particular, his depiction of his wife Marthe de Méligny in the bathtub does not fit easily within the genre of ‘the bather’. Across the literature there has been the occultation of a specific woman (Marthe), replacing her with the Ophelia stereotype through an extension of Toril Moi’s ‘death dealing’ binarism. As a consequence of reiterated speculation regarding Marthe’s mental health she continues to be characterised as the neurotic woman disintegrating in the bath/sarcophagus. This article argues that the literature creates a deathly and deadly porous woman. Reviewing the weight of gendered metaphoric language the article will offer a reading of the bath series and Bonnard’s late interiors based on the recognition of his difference – a difference which ruptures genre.","PeriodicalId":40089,"journal":{"name":"Journal of Contemporary Painting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46106762","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":"Manifesto for Maintenance Art 1969! Proposal for an exhibition “CARE”","authors":"Mierle Laderman Ukeles","doi":"10.1386/JCP.4.2.233_7","DOIUrl":"https://doi.org/10.1386/JCP.4.2.233_7","url":null,"abstract":"","PeriodicalId":40089,"journal":{"name":"Journal of Contemporary Painting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47949495","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":"‘Toward understanding the nature of history and its limitations’: An interview with the American Artist David Schutter","authors":"C. Mieves","doi":"10.1386/JCP.4.2.285_1","DOIUrl":"https://doi.org/10.1386/JCP.4.2.285_1","url":null,"abstract":"","PeriodicalId":40089,"journal":{"name":"Journal of Contemporary Painting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49277071","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":"Tilt Brush painting: Chronotopic adventures in a physical-virtual threshold","authors":"Tara Chittenden","doi":"10.1386/JCP.4.2.381_1","DOIUrl":"https://doi.org/10.1386/JCP.4.2.381_1","url":null,"abstract":"","PeriodicalId":40089,"journal":{"name":"Journal of Contemporary Painting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/JCP.4.2.381_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46539401","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":"Embedded still lifes: Mexican American heritage in the art of Maria Tomasula","authors":"S. Y. Kang","doi":"10.1386/JCP.4.2.363_1","DOIUrl":"https://doi.org/10.1386/JCP.4.2.363_1","url":null,"abstract":"","PeriodicalId":40089,"journal":{"name":"Journal of Contemporary Painting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42100354","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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