AN ART THAT EATS ITS OWN HEAD: Painting in the Age of the Image
by Barry Schwabsky, 2005
"Painters like Doig, Marlene Dumas or Luc Tuymans – to name three of the most influential artists at work today – make work that is entirely permeated by a photographic reality, that is, a reality composed of detachable appearances; yet in contrast to Richter or Morley, they feel no need to represent the ‘look’ of the photograph. The painting remains painterly. To say that contemporary painters treat reality as an aggregate of images, in Bergson’s phrase, is not to say that they paint it with neutrality, or with pure aesthetic distance, or without commitment. On the contrary, their engagement with the image is precisely that, a form of engagement, and inevitably conveys an emotional stance, whether it be the piss-taking disdain typical of Tuymans’ saturnine gloom, the airy bemusement that emanates from Sophie von Hellerman’s paintings, Ian Monroe’s sense of claustrophobia, or Cecily Brown’s frenetic urgency. The effects are often uncomfortable. Wangechi mutu’s images are images of the body, but always awkward and resistant, while Dexter Dalwood’s are spaces, plausible enough to draw one in but too disjointed to actually inhabit. Much of this work has a syncretic quality that could not have existed without the example of modernist collage, but by folding its disjunctive effect back into paint — an actual heterogeneity of materials is exceptional here..."
"This fascination with craft has the same source as the more widespread attraction to painterliness, among today’s younger painters, as opposed to the seamless surface of photorealism: not an overturning of hierarchies between high and low cultures, but a more fundamental concern with a physical involvement in the image. For although it was photography that taught us the modern idea of the image, it is painting that allows us to internalise it. It’s a question of touching and being touched. The photograph may have been touched by the light of its object, but the sense of contact is entirely subsumed in the seamlessness of the photograph’s surface. Painters like Dumas and Tuymans, and so many others who freely interpret photographic imagery, are attempting neither to disguise its photographic basis in order to retain an aesthetic effect, nor to reproduce the appearance of the photograph in order to neutralise it. Their strategy is not essentially different from that of colleagues who may not directly use photographs in the work process but who nevertheless treat the world they paint as wholly image. The surface of painting, then, is for current painting something that partakes neither of the homogeneity of the photographic emulsion nor the heterogeneity of collage. It is a place where both differences and similarities are consumed. In a way, Schutz’s painting Face Eater (2004), can be taken as a paradigmatic painting of the moment. With its evident allusions to Picasso and Bacon, it clearly signals its art-historical allegiances, but the painting wears its citations lightly – the paintings of the two modern masters, and notably those of Bacon which are themselves based on photographic vision, are simply part of Schutz’s image-world. It is hilarious and terrifying at once. A head tries to swallow itself and in the process it does not disappear, but the senses become confused: the mouth sees by consuming the organs of vision, the eyes feast on their own imminent consumption. Is this an emblem of the artist’s solipsism? Not necessarily. The painting declares itself to be – borrowing a resonant phrase from the literary theorist Stanley Fish – a self-consuming artefact, but does consumption really take place? Not really. Instead, we are shown a commotion of the senses that seems as pleasurably seductive as it may be neurotic. To look at it is practically to feel one’s own teeth start reaching up to bite the upper lip. It’s an image about interiorising as image even oneself. And in that image, touching reality."