Saturday, August 20, 2011

An unfinished thought:

A tendency I've run into several times in research since starting grad school is a tendency in artists who are working primarily in sculpture to position their work pointedly as opposing a kind of Michael Fried non-theatrical painting or "painting as window on the world" take on painting. Even Karla Black continues to talk of her sculpture-based work as "the opposite of the traditional condition of painting, which is a window onto another world, an optical escape." I don't think this is an intentional refusal to consider painting in the present, but an odd fixation on painting as a stilted opponent, etc.

See 'Objects, But Only Just: A Conversation with Karla Black' by Ana Finel Honigman in Sculpture magazine (viewable here - scroll down to page 22)

Also, see Jan Verwoert's 'Why Are Conceptual Artists Painting Again? Because They Think It's a Good Idea' in Afterall magazine. For example: Painting as a stilted opponent, etc.: "conventional painting that relies uncritically on a traditional understanding of the medium."; a call for "painting to be discussed as a relevant medium again, and thereby liberat[ing] it from the curse of a premature rejection at the hands of a normative understanding of history."

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