Painting.
edited by Terry R. Myers.
London : Whitechapel Gallery ; Cambridge, Mass. : MIT Press, 2011.
239 p. ; 21 cm.
ND196.2 .P33 2011
In this edited volume, Terry R. Myers assembles several dozen historians, critics, curators, authors, and artists to discuss contemporary perspectives on painting, ranging from what it means to maintain a daily practice; to how painting might still matter to contemporary artists and audiences despite over a century of other media such as photography; to how artistic movements such as appropriation have informed recent trends in painting. The texts, which date from 1981 to 2009, are arranged in chronological order. The collection is framed by two articles originally published in the critical arts journal October. Beginning with Douglas Crimp’s provocative article, “The End of Painting,” (Spring 1981), and concluding with David Joselit’s “Painting Beside Itself” (Fall 2009), this collection of essays explores recent painting in relation to both a longer history of the medium, and in light of the rise of photography, film, performance, and other media. Other notable contributors include Hal Foster and Daniel Birnbaum. Crucially, Indian critic Geeta Kapur and Japanese scholar Midori Matusi offer perspectives, respectively, on the Indian Avant-Garde (e.g., Atul Dodiya), and the contemporary Asian Avant-Garde (e.g., Hiroshi Sugito), which expands this collection beyond merely European and North American traditions of painting. Because the Whitechapel series of contemporary art does not include images of paintings, readers should consult recent illustrated guides for examples of the work discussed, such as Vitamin P: New Perspectives in Painting.
edited by Terry R. Myers.
London : Whitechapel Gallery ; Cambridge, Mass. : MIT Press, 2011.
239 p. ; 21 cm.
ND196.2 .P33 2011
In this edited volume, Terry R. Myers assembles several dozen historians, critics, curators, authors, and artists to discuss contemporary perspectives on painting, ranging from what it means to maintain a daily practice; to how painting might still matter to contemporary artists and audiences despite over a century of other media such as photography; to how artistic movements such as appropriation have informed recent trends in painting. The texts, which date from 1981 to 2009, are arranged in chronological order. The collection is framed by two articles originally published in the critical arts journal October. Beginning with Douglas Crimp’s provocative article, “The End of Painting,” (Spring 1981), and concluding with David Joselit’s “Painting Beside Itself” (Fall 2009), this collection of essays explores recent painting in relation to both a longer history of the medium, and in light of the rise of photography, film, performance, and other media. Other notable contributors include Hal Foster and Daniel Birnbaum. Crucially, Indian critic Geeta Kapur and Japanese scholar Midori Matusi offer perspectives, respectively, on the Indian Avant-Garde (e.g., Atul Dodiya), and the contemporary Asian Avant-Garde (e.g., Hiroshi Sugito), which expands this collection beyond merely European and North American traditions of painting. Because the Whitechapel series of contemporary art does not include images of paintings, readers should consult recent illustrated guides for examples of the work discussed, such as Vitamin P: New Perspectives in Painting.