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Contemporary art begins where painting ends, or so goes one of recent art history's most dominant narratives. This book is a postmortem of the supposed death of painting in the period following World War II. In eleven essays by a global array of leading scholars, Ends of Painting offers a counter-history, showing how the practice and discourse of painting remained integral to art throughout the 1960s and 1970s. Written by art historians from Australia, Asia, Europe, and North America, each chapter captures a renewed critical approach to topics as diverse as conceptualism and anachronism, photography and autobiography, theater and politics, nationalism and consumerism, race and modernism.
The book reveals a vast constellation in which painting's ends are also beginnings - from Warhol's Cow Wallpaper at the Leo Castelli Gallery in New York to Naoyoshi Hikosaka's act of pouring latex over tatami mats on his bedroom floor in Tokyo; from the first canvas boards by Aboriginal artists at Papunya in Australia's Western Desert to the Collective Actions Group's documentation of people holding up arrangements of colored envelopes in snowfields outside Moscow. These unlikely correspondences between times and places sustain this book's return to the medium. It reveals how history is brushed by painting, and painting by history.
Contemporary art begins where painting ends, or so goes one of recent art history's most dominant narratives. This book is a postmortem of the supposed death of painting in the period following World War II. In eleven essays by a global array of leading scholars, Ends of Painting offers a counter-history, showing how the practice and discourse of painting remained integral to art throughout the 1960s and 1970s. Written by art historians from Australia, Asia, Europe, and North America, each chapter captures a renewed critical approach to topics as diverse as conceptualism and anachronism, photography and autobiography, theater and politics, nationalism and consumerism, race and modernism.
The book reveals a vast constellation in which painting's ends are also beginnings - from Warhol's Cow Wallpaper at the Leo Castelli Gallery in New York to Naoyoshi Hikosaka's act of pouring latex over tatami mats on his bedroom floor in Tokyo; from the first canvas boards by Aboriginal artists at Papunya in Australia's Western Desert to the Collective Actions Group's documentation of people holding up arrangements of colored envelopes in snowfields outside Moscow. These unlikely correspondences between times and places sustain this book's return to the medium. It reveals how history is brushed by painting, and painting by history.
David Homewood is cofounder and coeditor of the contemporary art journal Discipline. Paris Lettau is a lawyer and a writer and editor for the weekly Memo Review.
| Erscheinungsjahr: | 2023 |
|---|---|
| Genre: | Importe, Kunst |
| Rubrik: | Kunst & Musik |
| Thema: | Kunstgeschichte |
| Medium: | Taschenbuch |
| Inhalt: | Kartoniert / Broschiert |
| ISBN-13: | 9780909952068 |
| ISBN-10: | 090995206X |
| Sprache: | Englisch |
| Einband: | Kartoniert / Broschiert |
| Autor: |
Homewood, David
Lattau, Paris |
| Redaktion: |
Homewood, David
Lettau, Paris |
| Hersteller: | University of Washington Press |
| Verantwortliche Person für die EU: | Libri GmbH, Europaallee 1, D-36244 Bad Hersfeld, gpsr@libri.de |
| Maße: | 244 x 170 x 23 mm |
| Von/Mit: | David Homewood (u. a.) |
| Erscheinungsdatum: | 03.10.2023 |
| Gewicht: | 0,862 kg |
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