Painting at the edge of the world / Douglas Fogle, editor.
Publication details: Minneapolis : Walker Art Centre, 2001.Description: 350 pages : color illustrations; 23 cmISBN:- 9780935640670
Item type | Current library | Collection | Call number | Status | Date due | Barcode | |
---|---|---|---|---|---|---|---|
Book | CGLAS Library | Red | 750.1 FOG (Browse shelf(Opens below)) | Available | 03822 |
Published on the occasion of the exhibition held at the Walker Art Centre, Minneapolis, 10 February - 6 May, 2001.
Includes index.
Incomplete contents Trouble with painting / Douglas Fogle -- Questions of painting / Marcel Broodthaers -- Painting: the task of mourning / Yve-Alain Bois -- New openings in Japanese painting: three faces of minor-ity / Midori Matsui -- Late arrivals / Daniel Birnbaum -- Monochromes, the autonomy of color, and the centerless world / Paulo Herkenhoff -- Colour, time, and structure / Hélio Oiticica -- No visible means of support / Andrew Blauvelt -- Odd couple: painting, rock music, and their shared strategies against obsolescence in the digital age / Jorg-Heiser -- Goin' home, goin' home / Mike Kelley -- Trickery of the picture / Hubert Damisch -- Women and painting / Marlene Dumas -- Painting and trance in Severo Sarduy's La simulación / Reinaldo Laddaga -- Theory of super flat Japanese art / Takashi Murakami -- Scared to death / Frances Stark -- Instructions / Rudolf Stingel
Exhibition checklist / Franz Ackermann -- Haluk Akakçe -- Francis Alÿs -- Kevin Appel -- Marcel Broodthaers -- John Currin -- Marlene Dumas -- Andreas Gursky -- Eberhard Havekost -- Arturo Herrera -- Mike Kelley -- Martin Kippenberger -- Udomsak Krisanamis -- Jim Lambie -- Margherita Manzelli -- Paul McCarthy -- Lucy McKenzie -- Julie Mehretu -- Takashi Murakami -- Nader -- Chris Ofili -- Hélio Oiticica -- Laura Owens -- Michael Raedecker -- Thomas Scheibitz -- Thomas Schütte -- Rudolf Stingel -- Hiroshi Sugito -- Paul Thek -- Richard Wright
This collection of essays provides a wide-ranging reconsideration of the status of painting in the current global situation: its Lazarus-like persistence in the face of its perpetual "deaths"; the dispersion of an art-historical center and the assertion of cultural difference; the relationship between painting and its "support"; the crisis of legitimacy it shares with rock music; the practice of painting as simulation drive; the suture between an "original" avant-garde and its deferred repetition; the trauma of speech. What becomes clear is that painting's traditional function as a window on the world has been circumvented, or rather that someone has left the window open and a number of things have crawled in.