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Painting at the edge of the world

Author: Douglas Fogle; Walker Art Center.
Publisher: [Minneapolis] : Walker Art Center, 2001.
Edition/Format:   Book : EnglishView all editions and formats
Database:WorldCat
Summary:
"Is painting a mode of thought? Is there a philosophy of painting that extends beyond the confines of the medium? Where does the edge of the canvas end and the edge of the world begin? Painting at the Edge of the World brings together thirty artists and some of the most provocative critical thinkers today, each of whom poses a new set of questions about the irrepressible power and relevance of contemporary
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Genre/Form: Exhibition catalogs
Exhibitions
Additional Physical Format: Online version:
Painting at the edge of the world.
[Minneapolis] : Walker Art Center, 2001
(OCoLC)606534097
Named Person: John Currin; Marlene Dumas; Jim Lambie; Lucy McKenzie; Chris Ofili; Laura Owens; Michael Raedecker; Thomas Schütte; Hiroshi Sugito; Richard Wright
Document Type: Book
All Authors / Contributors: Douglas Fogle; Walker Art Center.
ISBN: 0935640673 9780935640670
OCLC Number: 45791377
Notes: "Published on the occasion of the exhibition ..., for the Walker Art Center, Minneapolis, February 10-May 6, 2001"--T.p. verso.
Description: 350 p. : ill. (some col.) ; 23 cm.
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 / Helio 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 simulacion / Reinaldo Laddaga --
Theory of super flat Japanese art / Takashi Murakami --
Scared to death / Frances Stark --
Instructions / Rudolf Stingel --
Franz Ackermann --
Haluk Akakce --
Francis Alys --
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 --
Helio Oiticica --
Laura Owens --
Michael Raedecker --
Thomas Scheibitz --
Thomas Schutte --
Rudolf Stingel --
Hiroshi Sugito --
Paul Thek --
Richard Wright.
Responsibility: Douglas Fogle, editor.

Abstract:

"Is painting a mode of thought? Is there a philosophy of painting that extends beyond the confines of the medium? Where does the edge of the canvas end and the edge of the world begin? Painting at the Edge of the World brings together thirty artists and some of the most provocative critical thinkers today, each of whom poses a new set of questions about the irrepressible power and relevance of contemporary painting.".

"No longer solely bound by such traditional categories as figuration, abstraction, portraiture, and landscape, or even by the conventional definition of the medium as paint on canvas, many artists today demonstrate that a philosophy of painting is to be found not only in these genres, but also in photographic, conceptual, performative, popular culture, and architectural manifestations.

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.

As Yve-Alain Bois so eloquently paraphrases Robert Musil: "If some painting is still to come, if painters are still to come, they will not come from where we expect them to." Painting at the Edge of the World looks beyond our expectations and provides a broad context for understanding painterly practice today."--BOOK JACKET.

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