Sentences with phrase «death of painting»

Michael Auping: In the mid ‑ 1970s, there was a great deal of critical dialogue about the so ‑ called death of painting.

His relationship to the medium was intensified by his feeling that he was working against «a perceived death of painting,» and that producing anything original was an impossibility.

Born in 1916, Pousette - Dart remained a fixture through the alleged death of painting, as artist and teacher, until his death in 1992.

Gale said he believed the exhibition would not only give weight to Dumas's work but would also challenge «the continually proclaimed death of painting».

During a time when the art historical canon was arguably going through a phase of claiming death of the painting medium, Richter pursued painting, crossing over from realism to abstraction and challenged the concept of the medium through cross-dialogue with other disciplines, resulting in a renewal to the acceptance of painting.

For painters faced with the metaphorical death of painting, the way forward has indeed been puzzling.

«Few modern myths about art have been as persistent or as annoying as the so - called death of painting.

The artist's prowess as a painter was both hampered and enhanced by his belief in a «perceived death of painting.»

The keynoter was Suzanne Hudson, who opened her talk by discussing the alleged death of painting (I could have sworn I heard Whitesnake and Richard Marx songs in the background) and then quickly moved on to painting's alleged death within the context of today's art market, inadvertently using ten minutes of whiplash to fuse two decades of cliches.

The death of painting may not be such a bad thing, especially with so many good living abstract painters.

I have no concerns about the death of painting.

The titling ironically references the death of painting as well as bodily ecstasy.

Early David Salle and late Andy Warhol were both painting the death of painting.

And then it sank in: while the chapter title quotes advice to the police investigator, the curators have quite another death in mind — the death of painting.

In Paris in 1960, at a time when the avant - garde was mourning the death of painting, Hantaï chose not to abandon or destroy the medium but rather to reinvent it.

Tagged with abstract painting, Abstraction from the 1960s to Now, art, Mary Heilmann, Mead Gallery Coventry Arts Centre, Sean Scully, Tate St Ives, The death of painting, The Indiscipline of Painting, Tomma Abts

Working at a time when he considered it impossible to come up with anything original or genuine — and faced with what he considered to be «the death of painting» — he produced composite paintings that embraced diametrically different styles in a single work.

Somehow painting has outlived the death of painting.

The first symptoms of the death of painting were glimpsed in Malevich's Black Square (1915).

Throughout the twentieth century and accelerating with the rise of conceptualism and Michael Fried's prediction of the end of art, or at least the death of painting, critics, curators, and historians have questioned the validity of the medium while artists have continued to paint.

In 1967, she went so far as to write a letter to Artforum, challenging Judd and Morris for asserting that sculpture was the preferred art form for resisting illusionism and the «death of painting.»

The death of painting was meant to be the birth of a new art, which could be brought to bear on the real and terrifying problems of an imperfect world.

1989 American Painting Since the Death of Painting, curated by Donald Kuspit, Kuznetsky Most Exhibition Hall, Moscow, USSR

One problem with the death of painting is that it assumes painting's reach lies only within its two - dimensional frame.

However, just when so many, including feminists, are complicating the story of painting after the death of painting, so is she.

This aspect of curation was clever; it reemphasized the artists» investigation of the death of painting.

In a show called «Death Is a Conceptual Artist,» conceptual art may be the death of painting, or it may have the last word.

He intended this work to represent The Death of Painting.

«No Foreign Lands», meanwhile, presented Doig as evidence against the «death of painting».

While the «death of painting» narrative feels horribly tired, the move to counter it is in danger of seeming just as weary.

Witkowski writes that the title Painting Forever «comes with a sense of humor and the realization that maybe any mention of the death of painting is irrelevant... The exhibition Keilrahmen (German for stretchers), which is shown as part of Painting Forever at the KW Institut for Contemporary Art, offers the most diversity.

From what I can tell from the evidence provided by the exhibition at Hillsboro Fine Art, which was my first encounter with this artist's work, Jones had accomplished this ambition by the early part of this century, at a time when the art world — convinced as it was of the death of painting — would not have noticed, certainly not at an institutional level.

The Death of Painting, as proclaimed by Donald Judd and other minimalists to the rise of conceptual art was a clear backlash to the appropriation of modernism by the consumer - driven realms of Ikea and Target.

In New York, the smaller Parisian formats were quickly associated with fussy illusionistic spaces, and in an eagerness not to miss the train of Greenberg's seductive theories, too many American painters fell for his Kantian logic of progress in art and the eventual critical endgame of the death of painting that followed.

We can't fulminate about the death of painting, because the shortlist contains two painters (Dexter Dalwood — easily the biggest name on the list — and Angela de la Cruz, nominated for an exhibition at London's Camden Arts Centre).

Steven Parrino, Dagley's studio mate in the late 1980s, was conducting his own experiments in the deconstruction of traditional painting supports, giving the tired mantra of «the death of painting,» an amplified existential bent.

Some critics, particularly those preoccupied with terminal progress, narrow the view further and describe his brushstrokes of hardened encaustic as the bridge between Abstract Expressionism's volatile brushwork and Andy Warhol's use of mechanical reproduction, the latter cited by many experts as signaling the death of painting.

Unaffected by medium denying conceptualism; the often announced «death of painting» itself; and the so - called post - modern / multi-media innovations (for the sake of «contemporaneity») that developed from the 1970s onwards — Gouk has continued to explore the endless scope of his particular form of abstract painting and unashamedly celebrates its «medium - specificity».

Not only was she working in a supposedly moribund medium — the radical»60s were filled with calls for the «death of painting» — but she was returning to a fraught traditional form.

One of the leading artists of the post — Jasper Johns / Robert Rauschenberg generation, Terry Winters wields his brush with the kind of knowledge and conviction that make periodic talk of the death of painting seem empty.

Arthur C. Danto said in a panel discussion in 2003 that the late eighties ``... «Death of Painting» was in part an expression of ressentiment against the painting that was causing so much excitement in the early»80s, neo-expressionism.

It also addresses his position as a painter working within an international discourse, at a time when contemporary practice in his chosen media was coming under attack from both conservative forces and from the champions of more experimental art forms, giving rise to widespread predictions of «the death of painting».

As long as we subscribe to the mainstream story, which culminates in the death of painting, aren't we upholding a patriarchal view that denies both women's achievements in painting and painting in general?

But as we all know, it was sculpture that dominated the art world — painting was put on the back burner, which precipitated the first claim of «the death of painting.»

Nigel Cooke holds a doctorate in Fine Art from Goldsmiths, London, where he wrote a thesis on the death of painting in the twentieth century.