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Contemporary Painting in Context. Edited by Anne Ring Petersen with Mikkel Bogh, Hans Dam Christensen, Peter Nørgaard Larsen. 220 sider, 16,5 x 24 cm. Med 33 fotos (31 i farver). Pris kr 198,00. Museum Tusculanums Forlag. Udgivet 12/2 2010.
Antologiens bidrag diskuterer
forvandlinger i og udvidelser af maleriets felt i de seneste årtier
i forhold til den generelle udvikling inden for samtidskultur og visualitet.
Hvordan bliver maleri 'indrammet' oplevelsesmæssigt, institutionelt
og kulturelt, og i hvilken forstand kan nutidens maleri siges at reflektere,
og være en refleksion over, historiske forandringer?
Antologien er opdelt
i fem dele som hver især forfølger en bestemt tematik: 1)
Hvordan kan maleriet placeres i en større kulturel kontekst? 2)
Hvordan kan spørgsmålet om maleriets ontologi nyformuleres?
3) Hvordan kan man definere 'maleri' i dag under hensyntagen til at disciplinen
har indoptaget et væld af nye udtryksmidler og materialer? 4) Hvordan
kan man adressere spørgsmålet om kønnets betydning
i maleriet? Og 5) Hvordan kan man angribe det komplekse forhold mellem
maleri, kunstinstitution og kunstmarked?
"The five parts of Contemporary
Painting in Context concentrate on different issues, but many of
the essays are interconnected by three recurrent questions or leitmotifs.
The firste question concerns the expansion and transformation
of the traditional practice and notion of 'painting' which leads to attempts
to define as well as to discussions of the nature of the recent conceptual
and material transformations of the object 'painting'. The second question
concerns painting and experience. It is closely related
to the first, but leads in another direction. The first question emphasises
the 'production side' of painting, its 'objectivity', so to speak, meaning
here its existence as a material object. The latter foregrounds the 'reception
side' of painting. It focuses on 'subjectivity', that is, the 'meaning'
a painting makes and the 'experience' it gives to the perceiving subject.
The third question is about the interrelations between painting
and discourse. In this case, the contributors' attention is not
given primarily to the processes and material manifestations of painting
- that is, the paintings and the practice of painting - nor to the response
of spectators. Attention is focused on the institutional role of the discipline
of 'painting' and the way the characteristics of 'painting' and 'paintings'
are articulated, contested, attacked, defended, politicised and gendered
in the writings of artists, critics and art historians. For most of the
contributors, taking the discourses on painting into consideration becomes
af way to emphasise that works of art are not autonomous, that the study
of 'contemporary painting' cannot be reduced to the study of the objects,
the 'paintings' themselves; they must be studied in the relevant context,
that is, examined in relation to the ways in which they are experienced,
the ways people speak about them, the ways they are perceived, interpreted
and 'translated' into verbal texts, the ways in which they are exhibited,
and the ways they relate to wider social, political and economic structures.
In several essays the analysis of historical discourses on painting becomes
af means to revise and update some of the theoretical positions inherited
from the last century. [...] What is at stake here is a reconsideration
of which parts of this legacy can provide starting points and theoretical
frameworks for the discourse on paintings of today. This reconsideration
is important inasmuch as it corresponds to considerations among contemporary
painters of how Modernist and Conceptual traditions can be carried on
and at the same time redefined and tuned to the different historical context
of the twenty-first century. Hence, this anthology bears witness to a
widespread recognition among artists and scholars that paintings present
themselves differently to viewers in the present historical and cultural
situation which foregrounds technically sophisticated and interactive
digital media as well as the traceless transfer and flexible exchange
of images and codes between media. Moreover, it shows that, even in an
age dominated by technical reproduction media, there is still a need for
'painting' and a general recognition that there is some kind of particularity
to painting, even though this particularity has become increasingly difficult
to define"(fra Introduction af Anne Ring Petersen).
Bogen bygger på
indlæg fra konferencen Contemporary Painting in Context,
holdt i København i november 2005.
Anne Ring Petersen,
dr.phil., er lektor ved Institut for Kunst- og Kulturvidenskab, Københavns
Universitet.
Mikkel Bogh, mag.art.,
er rektor ved Det Kongelige Danske Kunstakademi, København.
Hans Dam Christensen,
ph.d., er lektor og forskningsleder på Danmarks Biblioteksskole.
Peter Nørgaard
Larsen, ph.d., er samlings- og forskningschef ved Statens Museum for Kunst.
UDDRAG AF INDHOLD: Painting in the Common Culture. 'Contemporary', 'Common', 'Context', 'Criticism': Painting after the End of Postmodernism (by Jonathan Harris). Pittura/Immedia: Painting in the Nineties between Mediated Visuality and Visuality in Context (by Peter Weibel). Rethinking the Ontology of Painting. Object or Project? A Critic's Reflections on the Ontology of Painting (by Barry Schwabsky). Painting: Ontology and Experience (by Stephen Melville). The Expanded Field. The Poise of the Head und die anderen folgen (by Katharina Grosse). Painting Spaces (by Anne Ring Petersen). Painting and the Question of Gender-Specificity. Claims for a Feminist Politics in Painting (by Katy Deepwell). Matter and Meaning: 'The Slime of Painting' (by Rune Gade). Painting, Institutions, Market. The Longing for Order: Painting as the Gatekeeper of Harmony (by Gitte Ørskou). YBA Saatchi? - from Shark Sensation to Pastoral Painting (by Chin-tao Wu).
FORFATTERE: Jonathan Harris, Peter Weibel, Barry Schwabsky, Stephen Melville, Katharina Grosse, Anne Ring Petersen, Katy Deepwell, Rune Gade, Gitte Ørskou samt Chin-Tao Wu.
UDGIVER:
Museum Tusculanums Forlag
Njalsgade 94, 2300 København
S
Tlf: 35 32 91 09, fax:
35 32 91 13
E-post: order@mtp.dk
Internet: www.mtp.dk
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