LOGIN TO YOUR ACCOUNT

Username
Password
Remember Me
Or use your Academic/Social account:

CREATE AN ACCOUNT

Or use your Academic/Social account:

Congratulations!

You have just completed your registration at OpenAire.

Before you can login to the site, you will need to activate your account. An e-mail will be sent to you with the proper instructions.

Important!

Please note that this site is currently undergoing Beta testing.
Any new content you create is not guaranteed to be present to the final version of the site upon release.

Thank you for your patience,
OpenAire Dev Team.

Close This Message

CREATE AN ACCOUNT

Name:
Username:
Password:
Verify Password:
E-mail:
Verify E-mail:
*All Fields Are Required.
Please Verify You Are Human:
fbtwitterlinkedinvimeoflicker grey 14rssslideshare1
Languages: English
Types: Doctoral thesis
Subjects:
The central claim of the thesis is that contemporary painting can be productively considered and made through a renewed investigation of syntax. Beginning with a detailed examination of Jonathan Lasker's work, I argue that a recomposed concept of syntax as a critical method distinguishes what I term 'syntactical painting' from modernist formalism and postmodern quotation. Looking to Rosalind Krauss' writing on Pablo Picasso, I discuss the mutability of the sign; and through Tomma Abts' use of shadow I rework Clement Greenberg's pejorative term 'homeless representation' into a positive avenue of enquiry. I then consider an alternative idea of syntax, identifiable in Daniel Buren, Robert Ryman and Wade Guyton, that works from outside of the frame. Here, I contend that using real space to critique painting fails to replace internalised invention, and that a continued resistance towards illusion has run its course. In the text, I rethink modernist assertions of objectness over imagery, along with Michael Fried's absorption/theatricality concepts, to propose Duccio's diagrammatic space and Frank Stella's reconciliation of flatness with the frame as models for painting whereby the viewer can clearly experience syntax. Such discussions reveal how certain meta-reflexive operations, which are otherwise largely neglected by critical discourse, can be reappraised via syntactical painting.\ud \ud The thesis accompanies my painting practice, in which I use soft films of transparent oil to pictorialise the materiality of the prepared field. The paintings are meticulously rendered, and appear as though drawn or printed. I use bands of colour to bring a particular delicacy to the figuring of the frame, which is achieved through transparency and trompe l'oeil illusion. I often conceive of painting as a two-dimensional stage space that curtails fictive distance as it represents it, and as an abstract diagram for the re-presentation of photography's installation shot of painting and the gallery.
  • The results below are discovered through our pilot algorithms. Let us know how we are doing!

    • 4. See Greenberg, C.,1960. 'Modernist Painting', in J. O'Brian, ed. 1993. Clement Greenberg, The Collected Essays and Criticism, Volume 4, Modernism with a Vengeance, 1957-1969, The University of Chicago Press Ltd, London, pp. 85-93.
    • 5. See Judd, D., 1965. 'Specific Objects', in Meyer, J., 2000. Minimalism: Themes and Movements, Phaidon, London and New York, pp. 207-210.
    • 10. Unlike other scholars who read the newsprint of Picasso's collage fragments in relation to social history. See Krauss, R., 1998. 'The Circulation of the Sign', in The Picasso Papers, Thames and Hudson, pp. 23-85.1 11. Using Language to do Business as Usual (1991) is an essay by Krauss in which she takes Michael Fried to task for confusing, or rather attempting to reconcile, syntax with instantaneously understanding an artwork. See Krauss, R., 1991. 'Using Language to do Business as Usual', in Bryson, N., ed., 1991. Visual Theory, Polity Press, Cambridge, and Blackwell Publishers, Oxford. pp. 79-94.
    • 12. Krauss, R., 1968. 'On Frontality', in Artforum, (May 1968), pp. 40-46.
    • 13. Krauss, R., 1972. 'A View of Modernism', in Artforum, (September 1972), pp. 48-51.
    • Baxendall, M., 1972. Painting and Experience in Fifteenth Century Italy, Oxford University Press, England. Bedford, C., 2012. 'Dear Painter…', in Frieze, (March 2012), Issue 145, pp. 98-105. Behrens, R., et al. 2011. Gestalt theory and Bauhaus: A Correspondence, Between Roy Behrens, Brenda Danilowitz, William S. Huff, Lothar Spillmann, Gerhard Stemberger and Michael Wertheimer in the summer of 2011. Available at: http://gth.krammerbuch.at/sites/default/files/articles/Create%20Article/Discussion_F.pdf Benjamin, A., 1996. What is Abstraction?, Academy Editions, Academy Group Ltd, London. Bickers. P., & Wilson, A., ed., 2006. Talking Art: Interviews with Artists since 1976, Ridinghouse, London. Blinderman, B., & Moody, T., 1999. Post-Hypnotic, University Galleries of Illinois State University, Illinois. Bois, Y-A., 1990. Painting as Model, MIT Press Cambridge, Massachusetts and London. Bois, Y-A., et al., 2013. 'Abstraction, 1910-1925: Eight Statements', in October, Issue 143, (Winter 2013), pp. 3-51. Buchloh, B. H. D., 2013. 'Painting as Diagram: Five Notes on Frank Stella's Early Paintings 1958-1959', in October, Issue 143, (Winter, 2013), pp. 126-144.
    • Burton, J., 2008. 'Rites of Silence: On the Art of Wade Guyton', in Artforum, (Summer 2008), pp. 364-373. Cottington, D., 1988. 'What the Papers Say: Politics and Ideology in Picasso's Collages of 1912', in Art Journal, 47, Winter 1988, pp. 350-359.
    • Crimp, D., 1973. 'Opaque Surfaces', in J. Meyer, ed. 2000. Minimalism, Phaidon, pp. 257-260. (Originally in Arte Come Arte, Milan: Centro Comunitario di Brera.) Crimp, D., 1979. 'Pictures', in October, Vol. 8, (Spring, 1979), pp. 75-88. Crimp, D., 1981. 'The End of Painting', in October, Vol.16, Art World Follies, (Spring 1981), pp. 69-86. Ellis, W. D., 2001. A Source Book of Gestalt Psychology, Routledge. (Originally published in 1938 by Kegan Paul, Trench, Trubner & co. Ltd.) Finch, M., 2000. 'Daniel Buren', in Contemporary Visual Arts, Issue 28, pp. 46-51. Fogle, D., ed. 2001. Painting at the Edge of the World, Walker Art Centre, Minneapolis. Foster, H., 1986. 'Signs Taken for Wonders', in Colpitt, ed. 2002. Abstract Art In the Late Twentieth Century. Cambridge University Press. pp. 106-118. (Originally published in Art in America 74, No. 6 (June 1986). pp. 80-91, p. 139.) Foster, H., ed., 1988. Vision and Visuality. Bay Press, Seattle. Foster, H., et al., 2004. Art Since 1900: Modernism, Anti-Modernism, Post-Modernism, Thames and Hudson, London.
    • Greenberg, C.,1960. 'Modernist Painting', in J. O'Brian, ed. 1993. Clement Greenberg, The Collected Essays and Criticism, Volume 4, Modernism with a Vengeance, 1957-1969, The University of Chicago Press Ltd, London, pp. 85-93. (Originally Forum Lectures (Washington, D. C.: Voice of America), 1960; Arts Yearbook 4, 1961 [unrevised]; and Art and Literature No. 4, Spring 1965 [slightly revised].) Greenberg, C.,1962. 'After Abstract Expressionism', in J. O'Brian, ed. 1993. Clement Greenberg, The Collected Essays and Criticism, Volume 4 Modernism with a Vengeance, 1957-1969, The University of Chicago Press Ltd, London, pp.121-134. (Originally published in Art International, 25th October 1962.) Greenberg, C.,1964. 'The 'Crisis' of Abstract Art', in J. O'Brian, ed. 1993. The Collected Essays and Criticism, Volume 4 Modernism with a Vengeance, 1957-1969, The University of Chicago Press Ltd, London, pp. 176-181. (Originally in Artists Yearbook 7, 1964.) Greenberg, C.,1964a. 'Post Painterly Abstraction', in J. O'Brian, ed. 1993. Clement Greenberg, The Collected Essays and Criticism, Volume 4, Modernism with a Vengeance, 1957-1969, The University of Chicago Press Ltd, London, pp. 192-197. (Post Painterly Abstraction, Los Angeles County Museum of Art, April-June 1964.) Greenstein, J. M., 1997. 'On Alberti's 'Sign': Vision and Composition in Quattrocentro Painting', in The Art Bulletin Vol.79, No.4 (Dec, 1997), pp. 669-698.
    • Guilbaut, S., ed., 1990. Reconstructing Modernism: Art in New York, Paris, and Montreal 1945-1964, MIT Press Cambridge, Massachusetts. London, England.
    • Harrison, C., 2001. Essays on Art & Language. MIT press, Cambridge, Massachusetts. London, England. (Originally published in 1991 by Blackwell, Oxford.) Henry, M., 2008. 'The New Atlantis: Abstract America', in Abstract America: New Paintings, exhibition catalogue, Saatchi Gallery, London, pp. 6-9.
    • Hochdörfer, A., 2009. 'A Hidden Reserve: Painting From 1958 To 1965', in Artforum, Vol. XLVII, No. 6, (February 2009), pp. 152-159.
    • Hudson, S., 2007. 'Robert Ryman's Pragmatism', in October, Vol. 119, (Winter 2007), pp. 121-138. Lasker, J., 1998. Complete Essays: 1984-1998. Edgewise Press, New York. Lasker, J., 2011. 'One's Self, By Chance', in Jonathan Lasker, exhibition catalogue, Timothy Taylor Gallery, London. Lawson, T., 1981. 'Last Exit: Painting', in Artforum, No.2, Vol. 20, (October 1981), pp. 40-46. Lippard, L., 1981. Ad Reinhardt, Harry N. Abrams, inc. New York. Lyotard, J-F., 1979. 'Preliminary Notes on the Pragmatic of Works: Daniel Buren', translated by Repensek, T., in October, Vol. 10 (Autumn 1979), pp. 59-67.
    • Masheck, J., 1976. 'The Carpet Paradigm: Critical Prolegomena to a Theory of Flatness', in Arts Magazine, No. 51 (September 1976), pp. 82-109.
    • Masheck, J., 1991. 'Alberti's Window', in Art Journal, No. 50, (Spring 1991), pp. 34-41. Pagel, D., 1998. 'Once Removed From What?', in Colpitt, ed., 2002. Abstract Art In the Late Twentieth Century. Cambridge University Press. pp. 141-149. (Originally in D. Friis-Hansen, 1998, Abstract Painting Once Removed, Houston: Contemporary Arts Museum, Contemporary Arts Museum, Houston, Texas. pp. 23-27.) Shiff, R., 1991. 'Constructing Physicality', in Art Journal. Vol. 50. No 1. (Spring 1991), College Art Assosication. pp. 42-47.
  • No related research data.
  • No similar publications.

Share - Bookmark

Cite this article