Comments on: The Edge of Painting http://abstractcritical.com/article/the-edge-of-painting/ Abstract Critical is a not-for profit company aiming to establish a new critical context for all generations of artists involved with ambitious abstract art. Sun, 09 Nov 2014 17:23:33 +0000 hourly 1 http://wordpress.org/?v=3.9.2 By: Robert Linsley http://abstractcritical.com/article/the-edge-of-painting/#comment-367005 Fri, 10 Jan 2014 12:20:17 +0000 http://abstractcritical.com/?post_type=article&p=7768#comment-367005 Just put up a post on this topic
http://newabstraction.net

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By: Peter Stott http://abstractcritical.com/article/the-edge-of-painting/#comment-365233 Thu, 09 Jan 2014 01:20:11 +0000 http://abstractcritical.com/?post_type=article&p=7768#comment-365233 Just another edge row in the day of a life.

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By: John Holland http://abstractcritical.com/article/the-edge-of-painting/#comment-346466 Mon, 23 Dec 2013 18:23:58 +0000 http://abstractcritical.com/?post_type=article&p=7768#comment-346466 Robin- you shall be hearing from our lawyers.

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By: Robin Greenwood http://abstractcritical.com/article/the-edge-of-painting/#comment-346328 Mon, 23 Dec 2013 14:55:26 +0000 http://abstractcritical.com/?post_type=article&p=7768#comment-346328 …couldn’t get a cigarette paper between you and Gouk.

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By: John Holland http://abstractcritical.com/article/the-edge-of-painting/#comment-346118 Mon, 23 Dec 2013 11:00:04 +0000 http://abstractcritical.com/?post_type=article&p=7768#comment-346118 The difference between using hand-applied paint, and the more ‘Platonic’, technological methods used by some of the artists here, is not just a question of semantics.
There’s a profound significance to the interaction between mind and materiality and the discovery of form through physical process, as opposed to intellectual invention, and it lies at the heart of what painting and sculpture have always been able to do that other arts cannot.

It’s not surprising that artists are now drawn to the disembodied image, as this is a manifestaion of our ongoing disengagement from Nature, in its broadest possible sense.

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By: Gail McGonigal http://abstractcritical.com/article/the-edge-of-painting/#comment-342882 Fri, 20 Dec 2013 16:16:44 +0000 http://abstractcritical.com/?post_type=article&p=7768#comment-342882 I am not a painter, nor do I understand this form of Art; yet the words portray understanding that helps me to appreciate this much neglected art form. Through reading academic articles related to this area, I hope to develop my own sense of appreciation of everything in Art that is not pragmatic!

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By: Naomi Schlinke http://abstractcritical.com/article/the-edge-of-painting/#comment-341954 Thu, 19 Dec 2013 20:34:58 +0000 http://abstractcritical.com/?post_type=article&p=7768#comment-341954 The “messy, liquid process” that McKeever identifies is one of the enticing mysteries of painting. The slippery control and the alchemy of the dry fused material is anything but efficient.

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By: Geoff Hands http://abstractcritical.com/article/the-edge-of-painting/#comment-341854 Thu, 19 Dec 2013 18:45:47 +0000 http://abstractcritical.com/?post_type=article&p=7768#comment-341854 I wonder if those ‘paintings’ made of anything but paint reflect a desire to invigorate contemporary painting? And/or that they are categorised as paintings because we look at these objects as if they were paintings (space/construction modules)? Contemporaneous painting (always post-something since Cave ‘art’ of course) takes on many guises and the Tate show is a pretty tame and slick selection.

A painter always worth listen to is Ian McKeever, who wrote:

“In many ways, making art has never been easier: anything goes, but probably because of that, painting is now more difficult. Much of what painting is about as an activity goes against the grain of contemporary art practice, which is fast and of the moment. Painting on the other hand is a slow, solitary activity, one which like life, is full of contradictions and paradoxes. Certainly there were would seem to be no logical reason why one should paint today. Other media can render many things far more efficiently and cleanly than paint. Indeed one of painting’s failings in recent years could be said to be that it has attempted to mimic art’s efficiencies, rather than owning up to what it really is: a messy, liquid process. One in which the painter faces up to what he or she cannot do, perhaps as much as, if not more than, to what can be done.”” (In Praise of Painting – University of Brighton 2005)

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By: Luke Elwes http://abstractcritical.com/article/the-edge-of-painting/#comment-341725 Thu, 19 Dec 2013 15:42:10 +0000 http://abstractcritical.com/?post_type=article&p=7768#comment-341725 I would say ‘post-medium’ assumes a double meaning for the Tate curators: both ‘post modern’ and ‘after painting’. By eliding the two they seem to suggest that one follows from the other and therefore that painting can only assume an oppositional role to ‘post modern hybridity’ (in which the past resists the present). It is this deterministic language that Jaray seeks to counter with her disparate examples of current practice (each related in some way to a surface or support), which stand literally and metaphorically at an angle to, or on the edge of, painting’s central concern with pattern space and light.

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By: Pete Hoida http://abstractcritical.com/article/the-edge-of-painting/#comment-341528 Thu, 19 Dec 2013 12:09:35 +0000 http://abstractcritical.com/?post_type=article&p=7768#comment-341528 “A man must sacrifice his hundred oxen, whether they be eaten by gods or flies”

Horace, born 65BCE

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