New issue of Journal of Contemporary Painting 4.1

Intellect is delighted to announce that the new issue of the Journal of Contemporary Painting (4.1) is now available.

This issue of JCP investigates painting within the context of the temporal.

Articles within this issue include (partial list):

Painting as event: An interview with Jacqueline Humphries

Authors: David Ryan

Page Start: 45

In this interview, New York-based painter Jacqueline Humphries talks about her recent practice in relation to the condition of time: this includes her own history as a practitioner, the role of gesture, the notion of the event, and contemporaneity. She addresses the appearance of ‘emojis’ in her recent work, and alludes to both literature and computer games as analogous modes of operation, each illuminating the inner workings of painterly process and its broader context within the contemporary.

The discursive array: Towards a politics of painting as time-space production

Authors: John Chilver

Page Start: 81

Modernist articulations of time in painting – based on phenomenological approaches – are not viable today. The adequate recipient of today’s accelerated information flows is more machinic than human: human perception is no longer adequate to technological temporalities. Painting ought now to approach time in registers other than the perceptual. Rejecting the terms of MoMA’s ‘The Forever Now’ exhibition, the argument turns to Buren’s notion of the in situ as a valuable attempt to re-think painting as time–space production. But Buren’s position is based on flaws in his ‘Function of the studio’ essay, and ends up supplying architectural decoration for urban redevelopment that is a far cry from his youthful ambitions. The text then considers conflations of in situ with discursive production in Gillick and Bourriaud. After a critical reading of Joselit’s ‘Painting beside itself’ essay, artworks by Merlin Carpenter, Jutta Koether and Lucy McKenzie are examined. McKenzie’s recent work devises fruitful tactics for interweaving affective opacities and discursive frames. McKenzie is able to play with rhetorics of in situ production without succumbing to reductive understandings of site and authenticity, and without conflating time–space production with discursive production. Such a discursive array can elaborate the dissonances between the discursive and the affective.

The viscosity of duration: Painterly surface and the phenomenology of time in the London paintings of Frank Auerbach

Authors: Anne Robinson

Page Start: 199

This article aims to examine our perceptions of temporality in painterly surface and investigate the relationship between subjective perceptions of temporality and emotional ‘affect’ in encounters with painting. Frank Auerbach’s London paintings are taken as examples of ‘painterly’ surface with which to consider the elastic temporality of painting. At the centre of this investigation are the engaged and embodied artist and the engaged spectator, encountering the ‘strangeness’ of painterly surface as an intense experience, offering an enhanced sense of lived temporality: both caught in a circuit defined by Merleau-Ponty: ‘For painters, the world will always be yet to be painted...’. 

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