By Stephen Bann
An anthology of essays at the interpretation of up to date artwork. the translation of up to date paintings has constantly provided the critic with the toughest problem but this day, as new and infrequently bewildering tendencies and routine come to the fore with dizzying velocity, a serious engagement with the works of our personal time is very very important. every one contributor to reading modern artwork has checked out his selected portray, sculpture, picture or set up with a conviction that the work’s personal significance should be superior through what's written approximately it. From the French critic Marcelin Pleynet, writing a few portray by way of Robert Motherwell, to the English artist and critic Victor Burgin, who chooses a photo via Helmut Newton, the diversity of contributions covers a wide overseas box, touching upon nearly all of the most vital art-forms of the current day. somebody looking a better substance in writings at the paintings of the final twenty years, going past the foremost serious orthodoxies of modern years, and who needs to appreciate extra in regards to the profound hyperlinks which unite the artwork of our personal interval with that of the previous, will locate this booklet choked with valuable insights into the kaleidoscope of up to date paintings. participants contain Marcelin Pleynet, Wystan Curnow, Stephen Bann, William Allen, David service, Yve-Alain Bois, Paul Smith, David cause, and Michael Newman.
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Extra info for Interpreting Contemporary Art
For French to offer itself as an 'other' language (and for literature to be the 'other' of painting) there has to be the English language and its literature. Here Motherwell's genius is to have known spontaneously how to choose within his own language the linguistic event which serves most effectively to make art and literature operate in this way. We should note in effect that, if Motherwell frequently refers to Surrealism, to automatic writing, to his collaboration with VVV, to his meetings with Art and Literature: Robert Motherwell's 'Riverrun' 21 the Surrealist writers and painters in exile in New York, there is absolutely no trace in his work of explicit quotation from Surrealist literature.
The horizon lines link up with the borders, and taken together, they look like sash window frames; cloud banks or patches of sky look like blinds, halfdrawn. The viewer is by this account indoors - not out on a beach walk sometimes seated, sometimes standing at a window looking out, waiting for something to happen. Blind consummates what is a process of reframing, progressively distancing us from that view, first within the terms of depiction itself but eventually within the terms of the material facts of the painting as well.
But is it not worth taking into account the fact that during these years the painter's work is establishing its own order and logic with regard to the symbolic system which is Motherwell's own and offers itself for decipherment today? Elegy to the Spanish Republic No. I dates from 1948; At Five in the Afternoon (another matrix for the Elegies) dates from 1949,]e t'aime No. 2 (with the French word intruding into the painting) from 1955, the group Beside the Sea from 1962; the Open series begins in 1967 and develops around 1971-2 with the completion of A la Pintura.
Interpreting Contemporary Art by Stephen Bann