Postconceptual

Painting

‘Abstract’

Self-Critical

Autonomous

Unique

Object

‘Optical’

Representational

Post-Critical

Contingent

‘Mass Customised’

Context

Postconceptual

Morris Louis Alpha-Theta, 1961

Acrylic resin on canvas, 104½ x 147½ inches

Takashi Murakami Flower Ball 2005-

Polymers, various dimensions

Art & Language

Painting as a practice?

Painting as a tactic?

Painting as a strategy?

Postconceptual Painting and its

Legacies

Painting genres provide the contexts and

stimulus necessary for postconceptual

practice.

Major exhibitions initiating three major

genres since the ’70s:

Photorealism

New Image

Bad Painting

Wim Delvoye

Tatooed Pigs

2000

Photorealism

Originates in 1968 Whitney show Twenty-two Realists

Prominent figures of the ’60s and ’70s:

Malcolm Morley

Robert Bechtle >

Chuck Close

Richard Estes

Audrey Flack

Duane Hanson

Photo-Realism 1973: The Stuart M. Speiser Collection

Defined Photorealism as follows:

1. The Photo-Realist uses the camera and photograph to gather information.

2. The Photo-Realist uses a mechanical or semimechanical means to transfer the

information to the canvas.

3. The Photo-Realist must have the technical ability to make the finished work

appear photographic.

4. The artist must have exhibited work as a Photo-Realist by 1972 to be considered

one of the central Photo-Realists.

5. The artist must have devoted at least five years to the development and

exhibition of Photo-Realist work.

Alan Michael Cars and Houses (2008)

Audrey Flack Marilyn (Vanitas)

96"x96", 1977, Oil on Canvas

Gerhard Richter Man Shot Down 2, 1988

Oil on Canvas

Fang Lijun, Series 2 No. 2, (1991-1992)

Chuck Close, Leslie/Fingerprint (1986)

New Image

New Image Painting, Whitney, NYC (1978);

A New Spirit in Painting (1981); Royal Academy, London

Zeitgiest (1982); Martin Gropisu Bau, West Berlin

New Image as International Movement?

USA - New Image (1978-)

UK – ‘New Glasgow Boys’ (New Image Glasgow 1985)

Federal Republic of Germany - Neue Wilde (Late 1970s-)

Italy – Transavantgardia (1976-_

Soviet Union - Sots Art / Apt Art (1972-1992)

China – ’85 New Wave (1976-89)

David Salle

My Subjectivity 1981

Julian Schnabel Bob's

World (1980)

Oil, wax, bondo, ceramic

plates and horns on wood

and canvas

1984 Turner Prize

Malcolm Morley

Farewell to Crete (1984)

Adrian WiszniewskiAttack of a Right Wing Nature

Martin Kippenberger

Heavy Guy (1991)

Innenraum (1981)

Sulamith (1983)

Martin Kippenberger

Capri by Night (1982)

Merlin Carpenter“The Opening”, Simon Lee Gallery,

London, April 1 – April 25, 2009.

Achille Bonita Olivia

Transavantgardia, Aperto ‘80

Bonita Achille Oliva, Flash Art, 7/80,

"Transavantgardia"

"The missing pride of the conceptual artist's work,

the elitist behavior of the artist who was playing on

the amazement of the public and on the element of

surprise, are being replaced by the humility of

creative, accessible, and real work. Art becomes

again direct expression, leaving behind it the feeling

of guilt for being permanent, which was a symptom

of contact with the world. The artist becomes again

maniacal and Mannerist in his own mania."

Sandro Chia

Enzo Cucchi

Sots Art

Apt art paintings in the

Soviet Union

Sots Art

The New Museum

of Contemporary Art,

New York. 1986

Curated by Margarita

Tupitsyn

Ily Kabakov The Man Who

Flew Into Space From His

Apartment, 1968-1996

Alexander Kosolapov Gorby, 1989

Acrylic, silkscreen, canvas. 68x56 inches

Alexander Kosolapov Malevich Country 1987

Oil, canvas. 70x54 inches

Vladimir Dubosarsky Luncheon on the Grass

China post Mao-1989

1966-1976 Cultural Revolution

China Avant-garde, National Gallery of Art in Beijing in 1989 marked end of the New Wave

Currently being revisted in shows such as:

Warhol by Wang Guangyi Bloodline: Three comrades by Zhang Xiaogang

Bad Painting

‘Bad’ is slang for ‘good’

Bad signifies an attitude towards painting….

Paul Thek (1985)

Bad Painting (New Museum, NYC 1/14/78 - 2/28/78 )

“a rejection of the concept of progress per se. . . .

freedom to do and to be whatever you want.." –

"'Bad' Painting" catalogue.

Asger Jorn Philip Guston

Robert Venturi and Denise Scott Brown

Glen O’Brien’s TV Party (1978-82)

Co-hosted by Chris Stein (Blondie) and filmmaker Amos Poe

on Manhattan public access television.

In 1978, two revolutionary trends emerged in New York City, public access cable TV

and punk rock. These two phenomena came together spectacularly in Glenn O'Brien's

TV Party. O'Brien recruited his pal Chris Stein, the guitarist of Blondie, as his co-host,

fellow Factory kid Walter Steding as leader of The TV Party Orchestra, and

underground film director Amos Poe as director and the rest, as you'll see, was

history. Hipsters tuned in to follow the antics of the TV Party gang and such guests as

Iggy Pop, David Bowie, P-Funk's George Clinton, The Clash's Mick Jones, Kid Creole,

Klaus Nomi, as well as performances from acts like Tuxedo Moon, the Brides of

Funkenstein, Alex Chilton, and more

http://www.tvparty.tv/

Times Square Show, 1980.

In June 1980, more than a hundred

artists installed their work in an

empty massage parlor near Times

Square. Organized by Colab,

the Times Square Show included

graffiti artists, feminist artists,

political artists, Xerox artists,

performance artists, and everyone in

between.

"New York/New Wave" held at PS 1, Institute for Art and Urban Resources (1981).

Basqiuat cover for

K-Rob vs Rammellzzee (pictured right)

Haring chalk drawing in NYC Transit

Haring installation at at the

Tony Shafrazi Gallery 1982

Patti Astor’s Fun Gallery, 1983

Kenny Scharf

Kenny Scharf at the Tony Shafrazi Gallery, SoHo, 1983

Mark Kostabi – Name That Painting

John Kilduff - Let’s Paint TV

Walker Art Center

FEBRUARY 10-MAY 6, 2001

PAINTING AT THE EDGE OF THE WORLD

“Clearly, this medium is no longer bound by the traditional categories of abstraction,

figuration, portraiture, or landscape, or even by its conventional definition as paint on

canvas.”

Paul Thek installation at

Walker Art Center

FRANZ ACKERMANN - GERMANY PAUL McCARTHY - U.S.

HALUK AKAKÇE - TURKEY/U.S. LUCY McKENZIE - SCOTLAND

FRANCIS ALŸS - BELGIUM/MEXICO JULIE MEHRETU - ETHIOPIA/U.S.

KEVIN APPEL - U.S. TAKASHI MURAKAMI - JAPAN

MARCEL BROODTHAERS - BELGIUM NADER - IRAN/GERMANY

JOHN CURRIN - U.S. CHRIS OFILI - ENGLAND

MARLENE DUMAS - SOUTH AFRICA/ THE NETHERLANDS HÉLIO OITICICA - BRAZIL

ANDREAS GURSKY - GERMANY LAURA OWENS - U.S.

EBERHARD HAVEKOST - GERMANY MICHAEL RAEDECKER - THE NETHERLANDS/ENGLAND

ARTURO HERRERA - VENEZUELA/U.S. THOMAS SCHEIBITZ - GERMANY

MIKE KELLEY - U.S. THOMAS SCHÜTTE - GERMANY

MARTIN KIPPENBERGER - GERMANY RUDOLF STINGEL - ITALY/U.S.

UDOMSAK KRISANAMIS - THAILAND/U.S. HIROSHI SUGITO - JAPAN

JIM LAMBIE - SCOTLAND PAUL THEK - U.S.

MARGHERITA MANZELLI - ITALY RICHARD WRIGHT - SCOTLAND

Walker Art Center

FEBRUARY 10-MAY 6, 2001

PAINTING AT THE EDGE OF THE WORLD

“photograph (Andreas Gursky),

a walk through a city (Francis Alÿs),

club culture-inspired (Jim Lambie),

applied directly to a wall (Richard Wright, Franz Ackermann).

portraiture (Marlene Dumas, Margherita Manzelli)

the televisual (Eberhard Havekost)

merging of art deco and the cybernetic (Haluk Akakçe).

Abstraction as techno-organic topography (Udomsak Krisanamis),

cartoon iconography (Arturo Herrera),

geometry of architecture with flatness of the picture plane (Kevin Appel).”

Doctrine of pluralism – painting as a non-discipline.

Painting is boundary-less… it can be anything….

Raises a number of questions:

How useful is this pluralism as a means to think about painting (or

contemporary art)?

Do painters have something in common simply because they paint?

What about the particular sensuous, performative or theatrical

qualities of the medium?

What are the ‘limit conditions’ of the frame?

Richard Wright Not titled, 2005

Michael Krebber

#3 (2003)

Marc Camille Chaimowicz

Lucy McKenzie and Paulina Olowska Nova Popularna LP

Bar opened in Warsaw during May 2003,

Elizabeth Peyton

Marlene Dumas

Karen Klimik

Katharina Grosse

Franz Ackerman

Rabiya Choudhry

Featured in Prague Biennale 2

Expanded Painting (2005), Czech Republic.

Katie Orton

Waitress (2007)

Generator Projects, Dundee.

Represented in Saatchi Collection.

Jim Shaw

Thrift Store Paintings (2002)

Francis Alÿs

Saint Fabiola (2009)

National Portrait Gallery (UK), London

Francis Alÿs

Walking a Painting Los Angeles, 2002 3:40

min.

Dundee Contemporary Arts

Altered States of Paint

5 July 2008 - 7 September 2008

Applying Painting at the Edge of the World taxonomy:

photograph (Till Gerhard),

a walk through a city (???????????????????),

club culture-inspired (Neil Clements ),

applied directly to a wall (Rabiya Choudhry).

portraiture (Jutta Koether; Rabiya Choudhry)

the televisual (Andreas Dobler)

merging of art deco and the cybernetic (Andreas Dobler).

Abstraction as techno-organic topography (Angela de la Cruz),

cartoon iconography (Jutta Koether; Rabiya Choudhry),

geometry of architecture with flatness of the picture plane (Andreas Dobler ).

Does this work?

Altered States of Paint applied a more ideosyncratic approach; one based on observation of a shared haptic

sensuousness.

Paintings that are united by psychedelic content or psych ‘visonary’ approach.

Painting is not boundary-less, it can be examined by comparing like-with-like...

Open Eye Club

Slides available at www.neilmulholland.co.uk

Licensed under a Creative Commons Attribution-Non-Commercial-Share Alike 2.5 UK: Scotland License.

Lucy McKenzie Lucy Stein

Blood ‘n’ Feathers

Jo Robertson and Lucy Stein at Collective Gallery

Lucy Stein with Rosie McGurn at Gimpel Fils, London, 2009

Lucy Stein (curator) Purpling at Gimpel Fils, London, 2009

Ellen Munro

The Object Is Not Important As Long As There Is (2007)

Embassy and Athens Biennial, 2007

Kate Owens

Affair at Styles (pink & blue) (2008) Travelling Gallery,

Frieze Art Fair and Zoo, 2009