Jerry Saltz, ‘Wade Guyton’, available here: http://www.vulture.com/2012/10/saltz-on-wade-guyton-os-at-the-whitney.html, Also his less-than-favorable review of Thomas Eggerer. Oil on canvas, 76.2 x 101.6 cm. Reading: Peter Osborne, Anywhere or Not At All, (2013). Reinhardt's remark directly addresses and contradicts Hans Hofmann's regard for nature as the source of his own abstract expressionist paintings.
"25 Publishing the essay in a distinctly anti-painting climate was one act of defense. It’s a pretty astonishing thing.
In a famous exchange between Hofmann and Jackson Pollock as told by Lee Krasner in an interview with Dorothy Strickler (1964-11-02) for the Smithsonian Institution Archives of American Art. Catherine Chevalier,’ Painting as Critique of Irony’ in Michael Krebber exhibition catalogue, Of particular interest/use might be De Duve’s comment that there is/was ‘no such thing as Conceptual art’; that Conceptual art is ‘a contradiction in terms’. I did a show at LAXART [History/Painting, 2007] with these works juxtaposed with a group of smaller images of various decapitations. Artist and critic Thomas Lawson noted in his 1981 essay "Last Exit: Painting" Artforum, October: 40–47, minimalism did not reject Clement Greenberg's claims about modernist painting's reduction to surface and materials so much as take his claims literally.
(Jean Metzinger, 29 May 1911)[10][11], Metzinger's (then) audacious prediction that artists would take abstraction to its logical conclusion by vacating representational subject matter entirely and returning to what Metzinger calls the "primordial white unity", a "completely white canvas" would be realized two years later. As is such, he’s one of the few personalities in the art world who’s both a rule-maker and a rule-breaker. Someone like Barnett Newman does it for me, but it’s because of the transcendence and that’s not really possible anymore. RAIL: Can you give me an example of someone’s practice that attempts to slow down this process? It was a great piece.
However, critics in the 2000s, such as Andrew Berardini, began suggesting that his painting was due for a reassessment for its role in broadening the parameters of appropriated imagery and offering a nuanced, critical alternative to conceptual art and neo-expressionistpainting in the 1980s. I came of age during the first wave of slagging off on painting because it was something that was just marketable. Michael Newman, ‘Postmodernism’ in ICA Documents: Postmodernism. Any given artist may focus on one singular medium, but describing art and valuing art through medium choices is just the wrong way to frame the argument.
particularly his own contribution on how Baudrillard and French theory in general was misinterpreted by the New York art world in 80s. For the second installment of this new regular column, editor JACK BANKOWSKY revisits a curious episode in the "painting wars" of the '80s.
So I always find that for more abstract forms of art making, while it’s interesting, and I can get the point, I feel a little bit left wanting. That’s how I think of it at this point. They’re participating in the whole dialogue, and I like to think that by giving them a local platform we have helped to grow that. I’m not doing the polemical thing anymore, which is why these bigger world-historical questions don’t really have to come up. In contrast to the previous decade's more subjective abstract expressionists, with the exceptions of Barnett Newman and Ad Reinhardt, minimalists were also influenced by composers John Cage and La Monte Young, poet William Carlos Williams, and the landscape architect Frederick Law Olmsted.
That’s a different task, I now try to understand what that other person is doing, obviously within the limitations of what I’m thinking about at any given time. Sol Le Witt, ‘Paragraphs’ and ‘Sentences’ on Conceptual Art, Jacques Ranciere, ‘Problems and Transformations in Critical Art’, in, Rountable discussion, ‘The Present Conditions of Art Criticism’,in.
LAWSON: That’s from the period of “Last Exit: Painting.” At that time, the New York Post did a lot of front-page stories about crimes that were targeted at young people. When I brought Hofmann up to meet Pollock and see his work which was before we moved here, Hofmann's reaction was—one of the questions he asked Jackson was, "Do you work from nature?"
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