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Painting at the Edge of the World Exhibition and Catalogue 2000

Walker Art Center

    

Painting at the Edge of the World debuted at the Walker's main galleries filling 11,000 square feet of space, and was accompanied by a full color catalogue with illustrations and a variety of critical texts with approximately 15 of the most exciting established and emerging critical voices working today.

Some of the authors and topics include the following: Paulo Herkenhoff (Adjunct Curator at MOMA New York and former Director of the Sao Paulo Biennale) addressing the politicalization of formalism in postwar Latin American painting; Midori Matsui (independent critic and professor of American Studies in Tokyo) accessing the relationship between tradition and modernity in the emergence of the new Japanese painting of the 1990s.

Daniel Binbaum (Director of IASPIS in Stockholm and contribution editor to Artforum) looking at the current fashionably nostalgia for the institutionalization of a modernist painterly sensibility in the Swedish welfare state of the 1960s; and Cuauhtémoc Medina (independent critic based in Mexico City and part of the curatorial team of the next Sao Paulo Biennale) who will be critically investigation the conceptual critique of modernist painting in the 1906s and its legacy in the context of the contemporary global art scene.

The book also includes a variety of artists texts including and English translation of Takashi Murakami's influential 1999 essay "A Theory of Superflat Japanese Art" which caused controversy within Japanese art circles because of its construction of a radical equivalence between traditional Japanese painterly aesthetics with both modernist and popular cultural forms such as manga (Japanese comic books).

Painting at the Edge of the World Envisioned less as an exhibition catalogue than as a popular collection of essays about painting, the book brings together a wide range of contemporary views on painting from a diverse array of disciplines including the visual arts, film, architecture, design, and music in an attempt to assess the relevance of painting in the contemporary global context.

The breadth and ambition of this publication is evidenced in the interdisciplinary nature of the approaches being adopted by these writers. In addition, the catalogue includes documentation of each artist's work and an examination of their artistic methodology.

Excerpts from The Painting on the Edge of World Exhibition Catalogue © 2000.


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