Earth Script

  Whereas abstraction in painting had surpassed the depiction of the exterior world and turned towards the embodied thing of painting as an evocative force, allowing the medium to take on a more personal character, deposition in painting – defined as the geologic deposition of the materiality of painting – usurps the modern theme ofContinue reading “Earth Script”

Speculations on Anonymous Materials

  presentation by Iain Hamilton Grant – “The Speculations on Anonymous Materials symposium brings together different approaches in philosophy, which in their own way all aim to go beyond modern and postmodern thinking. The symposium is based on the following hypothesis: The fundamental technological, scientific and socio-political changes at the beginning of the 21st centuryContinue reading “Speculations on Anonymous Materials”

Tumultuous Shore

What can the shore can tell me about aesthetics? The question is not only as a way of sensing in the world effected by such excitation, but the excitation itself as aesthetic. A proposition: that the constantly changing and restless ground can be translated into a vision of relations of nature, for what is existingContinue reading “Tumultuous Shore”

On the Geologic Painting

Lately I’ve been jotting down a few ideas in my sketchbook pertaining to geologic painting. My focus is specifically on how to categorize it as a practice set apart from previous modes of painting. While categories are rather arbitrary they nevertheless are useful for laying out one’s own attitudes via painting; this is because aestheticContinue reading “On the Geologic Painting”

Thought ‘Poveri’

¬†“Art, life, politics ‘poveri’ are not apparent or theoretical, they do not believe in ‘putting themselves on show’, they do not abandon themselves in their definition, not believing in art, life, politics ‘poveri’, they do not have as an objective the process the re-presentation of life; they want only to feel, know, perform that whichContinue reading “Thought ‘Poveri’”

Notes on Sedimentation of the Mind

A few comments on entropy, the geologic and art. Robert Smithson’s essay¬†mentions the encroachment of technological ideology into art with “technology” and “industry” becoming topes in the New York Art World of the ’50s and ’60s, where he explains, “The products of industry and technology began to have an appeal to the artist who wantedContinue reading “Notes on Sedimentation of the Mind”

Notes on Style & Environment 1: Critique of Concrete Painting’s ‘Counter-Nature’

Harold Rosenberg says in his essay Criticism and Its Premises, found in the collected texts Art on the Edge, “Modern art is saturated with issues and ideologies that reflect the technological, political, social and cultural revolutions of the past one hundred years. Regardless of the degree to which the individual artist is conscious of theseContinue reading “Notes on Style & Environment 1: Critique of Concrete Painting’s ‘Counter-Nature’”

On Action Painting

Rosenberg’s contribution revolves around his assertions about Abstract Expressionism as a breakthrough in the history of painting: it was no longer painting pictures, instead the surface became a field for recording an event. It is the event or the ‘action’ of the expressionistic capacities of the painter themselves involved with a direct use of materials.Continue reading “On Action Painting”