KALEIDOSCOPE Magazine 17, Painting Forever
Winter 2012/2013 — Painting Special Edition
Softcover, 224 pp. + three commissioned inserts, offset 4/4, 220 x 287 mm
Published by KALEIDOSCOPE Press
$12.00 · add to cart
In the opening section we introduce you to the work of five emerging artists: Oscar Murillo, Ryan Sullivan, Allison Katz, Jonathan Binet and Tala Madani. All born in the 1980s in different parts of the world, they’ve chosen to explore, revisit, celebrate and challenge the idea and practice of painting, with a common spirit of engagement and varying degrees of irony and irreverence.
This section, on the other hand, consists of extensive conversations with four artists born between the late 1950s and the early 1960s — Heimo Zoberning, John Currin, Amy Sillman and Michael Krebber — who represent divergent yet equally prominent and visionary approaches to the medium. Their common ground most revealingly lies in the influence they exert on a younger generation of artists. Accordingly, it’s no surprise that three of them hold teaching positions at eminent art schools, including the Academy of Fine Arts in Wien, Columbia University in New York and the Städelschule in Frankfurt.
This issue is likewise devoted to a painter, Los Angeles-based artist Dianna Molzan, whose practice occupies the liminal space between two-and three-dimensionality, between “pictures” and “objects,” and whose works convey a sophisticated research on abstraction encompassing elements drawn from the history of painting, as well as from design, fashion and visual culture at large.
This section features the work of NY–based artist Nikolas Gambaroff and of Italian conceptualist Giorgio Griffa, alongside discussions with the director of a prestigious foundation dedicated to the legacy of Pablo Picasso and the curators of an ambitious group exhibition, “Painter Painter,” soon to open at the Walker Art Center in Minneapolis.
Finally, this issue is enriched with commissioned inserts by three exciting young artists — Marieta Chirulescu, Fredrik Værslev and Keegan McHargue — that have each contributed a unique and affecting visual take on the making and experiencing of painting today.
Avigail Moss and Kerstin Stakemeier, Painting — The Implicit Horizon
Softcover, 192 pp., offset 1/1, 110 x 140 mm
Edition of 500
Published by Jan van Eyck Academie
$11.00 · out of stock
“Jimson lives in a ramshackle houseboat on the Thames river, where he reminisces about the days when the state collected his paintings, hides from the police (who pursue him for his minor infractions and debts) and schemes about how to extract money from various wealthy patrons. That is, his struggles are conceptual, material and financial and always involve a race against time and an acknowledgement of his own limitations even in light of his successes. After a series of roguish scrapes, he finally receives a retrospective at Tate Britain: a triumph that does little to alleviate his destitution. But the film’s dénouement comes when Jimson paints a “monument to England”: a giant mural representing “The last Judgment” on the side of a bombed-out church aided by a cadre of voluntary art student assistants who he keeps remunerated in cups of coffee. The film ends when Jimson — threatened by council developers looking to capitalize on the land — voluntarily bulldozes his mural in advance of the city bureaucrats and sails off down the Thames in search of a new horizon: perhaps another, larger wall (or a further expansion of painting as such).”
Carol Armstrong, Warren Carter, Helmut Draxler, Kerstin Stakemeier, Elisabeth Lebovici, Esther Leslie, Avigail Moss, Ulrike Müller, Dierk Schmidt, and Amy Sillman.