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Questions for Jan Verwoert’s ‘Exhaustion & Exuberance’

Here are some questions to consider when reading Jan Verwoert’s ‘Exhaustion & Exuberance’, which we will also be discussing on March 26th (in addition to these questions, please bring your own questions and/or comments to the discussion):

1. Think about Rubinstein’s ideas of ‘provisional painting’ and compare them to Verwoert’s tactics of refusal or “workable forms of resistance” in art. Are there similarities? Differences?

2. What are some of the “silent but effective forms of non-alignment, non-compliance, uncooperativeness, reluctance, reticence, weariness or unwillingness” that Verwoert describes in specific art practices? Why does Verwoert think they’re so important? How/where does he find these tactics within abstract painting and sculpture?

3. What is “existential exuberance” or “exuberant performativity”? Do you agree with Verwoert’s claim that the paintings of Silke Otto-Knapp “point towards” this state of exuberance?

4. How does Verwoert link potentiality to indebtedness and dedication, and how does this, for him, become a philosophy for an art practice?

5. How does Verwoert make a case for the exhibition of exhaustion in art?

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Questions for Raphael Rubinstein’s ‘Provisional Painting’

Here are some questions to consider when reading Raphael Rubinstein’s ‘Provisional Painting’, which we will be discussing on March 26th (in addition to these questions, please bring your own questions and/or comments to the discussion):

1. Collect a few quotes/instances of Rubinstein’s descriptive language as he writes about his many ‘provisional painting’ case studies. What assumptions is he making about what ‘provisional’ might mean in painting? How does his use of specific words and language point to his real/underlying expectations of successful painting versus unsuccessful painting?

 2. What does Rubinstein say about painting’s “impossibility”? What is he implying?

3. What is Rubinstein’s overall critique of “provisional” painting? What does he really think about it?

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Zin Taylor

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More images and info on this particular work here.

“Stylistically, the mobile and the painting are characteristic of Taylor’s elegantly evoked sense of accretion, of forms that incorporate their own process of production: in effect narrating their own formation even as they formally evoke organic shapes. But what are they saying? The sound piece that emanates from an unseen source is key: a voice is telling a story. The narrative is a straight spoken psycho-archeology of Taylor’s coming of age in terms of bands and related “underground” music and ‘zine scenes…” (read more)

Zin’s website and tumblr.

ZIN TAYLOR (b. 1978, Canadian)
EDUCATION
2005 MFA, University of Guelph, Guelph, Canada
2000 BFA, Alberta College of Art and Design, Calgary

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Mark Takamichi Miller

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Here is a painter I found just this morning which relates to Sheena’s work, but which others might find interesting.

“Over the past thirteen years, Miller has painted scenes from anonymous individuals’ photographs that he acquired through varying means—a roll left in a friend’s car by a thief, another forgotten by a waterfall in Zion National Park, sets of other people’s developed photos the artist purchased at Costco.  Given the diversity of subject matter at the core of this process, it is not surprising that Miller’s work forays in unexpected directions, such as a child’s road trip.  Yet this most recent series, simply titled Lost, offers one of his strongest reflections on the practice of art making through his highly distinct approach.” (source)

“Historically, painters have developed a myriad of conventions for conveying the effect of light which is beyond the medium’s ability to depict. Miller is troubled by these formulaic practices (usually Western in origin), aimed at influencing the viewer’s perception of what is “real”. By using contrasting areas of fabric to imitate the blinding optical effect of a sunlit scene, Miller’s intent is to offer another solution in this ongoing dialogue.” (source)

Mark Takamichi Miller earned his undergraduate degree at the University of California at Santa Cruz and his MFA in painting at the University of Iowa.

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Sandra Rechico

Sandra Rechico

This is particularly for Kendra, but many of you might be interested in this.  Sandra often works with Gwen MacGregor, but they each have their own solo practice.

Thanks for having me at your crits last week. I’m sorry I didn’t get to speak about/to everyone, but the work is really coming, so keep pushing yourselves!

I’ll check in again at end of term

Kyla

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Thomas Nozkowski

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Many of you know about Nozkowski’s work, but I recently found images of paintings I’ve never seen before (featured above) which you might be interested in, namely from this recent review, and from here.

 

“Thomas Nozkowski (b. 1944, Teaneck, New Jersey) received a B.F.A. from The Cooper Union Art School, New York  in 1967. Known for his richly colored and intimately scaled abstract paintings, Nozwkoski began exhibiting in group shows in 1973 and made his solo debut in 1979. By 1982, the Museum of Modern Art, New York, had acquired a painting from an early one-person exhibition for their permanent collection. To date, Nozkowski’s paintings have been featured in more than 300 museum and gallery exhibitions worldwide, including over 70 solo shows.” (source)

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‘Provisional Painting’ by Raphael Rubinstein

Hi Class – as a companion essay for Jan Verwoert’s ‘Exhaustion & Exuberance‘, please read the online essay ‘Provisional Painting‘ by Raphael Rubinstein.

We will discuss it also on March 26th along with Verwoert’s essay.

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Jules de Balincourt

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Born in 1972, Paris, France
Lives and works in Brooklyn, NY

Education

MFA, Hunter College, New York, NY 2005
BFA, California College of Arts and Craft, San Francisco, CA 1998

More images here!

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Two Upcoming Emerging Critics Competitions for April and May

For those of you who are interested in submitting critical reviews/writing to magazines, there are two upcoming Emerging Critics competitions:

esse arts + opinions magazine presents the eleventh edition of its critical writing competition. Young writers registered in undergraduate or graduate university studies and living in Canada are encouraged to submit. You have until the 10th of May, 2013 to send your text. The winner of this competition will see their article in print in the September 2013 issue of esse magazine (no. 79). This author will receive a support from the editorial board for the final writing, a writer’s fee of $250 as well as a two-year subscription to esse. More information about submissions here!

C magazine New Critics competition submission deadline April 19, 2013. The winner will receive $500, editorial support in order to prepare their article for publication in C Magazine, and a two-year subscription to C. Participants are not restricted by age or citizenship. To be eligible, writers must have published no more than two exhibition reviews or one article in a magazine or journal. Writers are not disqualified for having written for personal blogs or student publications. More information about submissions here!

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Email Updates!

Hi Class – I’m trying to send you some critical updates through your uwo email accounts, but several of your mailboxes are full. Please take care of this ASAP.

Thanks,

Kim