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Painting as a medium: Reduction and Expansion of Abstract Painting
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매체로서의 회화: 추상회화의 환원과 확장

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Type
Academic journal
Author
Jieun Rhee (명지대학교)
Journal
Institute of Cultural Heritages Art History & Cutural Heritages Vol.12
Published
2023.2
Pages
27 - 46 (20page)

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Painting as a medium: Reduction and Expansion of Abstract Painting
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The idea of flatness of painting, which was considered by Greenberg’s Modernist painting has been replaced by the objecthood of minimalism since the mid-1960s, redefining painting as a “thing.” Nontheless, painting still provides an illusion, and expands beyond the canvas as a means of reproduction and expression, even becoming virtual on screens and monitors. This paper examines how painting as a physical medium can be redefined in our time with recent artworks as examples, exploring how the ontological conditions of painting, in terms of materiality and visuality, affects its production and reception.
Interestingly, Greenbergian modernist theory of painting has been revisited in the recent works of Korean artist Lee Kyojun. For him, painting is a surface that reflects the rectangular grid that provides support for painting. He eliminates any trace of arbitrary composition to focus on the physical conditions of painting, but ironically the result of this effort only reveals its ‘visual’ aspects. While Lee’s work explores the boundary of painting between medium-specificity and visuality, contemporary German artist Katharina Grosse focuses on the performative aspects of painting and the viewers perception of it.
Grosse uses the actual space as her medium, which includes not only the ceilings, walls, corners, and floors of a room, but also doors and furniture. A room painted with a spray gun blurs the boundary between the real space and the pictorial space. The viewers are literally ‘in’ the painting, moving through its changing scenery. The irony is that the bodily experience of such ‘paintings’ remains solely in the memories of viewers, which inevitably fade over time. Instead, most viewers capture Grosse’s works in another form of picture, mobile phone photographs. The artworks are replaced and accumulated in the form of jpg files, which may be summoned for viewing in the future.
With the emergence of new technology, the medium of painting, such as NFT art relying on blockchain technology, has expanded beyond out imagination, resulting in a full-fledged representation of post-medium and post-production. In this context, painting also exists as part of the vast world of images that are produced, distributed, stored and consumed. There is concern that the materiality of painting may become a meager residue in the face of the immersive image world, or only exist as a commodity of global capitalism. There is still doubt whether painting of future will remain as a ‘genre’ or just evaporate as pixels in the digital world. If we do not cling to the constraints of genre, painting will be able to exist as the most accessible medium that connects our perception to the world as it always has.
#추상회화 #이교준 #카타리나 그로세 #관람자 #매체 #Abstract Painting #Lee Kyojun #Katharina Grosse #The Viewer #Medium

Contents

I. 회화의 조건: 모더니스트 회화이론과 그 이후
II. 회화의 경계: 이교준의 캔버스
III. 환경으로서의 회화: 카타리나 그로세
IV. 회화는 어떻게 움직이는가
V. 결론을 대신하여
참고문헌
국문초록
Abstract

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