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American Art Today: Surface Tension the Art Museum at Florida International University Frost Art Museum the Patricia and Phillip Frost Art Museum Florida International University FIU Digital Commons Frost Art Museum Catalogs Frost Art Museum 1-10-1992 American Art Today: Surface Tension The Art Museum at Florida International University Frost Art Museum The Patricia and Phillip Frost Art Museum Follow this and additional works at: https://digitalcommons.fiu.edu/frostcatalogs Recommended Citation Frost Art Museum, The Art Museum at Florida International University, "American Art Today: Surface Tension" (1992). Frost Art Museum Catalogs. 17. https://digitalcommons.fiu.edu/frostcatalogs/17 This work is brought to you for free and open access by the Frost Art Museum at FIU Digital Commons. It has been accepted for inclusion in Frost Art Museum Catalogs by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. American Art Today: Surface Tension Front Cover: Milo Reice Sunshine, Starshine (Penelope and Odysseus Reunited), 1990 Tempera-painted paper plates, conte, paper, mounted on canvas 79"x53" Private Collection, New York, NY, courtesy Nohra Haime Gallery, New York, NY American Art Today: Surface Tension January 10 - February 14, 1992 Essay by Stephen Westfall Ford Beckman, Pop Paintina, 1991, Silkscreen, acrylic, enamel, and industrial varnish on paper, 96" x 96" Courtesy of Tony Shafrazi Gallery, New York, NY Curated by Dahlia Morgan for u�® �uu [M1J[UJ�®[UJ[ffi1J AT FLORIDA INTERNATIONAL UNIVERSITY University Park, Miami, Florida 33199 (305) 348-2890 Director's Forward In 1985 I decided to curate a series of exhibitions that their superb organizational skills. Stephen Westfall has would explore contemporary painting and its relationship to written an important and insightful essay for this catalog and the history of Art. In past years I have focused on the I am indebted to him as well. contemporary response to traditional themes and presented Especially, I would like to thank the National Endowment the exhibitions New Directions ('91); The City ('90); tor the Arts and the State of Florida, Department of State, Contemporary Landscape ('89); Narrative Painting ('88); Division of Cultural Affairs through the Florida Arts The Portrait ('87); Figure in the Landscape ('86); and Still Council, the Metropolitan Dade County Cultural Affairs Life ('85). Council and the Metropolitan Dade County Board of This year Surface Tension explores the very essence of County Commissioners, the Interim Governing Council of painting as a physical object, the properties of easel painting the Student Body at Florida International University, and the itself. I was impressed with the sheer number of artists Friends of The Art Museum. working in a variety of techniques who pushed the This project however, would not have happened without boundaries of what is a traditional "painting." These surfaces the generosity of so many galleries, artists, and private incorporate the tensions inherent in this bold exploration. individuals who are listed as lenders to the exhibition. I would like to thank our small and dedicated staff, especially Regina C. Bailey, Coordinator of Museum Dahlia Morgan Programs, and Eva Van Hees, Community Relations, for Director Special Acknowledgements Florida International University . Modesto A. Maidique, President Michael P. Morgan, Vice President, The Staff of the Art Museum University Relations and Development James Mau, Acting Provost and Vice Dahlia Morgan, Director President Academic Affairs Leonardo Rodriguez, Vice President, Business and Finance Regina C. Bailey, Coordinator of Museum Paul Gallagher, Vice President, North Programs Miami Campus and Vice-Provost, Arthur Herriott, Acting Dean, College Academic Affairs ofArts and Sciences Alicia Bcccna, Program Assistant Richard J. Correnti, Vice President, William Maguire, Chairman, Visual Carlos Chiu, Registrar / Preparator Student Affairs Arts Department Eva Van Hees, Community Relations Ana Pereira, College Work Study Student David Smith, Common Memory Set, 1990, Egg tempera, metal leaf, encaustic bole on masonite over Norcore, 16 �" x 83 M", Courtesy ofP. P. O. W., New York, NY Artists Lenders Peter Ambrose AID, New York, NY Curtis Anderson Vrej Baghoomian Gallery, Ne\v York, NY Ford Beckman Larry Bell Jayne H. Baum Gallery, New York, NY David Carrino New NY Suzan Etkin Janet Borden, Inc., York, Christian Haub CDS Gallery, New York, NY Anton Henning Bill I(ane Bess Cutler Gallery, New York, NY Dennis Kardon Rosa Esman Gallery, New York, NY Thomas Lanigan-Schmidt David Levinthal Foster Goldstrom Gallery, New York, NY Kim MacConnel Nohra Haime Gallery, New York, NY Frank Majore Gerry Morehead Christian Haub, New York, NY Matt Mullican HirschI & Adler Modern, New York, NY Jim Napierala Barbara Nessim Paul I(asmin Gallery, New York, NY Nam June Paik Steve Parrino Michael Klein, Inc., New York, NY Izhar Patkin Daniel Newburg Gallery, New York, NY Milo Reice Holly Roberts P.P.O.W., New York, NY Michael Scott Rempire Fine Art and Gallery, Ne\v York, NY David Smith Rudolf Stingel Luise Ross Gallery, New York, NY John R. Thompson Shafrazi New NY Donald Traver Tony Gallery, York, Ismael Vargas Holly Solomon Gallery, New York, NY Darryl Zeltzer Joe Zucker Donald Traver, New York, NY American Art Today: Surface Tension Sooner or later, all serious discussion ofpainting settles image-impulse of the incorporating artwork. The on its surface. This is especially true for painting-about­ fragmented surface of such a work becomes a sequence of painting, which might be described as the discursive steps that lead a visual idea through various informational criteria for high Modernist content. In his essay stages. In John Berger's phrasing, this information is "Modernist Painting" Clement Greenberg postulated that "redeposited on the surface" of the painting. an essential quality ofpainting was flatness. But flatness is This year's American Art Today presentation also an attribute ofthe photographic print, a technical considers the surface of the front-to-the-viewer/back-to­ medium that has come to seriously challenge, if not usurp, the-wall art object (let's call it a painting) as a trope for the predominance ofpainting in visual art. Despite the the expanded informational field addressed by both importance ofphotography in Surrealism and Bauhaus abstract and representational painting, and also for montage, and the prescience ofWalter Benjamin's essay painting's continuing self-examination through new "The Work ofArt in the Age of Mechanical materials and techniques. Traditional brush technique Reproduction" (1939), neither Greenberg nor virtually and canvas support are in short supply. The brushed anyone else foresaw the emergence of the still surface is replaced by lacquers, resins, photographic photographic print into a primary visual art form. emulsions, and commercial inks, to cite just some of the Greenberg really isolated and identified only one materials. And yet the preponderance ofwork in this tendency within the modernist project. There are plenty show is referencing, celebrating, and in some cases of others. Ifit is true, for instance, that one way painting eulogizing the deep legacy of easel painting. analyzes itselfwas through the subtractive empiricism that For many artist included here the painting practice Greenberg outlined, it is equally true that another way exists as a residual memory, a ghost in the machine. Bill painting tests itself has been through a pushing at the Kane mounts rows of burnt books against a photo boundaries of its definitive arena of action. From backdrop ofWalden Pond. The damage and distress Synthetic Cubism through Dada, Surrealism, suffered by the books evokes a sense of environmental Rauschenberg, Johns, Warhol, Stella, and beyond into the fragility while the central rectangle underscores Kane's present a vital body ofpainting has pressed against those affinity for the iconic geometries of Malevich. Frank boundaries dividing it from sculpture and mechanical Majore's cibachrome print invokes the directional energies reproduction. This is a development in a direction of gestural color field painting. Christian Raub constructs opposite than that of definition by exclusion. Besides his Neoplastic geometry out of colored plastic and invites observing how much painting may admit into its field of consideration of sculptural volume while holding to a practice and still remain painting, it also literalizes to an rigorous planar frontality. unprecedented degree the concept ofpainting as a The intervention of technological processes as a kind of semantic space, a space that is both subject to and painting surrogate is also evident in the work of Curtis recontextualized by the ruptures and dislocations between Anderson, Ford Beckman, and Barbara Nessim. sign and signifier that trouble and stimulate the functions Anderson suspends in graphite and silver leaf a dark ofwritten and spoken language. square field of diagrammatic gestures that seem a In painting, these disruptions are made physical, in combination of alchemical calculations in secret materials and on the surface. Both collage and assemblage handwriting and a photograph of a chain reaction. The cultivate an awareness of co-existing distinctions between oxidizing effects of his materials thicken the atmosphere in depiction and the literal presence of the thing. This his imagery. The melancholy and strangely ominous "thing" may itself be a representation of something else -­ clown photograph projected on to the surface of a photograph, a word, or a sign-logo -- and what is Beckman's Pop Painting
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