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Simon Hantaï: Round table discussion

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The objective of the round table was to open up a discussion around Simon Hantaï’s work with questions that are specifically from a non-French position. Isabelle Monod-Fontaine, as one of the three curators of the 2013 Centre Pompidou exhibition and François Rouan, as both a friend and a younger painter, offer intimate perspectives on Hantaï’s life and work. The discussions look at key issues in both the production and the reception of Hantaï’s painting. The relationship between method and process is opened up as a key distinction, against the background of American art and painting. Hantaï’s withdrawal from the studio and his uneasy relationship to the art world are also discussed.
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Keywords: Duchamp; François Rouan; Matisse; Simon Hantaï; method; painting; pliage; process

Document Type: Research Article

Affiliations: Central Saint Martins, University of the Arts, London

Publication date: 2015-10-01

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  • Journal of Contemporary Painting responds to the territory and practice of contemporary painting in its broadest sense, viewing painting as a context for discussion, exploring its sphere of history and influence, rather than as a medium specific debate. The JCP combines a thematic approach with an open call, each issue opening up and problematising pressing concerns in contemporary painting.

    As well as contributions to current debates on contemporary art, a particular feature of the Journal of Contemporary Painting is the publication of archival or newly translated texts alongside current responsive articles, based on the premise that contemporary painting cannot be understood without reflecting on its history. Dedication to understanding the nature and forms of painting research has also led to the inclusions of an original visual essay for every edition. Additionally we respond to current exhibitions, books and symposia, nationally and internationally, in our reviews section.

    Our aim is to be responsive to current debates in painting and related art practices, drawing from a wide geographical field and across discipline boundaries to provide a discursive space in which a range of subject specialisms can be brought to bear on the culture of painting. We are particularly interested in writing emerging from practice-based research as well as from academics working in different disciplines.

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