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Free Content Simon Hantaï Editorial

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Simon Hantaï’s reputation was established from the early 1960s, with regular exhibitions up until his withdrawal from the art world in 1982. His work had a consistent impact in France where he is regarded as a major post-war artist who initiated a crucial rethinking of painting in the wake of Pollock and Matisse, influencing most specifically the generation epitomized by the groups Buren, Mosset, Parmentier and Toroni and Supports/Surfaces. More recently, however, an exhibition at the Paul Kasmin Gallery in New York (2010) and a major retrospective at the Centre Pompidou in Paris (2013) have contributed to a growing interest in, and recognition of, Hantaï’s work outside of France. This issue of the Journal of Contemporary Painting is an intervention within this emerging reception.
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Keywords: Simon Hantaï; collage; folding; method; thickness; working blind

Document Type: Research Article

Affiliations: 1: Central Saint Martins, University of the Arts, London 2: The Ohio State University 3: Camberwell College of Arts, University of the Arts, London

Publication date: 01 October 2015

More about this publication?
  • 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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