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Reflections on Simon Hantaï: Daniel Buren in conversation with Daniel Sturgis, Varennes-Jarcy, 23 September 2014

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This article, in the form of a conversation between Daniel Buren and Daniel Sturgis, reflects upon Daniel Buren’s friendship and respect for the work of Simon Hantaï. Daniel Buren talks of his introduction to Simon Hantaï’s work, and how Hantaï influenced not only himself but also other artists from his generation and in particular Michel Parmentier. Daniel Buren also looks critically at the Simon Hantaï retrospective at the Centre Pompidou in 2013, which he felt did not fully capture the radical qualities that first drew him to Hantaï’s paintings and installations.
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Keywords: Daniel Buren; Henri Matisse; Jackson Pollock; Michel Parmentier; Paris; Simon Hantaï

Document Type: Research Article

Affiliations: Camberwell College of Arts, University of the Arts, London

Publication date: 01 October 2015

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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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