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Contemporary responses to the work of Simon Hantaï by Andy Harper, Marjorie Welish, Joe Fyfe, Amélie De Beauffort and Stuart Elliot

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The Journal of Contemporary Painting invited five contemporary artists to reflect on the work of Simon Hantaï. Reflections by British artists, Stuart Elliot and Andy Harper; Belgian artist, Amelie de Beauffort; and American artists, Joe Fyfe and Marjorie Welish, are collected here. Each artist wrote from a different proximity to the work of Simon Hantaï – through seeing the work in recent exhibitions or catalogues – but always grounded by engagements with their own studio practices. A brief introduction by Laura Lisbon offers a glimpse at one of the many provocations that Hantaï’s work offers through viewing in person the major retrospective exhibition at the Centre Pompidou, Paris, in 2013. The viewing of the exhibition acted as the initial prompt to invite contemporary artists to reflect on Simon Hantaï at this point in time. The artists’ reflections collected here explore insights into the aleatory, temporal, topological and historical dimensions of Hantaï’s work.
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Keywords: Matisse; Pollock; Simon Hantaï; agency; aleatory; method; topological

Document Type: Research Article

Affiliations: The Ohio State University

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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