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‘Dexter Dalwood, London Paintings’, Simon Lee Gallery, London, 18 November 2014–24 January 2015

‘Jasper Johns: Regrets’, The Courtauld Gallery, London, 12 September–14 December 2014

‘The Forever Now: Painting in an Atemporal World’, Museum of Modern Art, New York, 14 December 2014–5 April 2015

Aura on the cutting room floor: Matisse Live From Tate Modern

Studio Talks: Thinking Through Painting 2009–2014, Kristina Bength, Jonatan Habib Engqvist, Jan Rydén and Sigrid Sandström (eds) (2014) Stockholm, Sweden: Arvinius + Orfeus Publishing, 418 pp., ISBN: 9789187543548, h/bk, 32 Euros

‘Albert York’, Matthew Marks Gallery, New York, 8 November–20 December 2014
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Document Type: Research Article

Affiliations: 1: Central Saint Martins, University of the Arts, London 2: University of Southampton 3: Chelsea College of Arts

Publication date: 01 April 2016

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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