Art Lies, Volume 47, Summer 2005 Page: 36
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Kaye Donachie, And schemes of shadows were drifting by, 2005
Oil on canvas
18 x 24 inches
Courtesy Peres Projects Los Angeles Berlin
acceptance. This is because painting, being a centuries-old tradition
with core issues and practices little changed in all those years, finds
itself in the way of postmodern thought. Painting doesn't need a the-
oretical paradigm in which to locate its practice.
Painters have known where the edge is for five hundred years.
By nature of its all-inclusive attitude, the art of today has no edge
and, accordingly, requires a theoretical paradigm for the purpose of
locating and containing its practice. The fracture of painting and art
that occurred in the twentieth century continues to this day. Art has
expanded, while painting has located itself as a specific practice.
Sometimes I wonder if the obituaries so frequently posted on paint-
ing are not in fact statements of desire. But painting crawls up out of
the ashes again and again, and as it regains popularity and market-
place support, criticism approaches for another look. Not wishing to
reconsider prior pronouncements, criticism is constantly on the prowl
for the "new."
A few years ago, Alexander Solzhenitsyn wrote an essay titled
The Cult of the New, in which he maintained that the world's fasci-
nation with the "new" had undercut and devalued all other forms of
evaluation and criteria. Sometimes I look at the art world and agree.
I never would have guessed, for example, that the two most influen-
tial figurative painters of the last fifty years would be Alex Katz and
Walt Disney. Almost every figurative painter around devolved out of
one of these two sources. (Please send your exceptions to ARTL!ES.)
36 ARTL!ES Summer 2005
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Bryant, John & Gupta, Anjali. Art Lies, Volume 47, Summer 2005, periodical, 2005; Houston, Texas. (texashistory.unt.edu/ark:/67531/metapth228012/m1/38/: accessed June 27, 2017), University of North Texas Libraries, The Portal to Texas History, texashistory.unt.edu; .