Over the course of the past years, painting has undergone a spectacular renaissance in the arts capital of New York at the hands of a generation of artists who will no longer be told how art should and should not be made. Eleven positions reveal the current importance and variety of a genre many believed had no future. Today, it seems, painting is as alive in New York as it was during the period of Abstract Expressionism in the 1950s and of pop art in the 1960s. The difference is that there is now a plurality of styles and ...
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Over the course of the past years, painting has undergone a spectacular renaissance in the arts capital of New York at the hands of a generation of artists who will no longer be told how art should and should not be made. Eleven positions reveal the current importance and variety of a genre many believed had no future. Today, it seems, painting is as alive in New York as it was during the period of Abstract Expressionism in the 1950s and of pop art in the 1960s. The difference is that there is now a plurality of styles and forms of expression. The spectrum ranges from the painterly experiments of Matt Connor via the wild post-pop paintings of Eddie Martinez to the neo-conceptual approaches of the likes of Antek Walczak and Ned Vena. Without prioritising any particular style, this volume documents the rich panorama of the medium of painting, which has moved on from the ideological battles about its existence and plays an important role once again.
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