"Fellow" by Leidy Churchman. Courtesy Horton Gallery.
Untitled by Jakub Julian Ziolkowski. Courtesy the artist and Hauser & Wirth.
Detail of "Urban Grid, Riffs on the Grid" by Frederick Hayes.
In the NY Times, Roberta Smith, writes a short essay on the state of contemporary painting in which she suggests not only that ranking art mediums and declaring some of them (like painting) dead is finally passé, but that painters are approaching the medium more freely than ever. "Few modern myths about art have been as persistent or as annoying as the so-called death of painting. Unless, of course, it is the belief that abstract and representational painting are oil and water, never to meet as one. The two notions are related. The Modernist insistence on the separation of representation and abstraction robbed painting of essential vitality. Both notions have their well-known advocates. And both, in my mind seem, well, very 20th century.
"There have been moments of dazzling balance between the representational and the abstract — for example, Byzantine mosaics; pre-Columbian and American Indian textiles and ceramics; Japanese screens; Mughal painting; and post-Impressionism. Painting may be in a similar place right now, fomented mostly, but not always, by young painters who have emerged in the last decade. They feel freer to paint what they want than at any time since the 1930s, or maybe even the 1890s, when post-Impressionism was at its height. In the late 19th century painting was being radically changed by a series of artistic explosions — the newly abstracted figuration of post-Impressionists from van Gogh to Ensor; the extremes of color favored by the Fauves, like the young Matisse, and German Expressionists, like Kirchner; the shattering of representational form by Cubism and Futurism; and finally the flowering of abstraction itself in the work of Malevich and Mondrian.
"By the 1970s, thanks largely to formalist critics like Clement Greenberg and Donald Judd, painting had been flattened and emptied of figures, subject matter and illusionistic space....But with each generation of painters, the authority of Greenberg and Judd pales while the history of the pictorial expands, revealing new possibilities for scholars, curators and artists alike....
"But what really is questionable, and passé, is the implied ranking of art mediums and the leaving of some of them for dead. None of them ever really, ultimately have much of a monopoly on quality. And something else greatly reduces the chances of the death of painting: too many people — most obviously women — are just beginning to make their mark with the medium and are becoming active in its public dialogue...."
Check out Smith's slide show of contemporary figure painting here.