Michel Majerus

Painting 2.0
Expression in the Information Age

The resurgent interest in contemporary painting in recent years has coincided with an explosion of new digital media and technologies. Contrary to canonical accounts premised on medium-specificity, painting’s most advanced positions since the 1960s have developed in productive friction with contemporaneous forms of mass media and culture. From the rise of television and computers to the Internet revolution, painting has assimilated precisely those cultural and technological developments that were held responsible for its presumed “death.” Moving far beyond its technical definition as “oil on canvas,” painting during the information age has consistently offered a site for negotiating the challenges of a mediated life-world.

Featuring over 230 works by 107 artists, Painting 2.0 is one of the largest and most comprehensive exhibitions of contemporary painting in recent years.

Artists include:
Kai Althoff, Ei Arakawa/Shimon Minamikawa, Monika Baer, Nairy Baghramian, Georg Baselitz, Jean-Michel Basquiat, Lynda Benglis, Sadie Benning, Judith Bernstein, Joseph Beuys, Ashley Bickerton, Cosima von Bonin, KAYA (Debo Eilers & Kerstin Brätsch), Günter Brus, Daniel Buren, Merlin Carpenter, Leidy Churchman, William Copley, René Daniëls, Guy Debord/Asger Jorn, Carroll Dunham, Mary Beth Edelson, Thomas Eggerer, Michaela Eichwald, Nicole Eisenman, Jana Euler, Louise Fishman, Andrea Fraser, Isa Genzken, Mary Grigoriadis, Philip Guston, Wade Guyton, GuytonWalker, Raymond Hains, Harmony Hammond, David Hammons, Keith Haring, Rachel Harrison, Mary Heilmann, Eva Hesse, Charline von Heyl, Ull Hohn, Jacqueline Humphries, Jörg Immendorff, Jasper Johns, Joan Jonas, Mike Kelley, Martin Kippenberger, Yves Klein, Jutta Koether, Michael Krebber, Manfred Kuttner, Maria Lassnig, Sherrie Levine, Glenn Ligon, Lee Lozano, Konrad Lueg, Michel Majerus, Piero Manzoni, Kerry James Marshall, Hans-Jörg Mayer, John Miller, Joan Mitchell, Ree Morton, Ulrike Müller, Matt Mullican, Elisabeth Murray, Cady Noland, Hilka Nordhausen, Albert Oehlen, Laura Owens, Steven Parrino, Ed Paschke, Howardena Pindell, Sigmar Polke, Seth Price, Stephen Prina, R.H. Quaytman, Robert Rauschenberg, David Reed, Gerhard Richter, Mimmo Rotella, Niki de Saint Phalle, Mario Schifano, Amy Sillman, Sylvia Sleigh, Josh Smith, Joan Snyder, Reena Spaulings, Nancy Spero, Gruppe SPUR, Frank Stella, Walter Swennen, Paul Thek, Rosemarie Trockel, Cy Twombly, Jacques de la Villeglé, Kelley Walker, Andy Warhol, Sue Williams, Karl Wirsum, Martin Wong, Christopher Wool, Heimo Zobernig, u.a.

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PX: Thoughts On Painting

PX: Thoughts on Painting was published following the two-part PX exhibition at St Paul Street Gallery, AUT University, Auckland – A Purposeless Production: A Necessary Praxis, curated by Leonhard Emmerling, and Snow Falls on Mountains Without Wind, curated by Jan Bryant.

This book functions both as a theoretical study of painting practice – two opposed essays disagreeing about the supposed purpose or operation of contemporary painting – and an exhibition catalogue, illustrating in full the wide variety of practices that made up this show of the work of painters (in the widest sense) from New Zealand, Europe and the US:

Whitney Bedford, Richard Bryant, Amelia Harris, Dil Hildebrand, Colin Lawson, Saskia Leek, Patrick Lundberg, Michel Majerus, Fiona Macdonald, Isobel Thom, Barbara Tuck, Genevieve Allison, Guy Benfield, James Cousins, Simon Glaister, Kerstin Gottschalk, Katharina Grosse, Simon Ingram, Imi Knoebel, Tumi Magnusson, Paul McCarthy, Judy Millar, Ben Morieson, Gerhard Richter, Nedko Solakov.

Bryant and Emmerling’s essays pay particular attention to the legacies of conceptualism and the diverse relations that contemporary painting holds with various art-historical, philosophical and political discourses. Here we find the figure of painting radically expanded for the twenty-first century.

Fusing Kant’s definition of art as ‘purposeless’ with Adorno’s notion of the autonomous work of art as the only one with utopian potential, Emmerling’s text considers painting’s complete uselessness as the basis of its inalienability. Bryant adapts Jean Paulhan’s ideas on cliché and terror and attempts to delineate a certain genealogy that might account for aspects of contemporary painting practice that can’t be folded neatly into dominant art-historical discourses, even when a dialogue with art history is being carried out.

Texts by Jan Bryant and Leonhard Emmerling
Designed by Tana Mitchell

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