One of the first book-length publications on contemporary artist Cheyney Thompson, whose work is known for its radically forward-looking intellectualism and formal rigor.
One of the first book-length publications on contemporary artist Cheyney Thompson, whose work is known for its radically forward-looking intellectualism and formal rigor.
Cheyney Thompson's (b. 1975) work responds to a long history of debates about how art depicts the world, and about how we come to know the world visually. In these meditations on the artist's work, Christian Schaernack shows that for Thompson, reality is something that we can know only in terms of probabilities, not absolutes. Thompson often produces work that explores contingency at the formal level, sometimes in his artistic process itself (as Jackson Pollock once did), and sometimes through the use of external constraints such as computer algorithms, which he subverts as often as he follows.
The meaning of observation has changed time and time again in the history of art, just as it has in the history of science. Delving into art history, intellectual history, and contemporary continental philosophy, Schaernack offers a multifaceted study of an artist who challenges our assumptions about how the world is ordered. From Thompson's early ""black paintings"" to his Chronochromes to the Stochastic Process Paintings, which engage with the algorithms that govern our digital lives, Schaernack presents a contemporary artist whose work embraces chance and responds to the shifting conditions of the present. This is art that reimagines artwork itself.
By:
Christian Schaernack,
Ben Caton
Imprint: MIT Press
Country of Publication: United States
Dimensions:
Height: 229mm,
Width: 203mm,
Weight: 567g
ISBN: 9780262047272
ISBN 10: 0262047276
Pages: 304
Publication Date: 20 June 2023
Audience:
General/trade
,
ELT Advanced
Format: Hardback
Publisher's Status: Active
"Preface xi Passage I. In the /Name/ of Painting 1 Passage II. Gericault--Kippenberger--Thompson 11 Passage III. The ""Landlord"" Series 23 Passage IV. Grey Paintings: From the Studio (Floor) to the Gallery (Wall) 37 Passage V. Black Paintings: On Facture, and a 'Rite of Passage' 45 Passage VI. Chromachromes 57 Passage VII. The Chromachrome: From Tableau to Dispositif 65 Passage VIII. The World of Robert Macaire 77 Passage IX. A Signature is a Signature...From Mimesis to Metaphor 83 Passage X. Chronochromes (recit): Metaphors of the Gestural 91 Passage XI. The Completed Reference: Pedestals and Drunken Walks, 2012 101 Passage XII. Stochastic Process Paintings 113 Passage XIII. Quantity Paintings 127 Passage XIV. Somewhere Some Pictures Sometiems, 2017 137 Passage XV. Bellona, Rubens, and Cezanne: The Reconstruction of Possible Histories, or History Reconfigured 151 Passage XVI. ABHK, 2019 171 Passage XVII. Recit: From ""Cezanne's Doubt"" to Schrodinger's Cat and into the ""Age of Surveillance Capitalism"" ... 183 Coda 193 Acknowledgments 195 Notes 197"
Christian Schaernack is a Berlin-based arts journalist who has covered arts since the mid-1990s, including extensive writing for the Neue Z rcher Zeitung.
