PRINT November 2014


Avery Singer, Saturday Night, 2013, acrylic on wood panel, 43 3/4 × 59 7/8".

PAINTING, AS WE KNOW WELL BY NOW, has long since ceased to be regarded as dubious or even obsolete. Whereas artists painting in the 1970s and ’80s felt obliged to justify their medium in order to rescue it from its reputation of being a highly suspicious commodity fetish, painting has since the ’90s been regarded as an accepted—even radical—form of social, conceptual, and institutional critique. Entering a new, unbounded era, in part driven by the posthumous hype around the work of Martin Kippenberger and his disciples, the medium came into fashion yet again under the banner of “network painting,” a loose term that imagined the artist’s personal social sphere, and the passage of the art object within it, as intrinsic to the work’s materials and meaning. This approach finally broke with the modernist idea of a “pure,” clearly delimited work, but it also introduced new

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