PIETER SCHOOLWERTH has always played around with words, and the title of his current project is no exception. As the artist readily acknowledges, “Model as Painting,” 2016–, immediately conjures Painting as Model, Yve-Alain Bois’s classic 1990 collection of essays on modern and primarily abstract exemplars of the medium. Yet true to the painter’s subcultural allegiances (he was for many years the animating spirit behind New York’s Wierd Records and the label’s legendary weekly party), it turns that rubric on its head. This reversal, Schoolwerth notes, is keyed to the rapid proliferation of “forces of abstraction in the world,” the internet and digital technology foremost among them. What better name, then, for a body of workmanifestations of an expanded practice of painting that incorporates photography, ink-jet printing, and relief sculpturethat centrally involves
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