Paris

Left: John Currin, The Moroccan, 2001, oil on canvas, 26 x 22“. Right: Glenn Brown, The Rebel, 2001, oil on panel, 33 1/4 x 27 1/2”.

Left: John Currin, The Moroccan, 2001, oil on canvas, 26 x 22“. Right: Glenn Brown, The Rebel, 2001, oil on panel, 33 1/4 x 27 1/2”.

Cher Peintre, Lieber Maler, Dear Painter”

Centre Pompidou

Cher Peintre, Lieber Maler, Dear Painter” is the latest in a crop of international exhibitions devoted to the subject of painting. “Painting on the Move,” the Kunstmuseum Basel’s recent tour of the practice during the twentieth century, was the most exhaustive, starting with Cézanne and ending with young contemporary artists like Lucy McKenzie and Wilhelm Sasnal. The Walker Art Center’s “Painting at the Edge of the World,” 2001, and the Whitechapel London/MCA Chicago’s “Examining Pictures,” 1999, took the temperature of the present through a selective reappraisal of post-’60s painting. Whereas “Painting at the Edge of the World” argued for an ontological broadening of the medium to incorporate aspects of architecture, performance, sculpture, and photography, “Examining Pictures” raided the icebox of postwar painting to offer an admixture dedicated to the solipsistic pleasures of making

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