What If It's All True, What Then?
06 April - 25 June 2011
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WHAT IF IT'S ALL TRUE, WHAT THEN?
Paul Caffell, Simon Callery, Angela de la Cruz, Stuart Elliot, Alexis
Harding, John Henderson, Ian Homerston, Louise Hopkins, Peter Joseph,
Ingo Meller, Oliver Perkins, Avis Newman, Rebecca Salter, Jon Thompson
Part 1: 6 April - 14 May
Part 2: 18 May - 25 June
What If It’s All True? What Then? is the second of two exhibitions
curated by Andrew Mummery for Mummery + Schnelle, which take a critical
look at aspects of painting today. The first, The Beholder’s Share*,
asked how it might be possible to situate in the space of the present,
references to the historicity of painting. Focusing primarily on
representational works, this exhibition featured artists who are
re-examining the traditional genres of painting, such as portraiture and
landscape, and the concept of the "studio painting”.
What If It’s All True? What Then? takes as its starting point the
continued relevance of abstraction to many painters working today.
Indeed, there are so many varieties of abstract painting now that the
category has almost ceased to have a coherent meaning. Instead,
therefore, of trying to represent the full gamut of what passes as
abstraction today What If It’s All True? What Then? focuses on fourteen
painters whose work is a continued re-engagement with Modernism, its
tropes and heritage. Surface, support and mark as gesture and sign are
concerns that recur in different ways throughout the exhibition. The
exhibition suggests that these concerns can represent a critical
re-engagement with Modernist tropes that analyses the entanglements of
bodily experience, memory and imagination, both in the making the work
and in the subject’s reception of it. It proposes, therefore, a
phenomenological interpretation as a valid means of addressing abstract
painting beyond Modernism.
What If It’s All True? What Then? is also the title of a book which
illustrates the works in the exhibition and contains essays by Anna
Moszynska, Chris Townsend and Stuart Elliot. Anna Moszynska discusses
the work of the artists in the exhibition in the context of developments
in abstraction since the 1980s. Chris Townsend examines the ways in
which "meaning” can be attached to mark and gesture and Stuart Elliot
looks at how discussion of the current situation of abstract painting
might be orientated to the question of its potential in the present. The
book will be available in the middle of April.
The title of the book and exhibition is derived from the title of an
early, now destroyed text painting by John Baldessari. Such a question
could seem to speak to the notion of painting as being plagued by
problems/criticisms and so as something embattled. Or, it could also
suggest the idea of an ethical dilemma in the face of relativising
cultural, historical and social forces: what if, in some important way,
all our different histories and explanatory frameworks have persuasive
claims on our allegiances or desires? What then?
* 13 October – 4 December 2010. The exhibition featured the work of
Philip Akkerman, Robert Bordo, Nogah Engler, Louise Hopkins, Merlin
James, Tom LaDuke, Carol Rhodes, Julie Roberts, David Schutter and
Christopher Stevens.
www.mummeryschnelle.com
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