..trends for a sort of hyper-liquidity - hyperbole of the painterly... exaggerated to jest. ...the painterly involves a framework, a subject that bleeds. The painterly requires an object for the brush to caress.
"Because it seems what we are actually pushing around on the canvas is the cultural object of painting. The canvas, support, oils, were long ago replaced by this mythos, its signifiers, significance."
("Paint becomes simply the candied shell to painting's cultural myth. ..Drawing ripples in surface to activate the beneath, tap the vast depths of painting's cultural wealth, this the watermelon.")
We want the painterly because this is painting's bright jewel - the more painterly it is the more undeniably painting it is, tautologically as symbol. In times of crisis we seek comfort in the familiar - put our money in what's safe. Is this why impressionism is coming back? When painting tends towards its hyperbolization - the ability to be more painterly, more Painting. We see time move in reverse, is this already impressionism?
See too: "Back to the Future impressionism" Genieve Figgis at Almine Rech, Ambera Wellmann at Lulu, Nicola Tyson at Friedrich Petzel, Nicola Tyson at Nathalie Obadia, "Watermelon Theory" Tala Madani
