SYMPOSIUM | Painting as ReModel: Revisiting Painting as Model

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21 Jun 2018

9.30am to 5pm

Yve-Alain Bois’ seminal text Painting as Model, published in 1990, is still cited as being an extremely important collection of essays that looks at painting as being both a conceptual and a material enquiry. Bois believes that one must concentrate on both the formal elements of a work of art and its physical qualities to fully understand its totality.

9.30 - 10.00Registration
10.00 - 10.15Daniel Sturgis: Welcome
10.15 - 11.15Eric Alliez and Jean-Claude Bonne: Unframing painting, ‘pushing back the walls’
11.15 - 12.00Moyra Derby: Models of Attention
12.00 - 12.15Break
12.15 - 1.15Dr Matthew Bowman: The Intertwining: Damisch, Bois, and October’s Rethinking of Painting
1.15 - 2.15Lunch
2.15 - 3.15Lisa Florman: Description and Resistance
3.15 - 4.00Daniel Neofetou: A World for Us: On the Prefiguration of Reconciliation in Barnett Newman's Painting
4.00 - 4.45Roundtable: Yve-Alain Bois and Eric Alliez. Chaired by Philip Armstrong

The symposium is free and open to all. Booking is essential.
Please use the booking form below to reserve your place.

Yve-Alain Bois will deliver an opening lecture to introduce this event on 20 June 2018.
Tickets for the keynote must be purchased separately:

Painting as ReModel is convened by Daniel Sturgis, Reader in Painting and Programme Director of BA Fine Art at Camberwell College of Arts. It is presented by the Camberwell, Chelsea, Wimbledon Graduate School Public Programme.



Eric Alliez
(b. 1957), philosopher, is a Professor at University of Paris 8 and at the Centre for Research in Modern European Philosophy, Kingston University (London). He has been visiting professor in many universities worldwide (Rio de Janeiro, Vienna, Warwick, Karlsruhe, Weimar, Oslo,…). His publications in Engl. include Wars and Capital (with M. Lazzarato, Los Angeles: Semiotext(e), 2018). Transdisciplinary Problematics (ed., with P. Osborne and Stella Sandford, Theory, Culture and Society, Special Issue, 32 / 5–6, 2015), Spheres of Action: Art and Politics, (ed., with P. Osborne, London: Tate Publishing, 2013), Diagram 3000 [Words] (Documenta 13, N°090, Berlin: Hatje Cantz, 2012), The Guattari Effect (ed., London and New York: Continuum, 2011), Capitalism and Schizophrenia and Consensus: Of Relational Aesthetics (Istanbul: Baglam, 2010), The Signature of the World (London and New York: Continuum, 2004), Capital Times (Minneapolis: University of Minnesota Press, 1997, preface by G. Deleuze). Undoing the Image: Of Contemporary Art (with the collaboration of J.-Cl. Bonne, Engl. transl. in 5 vol., Falmouth: Urbanomic, 2018-    ) is the last volume of a trilogy focused on a critique of aesthetics, and which also includes The Brain-Eye. New Histories of Modern Painting (with the collaboration of J.-Cl. Martin, London and New York: Rowman and Littlefield International, 2017) and La Pensée-Matisse [The Matisse-Thought] (with J.-Cl. Bonne, Paris: Le Passage, 2005).
Philip Armstrong is Professor in the Department of Comparative Studies at The Ohio State University. He has published widely in the area of contemporary visual arts and culture, as well as essays on contemporary political theory. Publications include Reticulations: Jean-Luc Nancy and The Networks of the Political (U of Minnesota P, 2009), Jean-Luc Nancy, Politique et au-delà: Entretien with Jason Smith (Galilée, 2011), and (with Laura Lisbon and Stephen Melville) As Painting: Division and Displacement (MIT Press and Wexner Center, 2001). Translations include Jean-Luc Nancy’s The Disavowed Community and The Pleasure in Drawing, as well as the collected writings of Michel Parmentier.

Jean-Claude Bonne (b. 1937), directeur d’études honoraire (Centre d’Histoire/Théorie des Arts, École des Hautes Études en Sciences Sociales, Paris). He has taught and published extensively on Medieval, Modern and Contemporary Art History and Theory.
Publications: Le Monde roman: par-delà le bien et le mal, avec Jérôme Baschet et Pierre-Olivier Dittmar, Paris, éditions arkhê, 2012. Éric Alliez et Jean-Claude Bonne La Pensée-Matisse. Portrait de l’artiste en hyperfauve, Paris, Le Passage, 2005.
Collaboration at Eric Alliez, Défaire l’image. De l’art contemporain, Dijon, les presses du réel, 2014. Trad. in Engl., Undoing the Image: Of Contemporary Art (with the collaboration of J.-Cl. Bonne, Engl. transl. in 5 vol., Falmouth: Urbanomic, 2018-).

Dr Matthew Bowman lectures in the Photography Department at Colchester School of Art and on the Fine Art programmes at the University of Suffolk. His research focuses on twentieth-century and contemporary art, criticism, the art market, and philosophy in the USA and Europe. He authored an extended essay on Heidegger’s notion of de-distancing, titled “Shapes of Time: Melancholia, Anachronism, and De-Distancing,” published in Boetzkes and Vinegar (eds.), Heidegger and the Work of Art History (2014). And, in late 2018, his essay on “bad painting” and Martin Kippenberger, titled “Indiscernibly Bad: The Problem of Bad Painting/Good Art” will be published in the Oxford Art Journal. He regularly writes reviews for Art Monthly. He has two forthcoming books: an edited collection of essays titled The Price of Everything and the Value of Nothing (I.B. Tauris, 2019) and a monograph October and the Expanded Field of Art and Criticism (Routledge, 2019).
Moyra Derby is an artist and Senior Lecturer in Painting at the University for the Creative Arts at Canterbury. A graduate of the Royal College of Art, Moyra is currently undertaking a practice led PhD at the University of Kent. Published texts include Constraints between Picture and Painting: Some considerations at a distance, Journal of Contemporary Painting Vol 2 issue 2 2016, Visualizing Painting: A Space Drawn in Ratio from the exhibition catalogue of ‘Limber: Spatial Painting Practices’ 2013, Depth as Breadth in Rotation: Tableau as Holding Apparatus’ published in Journal for Visual Arts Practice, Volume 12, issue 1, 2013. Recent exhibitions include Interval [ ] still : now at Tintype, London 2018, Muster Station: School of Beginnings at Tate Exchange 2018, Notes on Painting at Koppel Project Hive, London 2017,  Fully Awake at blip blip blip, Leeds in 2017, Interval [ ] waiting room at Whitstable Biennale 2016.
Mick Finch’s research takes the form of studio practice, writing and pedagogical projects.  He exhibits his work regularly and internationally most recently at the Sid Motion Gallery (London 2017), Engrams, a one-person show at the Piper Gallery (London 2013).  He has published widely on visual art practices and is associate editor of the Journal of Visual Art Practice and the Journal of Contemporary Painting for which in 2015, he co-edited a special edition on Simon Hantai’s work.  He has written about the technical apparatus of the Warburg Haus.  Three articles on the subject have been published, two in a recent edition of the Journal of Visual Art Practice entitled Headstone to Hard Drive, the third in a special issue about  the Warburg Haus published in the journal of the Philosophy of Photography. He lived, exhibited and taught for 20 years in France and has written extensively about post war French art.  He leads the Tableau research project at CSM an outcome of which was the conference Tableau: Painting Photo Object at Tate Modern in 2011.   He is a member of the French research group Peinture: un réseau de recherche funded by the French Ministry of Culture, In 2011 he was an Abbey Fellow in Painting at the British School in Rome and he is a Senior Scholar of the Terra Foundation in Paris.  He is a Reader in Visual Art Practice at the University of the Arts, London and the BA Fine Art Course Leader at Central Saint Martins, London. 
Lisa Florman is Professor and Chair of the History of Art Department at Ohio State University.  Her primary interests are in modernism, philosophical aesthetics and, especially, the intersection of the two in the early twentieth century.  Her first book, Myth and Metamorphosis (MIT Press, 2000), examines Picasso’s classicizing prints of the 1930s in the context of both surrealism and contemporaneous understandings of classical antiquity.  Her second book, Concerning the Spiritual—and the Concrete—in Kandinsky’s Art (Stanford, 2014), explores the philosophical justifications underlying painting’s turn toward non-representation in the early twentieth century.  Other significant publications have addressed Clement Greenberg’s 1959 essay, “Collage,” and “The Philosophical Brothel,” Leo Steinberg’s seminal work on Les Demoiselles d’Avignon.
Daniel Neofetou recently completed a PhD at Goldsmiths College, University of London, which rereads Clement Greenberg’s account of Abstract Expressionism through the aesthetic theories of Theodor Adorno and Maurice Merleau-Ponty in order to recover a rational kernel which testifies to the way in which the movement opposes the ends to which it was put during the Cold War. He is also the author of a short monograph on the films of David Lynch entitled Good Day Today (2012), has written for Art Monthly, and is a regular contributor to The Wire.
Daniel Sturgis is Reader in Painting at the University of the Arts and the Fine Art Programme Director at Camberwell College of Arts. Sturgis’ work is regularly exhibited in the UK and internationally and has featured at museums including: Langgeng Art Foundation (Yogyakarta), The Pier Art Centre (Stromness), Musée des Beaux-Arts de Cambrai, The Chinati Foundation (Marfa, Texas), Camden Art Centre (London), and Turner Contemporary (Margate). Notable recent exhibitions include ‘Playground Structure’ at Blain Southern (2017) and the solo presentation ‘The Way It Is” at Luca Tommasi in Milan (2018). His curated projects include: ‘Against Landscape’ (Grizedale Arts), ‘The Indiscipline of Painting’ (Tate St Ives), Daniel Buren ‘Voile Toile/Toile Voile’ (Wordsworth Trust) and Jeremy Moon ‘A Retrospective’ (Kettle’s Yard). Sturgis was a specialist selector and chapter author for Phaidon’s Vitamin P3 and is an Associate Editor of the Journal of Contemporary Painting.