AS PAINTING: DIVISION AND DISPLACEMENT

'As painting', which accompanies an exhibition of the same name at the Wexner Center for the Arts, offers thought- provoking new perspectives on the evolution of painting in the United States and Europe since the mid-1960s. It illuminates the flexible boundaries of what can be seen or interpreted 'as painting' and that medium's interrelationships with sculpture, photography, and installation, highlighting points of convergence and divergence. The featured artists include such major figures as Daniel Buren, Donald Judd, Imi Knoebel, Sherrie Levine, Agnes Martin, Gerhard Richter, Robert Ryman, and Robert Smithson, as well as artists who are much less known, at least in the United States. Pivotal to the discussion is the work of a number of significant but relatively unfamiliar French painters, including Martin Barré, Christian Bonnefoi, Simon Hantaï, Michel Parmentier, and François Rouan. This book serves as an introduction to their work while providing fresh interpretations of the more familiar artists. Also highlighted are several artists not usually thought of as 'painters', among them Polly Apfelbaum, Mel Bochner, Judd, Smithson, Anne Truitt, and James Welling. It features two extended essays, detailed commentaries on each of the twenty-six artists in the exhibition, and fourteen additional essays by artists and commentators noted for their engagement with the issues raised here. These include a commentary on Simon Hantaï by Alfred Pacquement, Director of the Centre Georges Pompidou in Paris; original essays by French critics Catherine Millet and Christian Prigent; interviews with artists Martin Barré and Mel Bochner; and a little-known set of notes by Jacques Lacan on the painting of François Rouan.