Greg Parma Smith: My Ideas

Name: Greg Parma Smith: My Ideas
Author: Rittenbach, Kari,Hunt-Hendrix, Hunter,Stroun, Fabrice,Miller, John,Bovier, Lionel
ISBN: 9783037645246

Rittenbach, Kari,Hunt-Hendrix, Hunter,Stroun, Fabrice,Miller, John,Bovier, Lionel

Language: English

Published by JRP | Ringier, 2018

3037645245 / 9783037645246

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Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD Oversized.

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Title: Greg Parma Smith: My Ideas
Author: Rittenbach, Kari,Hunt-Hendrix, Hunter,Stroun, Fabrice,Miller, John,Bovier, Lionel
Publisher: JRP | Ringier
Publication year: 2018
Condition: Good
Binding: Hardcover
Language: English
ISBN 10: 3037645245
ISBN 13: 9783037645246

About the Author

Alors que le statut des images continue à être profondément modifié par l'accélération incessante de leurs modes de circulation, la peinture se présente volontiers comme l'un des moyens de ralentir leur progressive dématérialisation, en leur redonnant en quelque sorte un corps. Une grande partie de ces pratiques picturales contemporaines semblent tirer leur origine de deux moments particuliers dans l'histoire de l'art récent : celui, dans les années 1950, de la mise à plat du tableau par l'expressionnisme abstrait, qui transforme de facto la peinture en objet ; et, dans les années 1960, celui de la mutation du motif en image par le Pop Art. L'esthétique du « flatbed » de Robert Rauschenberg, permettant de combiner des images et des objets extraits de sources hétérogènes, est ainsi régulièrement revisitée par des artistes qui mettent en scène la disponibilité contigüe de tous les styles et de toutes les images.
Si les tableaux éclectiques de Greg Parma Smith (né en 1983 à Cambridge, Etats-Unis, vit et travaille à New York), qui associent nus académiques, effets décoratifs et représentations non-artistiques, paraissent participer de cette esthétique, ils opèrent en réalité une véritable rupture dans ce programme. Tous sont sont en effet réalisés à l'huile, avec le même degré de finition, et leurs sources se perdent dans un effet de bienfacture qui relève du simili, du faux et du trompe-l'œil. Il devient alors impossible de séparer les images de leur matérialité, de distinguer une volonté d'appropriation critique dans l'accumulation de langages différents. En ce sens, les surfaces peintes de Parma Smith ont plus à voir avec les techniques d'application d'images scanées de Guyton / Walker, épousant les contours d'une table, d'une boîte de conserve ou d'un tableau, qu'avec celles de leurs devanciers Pop.
L'ensemble des sources de Greg Parma Smith renvoient à l'artisanat, qu'il s'agisse d'inscriptions calligraphiées à la manière d'une peinture de la dynastie Song ou d'un lettrage graffité. Pourtant, on ne trouve aucune forme « d'élévation » dans ces gestes qui associent maîtrise technique et expression personnelle. Tout a sans doute été trop souvent (et depuis trop longtemps) recyclé, réarrangé, détourné, pour qu'une signifiation narrative ou psychologique s'impose. Une forme perverse de résistance au sens, semble, au contraire, émaner de ces assemblages fétichistes : quelque chose de l'ordre du credo du mouvement anglais des « Mods », avec leur extravagance modeste, leur sophistication normale et leur rébellion basée sur la consommation de plaisirs.
Fabrice Stroun

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