{"id":3866,"date":"2021-03-22T13:40:25","date_gmt":"2021-03-22T13:40:25","guid":{"rendered":"http:\/\/blog.soton.ac.uk\/wsapgr\/?p=3866"},"modified":"2021-03-22T13:40:25","modified_gmt":"2021-03-22T13:40:25","slug":"wsa-alumni-published-in-journal-of-contemporary-painting","status":"publish","type":"post","link":"https:\/\/generic.wordpress.soton.ac.uk\/wsapgr1\/2021\/03\/22\/wsa-alumni-published-in-journal-of-contemporary-painting\/","title":{"rendered":"WSA Alumni published in Journal of Contemporary Painting"},"content":{"rendered":"

Many congratulations to the two WSA PGR Alumni who have published articles in the latest issue of Journal of Contemporary Painting\u00a0<\/em>(vol. 6 issue 1-2). It is wonderful to see alumni making such a contribution to art criticism.\u00a0Some details below of both these contributions to scholarship<\/p>\n

Feng Jie (2021) \u2018Writing from the other side: Critical reflections on the calligraphy of Zhang Qiang\u2019\u00a0Journal of Contemporary Painting<\/em>, Vol. 6, Issue 1-2, pp. 131-148 [available here<\/a>].<\/h3>\n

This article presents the specific case of a contemporary practitioner of Chinese calligraphy, Zhang Qiang, a notable figure within the current Avant-garde movement. After outlining aspects of his practice, which has been controversial along gender grounds, the article turns to his specific project of \u2018bi-directional\u2019 calligraphy. It is argued this work opens up a more rewarding way into his work as an enquiry into writing, which bears connections with Derrida\u2019s deconstructionist account of writing and trace. However, in a brief exchange at Tate Modern, Zhang offers a form of \u2018writing lesson\u2019, which both helps takes us towards the decontructionist account of general<\/em> writing, yet equally reveals a reliance upon the cultural category of \u2018Chinese calligraphy\u2019, which takes us away again\u2014arguably symptomatic of a wider struggle for Chinese contemporary art to gain recognition in the West.<\/p>\n

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Cheng-Chu Weng (2021) \u2018Making minimalism disappear\u2026\u2019 \u00a0Journal of Contemporary Painting<\/em>, Vol. 6, Issue 1-2, pp. 149-164 [available here<\/a>].<\/h3>\n

\u2018Making minimalism disappear\u2026\u2019 presents an essay regarding my approach to \u2018expansion painting\u2019, and specifically provides a study of another<\/em> kind of minimalist aesthetic. The account begins with a signature work, Shoji<\/em> (2015), which is proposed as a way to unfold what expansion painting is. I describe my approach as drawing upon painterly compositional methods but developed through site-specific considerations of architectural spaces, bodies and differing levels of consciousness. The works \u2018take place\u2019 when interacting in these layered spaces, or what I refer to as a \u2018sense\u2019 of painting space. The article goes on to articulate how\u2014in terms of a western discourse \u2013 my works might \u2018look\u2019 minimalist but, in fact, are not minimalist art. This article\u2014in representing my practice and providing broader critical analysis\u2014leads us to question an ideology of art history around the enigma of minimalist art, and gives rise instead to another shadowy form of minimalist art. Hence, this article can be said to make minimalism disappear in being haunted by it.<\/p>\n

You can also see Cheng-Chu’s PhD practice and contributions to WSA’s PhD researcher community featured on this blog here<\/a>.<\/p>\n

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Many congratulations to the two WSA PGR Alumni who have published articles in the latest issue of Journal of Contemporary Painting\u00a0(vol. 6 issue 1-2). It is wonderful to see alumni making such a contribution to art criticism.\u00a0Some details below of both these contributions to scholarship Feng Jie (2021) \u2018Writing from the other side: Critical reflections … Continue reading “WSA Alumni published in Journal of Contemporary Painting”<\/span><\/a><\/p>\n","protected":false},"author":5371,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[32,13],"tags":[36,43,48,65,69],"class_list":["post-3866","post","type-post","status-publish","format-standard","hentry","category-articles","category-journal","tag-alumni","tag-calligraphy","tag-derrida","tag-minimalism","tag-painting"],"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/generic.wordpress.soton.ac.uk\/wsapgr1\/wp-json\/wp\/v2\/posts\/3866","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/generic.wordpress.soton.ac.uk\/wsapgr1\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/generic.wordpress.soton.ac.uk\/wsapgr1\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/generic.wordpress.soton.ac.uk\/wsapgr1\/wp-json\/wp\/v2\/users\/5371"}],"replies":[{"embeddable":true,"href":"https:\/\/generic.wordpress.soton.ac.uk\/wsapgr1\/wp-json\/wp\/v2\/comments?post=3866"}],"version-history":[{"count":0,"href":"https:\/\/generic.wordpress.soton.ac.uk\/wsapgr1\/wp-json\/wp\/v2\/posts\/3866\/revisions"}],"wp:attachment":[{"href":"https:\/\/generic.wordpress.soton.ac.uk\/wsapgr1\/wp-json\/wp\/v2\/media?parent=3866"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/generic.wordpress.soton.ac.uk\/wsapgr1\/wp-json\/wp\/v2\/categories?post=3866"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/generic.wordpress.soton.ac.uk\/wsapgr1\/wp-json\/wp\/v2\/tags?post=3866"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}