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The argument reaudits figure/ground binarism and the language used to condemn painting, linking formalism, teaching practices, and shifts in gallery context and audience 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central definition does the text use for painting?","Question",{"text":62,"@type":63},"Painting is defined as applying pigmented matter on a surface, understood as Figure on Ground.","Answer",{"name":65,"@type":60,"acceptedAnswer":66},"How does the text respond to critiques that claim painting is regressive or inadequate?",{"text":67,"@type":63},"It proposes examining the critic’s words and reauditing the figure/ground binarism, rather than relying on belief-based defenses of painting.",{"name":69,"@type":60,"acceptedAnswer":70},"What role does the “white cube” and O’Doherty’s ideas play in the argument?",{"text":71,"@type":63},"The text uses O’Doherty’s account of the “myth of flatness” to explain how both picture plane and gallery space became privileged, reshaping the preferred audience from spectator to 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with their eyes-light,darkness,color,form.Painters are compelled to express this continuous act of seeing and lookingthrough the application of a liquid or viscous matter on a two-dimensional sur-face.Despite a barrage of criticism of painting and of representation,even paint-ers who are cognizant or complicit with this critique continue their preoccupation.I am one of these retinal individuals.  \nCriticism of the practice of painting emerging from a curious blend of mod-ernist idealism and Marxism may be found in October or Art After Modernism:Rethinking Representation.While I am reluctant to give this loosely generalizedschool of criticism a name,“aesthetic terrorism”might describe its adherents's\"fundamental commitment to the 'primacy'of 'objectivity'\"and their use of“ex-clusion as one of their principal creative means.\"In this discourse on art,paint-ing has been described as peripheral,vestigial,an“atavistic production mode,”and a“dysfunctional plastic category.”²  \nAccording to this discourse,the linear progression of art history broughtpainting in the twentieth century to certain“Iogical”end points,namely abstrac-tion and monochrome,after which representation is always a regression;paintingis inadequate to the representation of contemporary reality;new technologiesemerging out of late capitalism may be more suited to deal with its ideology;pain-terliness for its own sake,for the sake of visual pleasure,is narcissistic and self-indulgent.  \nMeanwhile painting continues.  \nIf painting needs defending,from these criticisms and from the paintingswhich may present justifiable targets for such a critique,what method is most ef-fective for a painter to pursue?  \nI will momentarily defer from resorting to the transcendent,utopian,heroicstatement of belief commonly proferred by painters as the ultimate defense ofpainting.For to argue the validity of painting on the ground of belief is a your-word-against-mine proposition,that is“your word”against\"my work.\"On theground of words,painting stands to be handicapped,often because a certain criti-cal approach may have already devalorized an entire vocabulary.So another stra-tegy is for the painter to examine the critic's words-or perhaps,for the Imagi-nary to reaudit the Symbolic Order.  \nSince painting can be most basically defined as the application of pig·mented matter—which minimally can be understood as Figure—on a surfacewhich is Ground,this reaudition takes the form of an examination ofthe figure/ground binarism and an analysis of the language used to critique,indeed to con-  \ndemn painting.However I am not merely considering figure/ground as the deploy-ment of positive and negative space or the phenomenon of “push pull.”It seemsthat the formalist concentration on this limited understanding of figure/groundhas drained painting of its vitality,and has particularly affected the teaching ofpainting in this country.Hearing countless students mumble about \"trying topush the space around,\"one wants to give up painting on the spot.  \nThe history of avant-garde painting has been oriented towards a demystifi-cation of Figure (narratives of religion and history,finally representation of anykind)and an emphasis and an amplification of Ground:the flatness of the pictureplane,the gallery space as a ground,finally the gallery space as Figure,a subjectin itself.The history of modern painting-with the possible exception of Sur-realism and its progeny -is the privileging of Ground.  \nIn his examination of the windowless white-walled gallery space,Inside theWhite Cube,Brian O'Doherty develops the aesthetics and ethics of the “myth offlatness.\"In the twentieth century both the picture plane and the gallery spacehave been\"vacuumed\"of ornament and incident until the wall and the entiresquare footage of the gallery space has become the ground for art works which asentities or events functioned as figure.“This invention of context initiated","cbCaiuphSwXlXzuK","https://ap.wps.com/l/cbCaiuphSwXlXzuK","pdf",5464302,"English","# Figure/Ground\n## Persistent painting despite critique\n## Criticism, representation, and aesthetic terrorism\n## Reauditing figure/ground and critical language\n## Teaching effects of formalist figure/ground\n## Ground, the white cube, and audience identity\n## Ideology, surveillance, and the present spectator","[{\"question\":\"What central definition does the text use for painting?\",\"answer\":\"Painting is defined as applying pigmented matter on a surface, understood as Figure on Ground.\"},{\"question\":\"How does the text respond to critiques that claim painting is regressive or inadequate?\",\"answer\":\"It proposes examining the critic’s words and reauditing the figure/ground binarism, rather than relying on belief-based defenses of painting.\"},{\"question\":\"What role does the “white cube” and O’Doherty’s ideas play in the argument?\",\"answer\":\"The text uses O’Doherty’s account of the “myth of flatness” to explain how both picture plane and gallery space became privileged, reshaping the preferred audience from spectator to “Eye.”\"}]","FIGURE/GROUND - MIRA SCHOR - painting critique and figure/ground analysis | PDF"]