This month, The Painting Salon is excited to have San Francisco-based art historian Claire Daigle present her lecture titled, A Chromophiliac’s Guide to Painting in the 20th and 21st Centuries. As always, please bring a snack/beverage to share and a friend.
Details: Mix and mingle from 4-430. Lecture begins at 4:30pm in the Minnesota Street Project Atrium
About the lecture:
Daigle will tug at various threads of painting’s history through the prism of the color spectrum as a way to structure her presentation of works from the 20th and 21st centuries, with each section devoted to a distinct chromatic range.
The format of this lecture was inspired by the talk 100 paintings, 100 years (1915 – 2015) by art critic Bob Nickas, where he presents 100 slides- one for each year of the 20th century. Within this chronological presentation, Nickas reimagined the painterly canon as an extended “game of cadavre exquis—exquisite corpse,” an intuitive, irrational history that could easily be redetermined through personal preference.
What made this lecture so compelling and imperfect was how idiosyncratic many of his choices were. Viewing the history of painting through such a personal lens, made this format seem rife for play and reinvention.
It was with this intention in mind that we invited Daigle to reimagine the conceit through the unique quirks and unexpected juxtapositions that characterize her own interdisciplinary approach as an art historian. The resulting lecture is a reboot of modern and contemporary canons, with a particular eye toward color and literary history.
Claire Daigle holds a Ph.D. in art history from the CUNY Graduate Center. Her dissertation is titled Reading Barthes / Writing Twombly. She directs the Master of Arts Programs at the San Francisco Art Institute where she is Associate Professor in the History and Theory of Contemporary Art. In 2015, she received an Andy Warhol Foundation Arts Writers Grant for her ongoing web-based essay series, Figuring Fiction (https://figuringfiction.net), exploring intersections of contemporary art and literary fiction. Her research is located at the intersection of texts and images. Her writing has appeared in New Art Examiner, X-tra, Art Papers, Sculpture, Brooklyn Rail and Tate, etc.