Press release Painting 2.0. Panel Discussion

Painting 2.0: Expression in the Information Age
David Joselit moderates a panel discussion with Caroline Busta, Lynne Cooke, and
Sebastian Egenhofer to mark the opening of the exhibition
mumok Museum moderner Kunst
Stiftung Ludwig Wien
Museumsplatz 1, 1070 Wien
The new exhibition Painting 2.0: Expression in the Information Age is the subject of a
panel discussion on Saturday June 4, 2016, at 6 pm. A theoretical and critical
debate will address the key issues raised by the 230 works in this exhibition.
Panel discussion
June 4, 2016, 6 pm
The moderator is David Joselit, distinguished professor in the graduate program in
art history at New York City University, co-editor of the journal October, and cocurator of the mumok exhibition.
mumok cinema
Admission free
With Caroline Busta, editor-in-chief of Texte zur Kunst, Lynne Cooke, chief curator for
special projects in modern art at the National Gallery of Art in Washington, DC, and
Sebastian Egenhofer, professor for contemporary art history at the University of
Vienna, the panel includes key voices commenting on the developments in painting
in the information age.
Press contact
Karin Bellmann
T +43 1 52500-1400
[email protected]
Katja Kulidzhanova
T +43 1 52500-1450
katja.kulidzhanova @mumok.at
Fax +43 1 52500-1300
[email protected]
www.mumok.at
About the exhibition
June 4 to November 6, 2016
The exhibition Painting 2.0: Expression in the Information Age places our sustained
interest in contemporary painting and the continuous expansion of digital
technologies within a surprising historical context. This exhibition goes back to the
dawn of the information age in the 1960s and shows how progressive painting was
already then developing productive forms of crossover with mass culture and its
media. From the arrival of television to the so-called internet revolution, painting has
always succeeded in integrating the mechanisms that seemed to herald its own
death.
With around 230 artworks by more than one hundred artists, Painting 2.0 tells the
multifaceted story of painting from the 1960s to the present. Painting is seen as a
form of practice that—contrary to the narratives of the canon—in no way shies away
from increasing media realities, but rather faces the challenges head on.
Short biographies of the participants
Caroline Busta has been editor-in-chief of Texte zur Kunst since 2014. She was
previously associate editor of Artforum magazine, and from 2006 to 2008 co-director
of the Miguel Abreu Gallery in New York. She has lectured and published numerous
catalogue essays on the work of artists such as Merlin Carpenter, Bernadette
Corporation, and Bjarne Melgaard. Her current writing and research focuses on art’s
relationship to pop culture and ideations of the body.
1
Press information, May 19, 2016
Lynne Cooke is senior curator for special projects in modern art at the National
Gallery of Art, Washington DC. Prior to her position as chief curator and deputy
director at the Museo Nacional Centro de Arte Reina Sofía in Madrid from 2008 to
2012, she was curator at Dia Art Foundation from 1991 to 2008. She has published
widely on modern and contemporary artists, including Richard Serra, James
Coleman, and Zoe Leonard. Among her current curatorial projects are Luc Tuymans:
Intolerance, Qatar Museum, Doha, and Diana Thater: The Sympathetic Imagination,
Los Angeles County Museum of Art.
Sebastian Egenhofer became professor of modern and contemporary art at the
Institute for Art History at the University of Vienna in 1916. Prior to this he was
professor at the universities of Zurich and Basel. His research focuses on American
art in the postwar period and in the 1960s, the history of institutional critique in art
since Marcel Duchamp, and the relations between art and politics in modernism and
in contemporary art. He is the author of numerous publications on modern and
contemporary art, including Abstraktion – Kapitalismus – Subjektivitat: Die
Wahrheitsfunktion des Werks in der Moderne (Abstraction – Capitalism – Subjectivity:
The Truth Function of the Work in Modernity, Wilhelm Fink Verlag, 2008) and
Produktionsasthetik (Production Aesthetics, diaphanes, 2010).
David Joselit is distinguished professor in the PhD program in art history at the City
University of New York Graduate Center. He has taught at the University of California,
Irvine, and Yale University, where he was chair of the art history department from
2006 to 2009. Joselit is the author of Infinite Regress: Marcel Duchamp 1910–1941
(MIT Press, 1998), American Art Since 1945 (Thames and Hudson, 2003), Feedback:
Television Against Democracy (MIT Press, 2007), and After Art (Princeton University
Press, 2012). He is co-editor of the journal October and writes regularly on
contemporary art and culture.
2
Press information, May 19, 2016