Painting in 2030

The future of painting is its past. Maybe that’s what all those white guys, starting with Yves Klein and continuing with Douglas Crimp, meant when they told everyone else that painting was dead. Nevertheless, nothing looks newer right now than a roomful of Matisse paintings because his work has been so thoroughly consumed – in the market and in the academy – that painters today are subconsciously making work in his ‘school.’ The bravura economy of his gestures, the folksy quasi-abstract compositions, his unpredictable color palette, the sketchy flat-footed depictions of banal contemporary life have influenced contemporary European painters like Luc Tuymans, Peter Doig, Chris Ofili and Raoul de Keyser and Americans, among them Alison Katz, Josephine Halvorson, Merlin James, Ariel Dill, Mira Dancy, and Richard Aldrich.

See Matisse’s impact on Chinese contemporary art now in a small show at the China Institute in New York about art groups that formed immediately after the Cutlural Revolution in China in the late 70s. One of these groups, called the No Names, turned away from Communist-sanctioned social realism by going out into nature to paint the rustic modesty of village life. This was their rebellion. In a place like China back then, where power and cultural production were collapsed under one Communist program, this simple act of painting en plein air and literally outside the service of the party must have felt like pissing on Mao’s grave. Forget the crisis of painting; this was painting in crisis. The Matisse style called forth for provocation.

Painting won’t die. It’s a form as durable is prisons.

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