Photography After Painting: On Three Photographs by Assaf Evron / Ariel Krill

Clement Greenberg described painting’s modernist project as “a progressive surrender to the resistance of its medium; … resistance [which] consists chiefly in the flat picture plane’s denial of efforts to ‘hole through’ it for realistic perspectival space.” Greenberg, of course, was articulating painting’s gradual departure from its earlier aspiration to create an illusion, one that attempted to fashion the canvas as a window onto the world. And even though the critic did not credit the invention of photography as one of the historical factors for abandoning this aspiration, many others did and still do. These voices argue that since photography, due to its very technique, has no choice but “to hole through a realistic perspectival space” in the flat plane of the photographic paper, it liberated painting from the need, or the desire, to do so. However, whether we accept this position or not...
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Untitled, 2007 c-print, 80x80cm

Untitled, 2007 c-print, 80x80cm

Untitled, 2007 c-print, 80x80cm

Untitled, 2008 c-print, 100x100cm

Untitled, 2008  

Untitled, 2008  

Installation view  Ashdod Museum of Art

Installation view  Ashdod Museum of Art

Installation view  Ashdod Museum of Art

Installation view  Ashdod Museum of Art