Kirjahaku

In a career that has spanned four decades and three continents, Denise Green has bridged the tricky distance between artist and critic, an accomplishment captured in Denise Green: An Artist’s Odyssey. Combining her life story with observations of leading figures in the art world, the book is at once a window on artistic theory and practice and a virtual how-to for aspiring artists.Green’s own story begins in Brisbane and moves through her subsequent years of training in Paris during the revolutionary events of 1968. She goes on to describe her apprenticeship as a painter in New York’s Soho, where she became embroiled in the debates dominating the art world. Complementing Green’s account are the contributions of noted artists, art historians, critics, and curators like Ingrid Periz, Richard Kalina, Frances Lindsay, Anthony Bond, Peter Timms, Roland Mönig, Christof Trepesch, and Lilly Wei, as well as one of the most prominent collectors in Australia, Kerry Stokes. From the interplay of these perspectives, a rare picture emerges of art as it is made, understood, and lived.

In Metonymy in Contemporary Art, Denise Green develops an original approach to art criticism and modes of creativity inspired by aspects of Australian Aboriginal and Indian thought. Interweaving her own evolution as an artist with critiques of Clement Greenberg and Walter Benjamin as well as commentary on artists such as Joseph Beuys, Mark Rothko, Frank Stella, and others, Green explores the concept of metonymic thinking as developed by the poet and linguist A. K. Ramanujan and its relevance to contemporary painting and aesthetics.In Ramanujan's formulation of metonymic thinking, the human and natural worlds are intrinsically related to one another as are the transcendent and mundane. When applied to contemporary art, metonymic thinking implies that one must understand that the creativity of the artist flows from a fusion of an inner state of mind and the outer material world. Pointing out how this alternative aesthetic and cognitive mode is left wanting in art criticism, Green argues for a critical discourse and interpretive mode in contemporary art that is at once global and pluralist in perspective.Denise Green is an Australian American artist and writer in New York City. Since 1972 her work has been the subject of over eighty-five solo exhibitions. She has collaborated as an editor for Semiotext(e) and is a member of the Graduate Faculty at the Pennsylvania Academy of Fine Arts in Philadelphia. Her writings have appeared in Arts Magazine, Art Press, Art Monthly Australia, and Art and Australia. Retrospectives of her work have appeared in major museums from the P.S. 1 Contemporary Art Center/Museum of Modern Art in New York to the Art Gallery of New South Wales in Sydney, the Ludwig Museum in Budapest, and the Saarland Museum in Saarbrücken, Germany. Examples of her work can be found at www.denisegreen.net.

People get ready because there's a train coming. It's picking up passengers coast to coast. All you need is faith to hear the diesel humming. You don't need a ticket, just get on board.Denise Green took a little ride on that very train. God was on it, too, in his Bad outfit. Let us witness her remarkable journey, the events leading to that train ride that forever changed her life, and what happened next.