The End of Painting by Douglas Crimp

Permanent subjectivity is often questioned with an existentialistic way of thinking about what is right and what is wrong. Our everyday belief is based on the assumption that not everything we talk about is true. This question reveals a subjective view. This means there is no single view with no predefined values ​​at all. These prescribed values ​​have penetrated society into the media through various information sources such as family members. At the social level, this leads to the philosophy of social hype.

By the end of the 1970s, when media critic began to talk about 'the end of painting' (the title of a provocative article written by Douglas Clip in 1981), the new media art itself categorized . More and more artists are trying to use video art and other technical means. In the 1980s and 1990s, paintings showed new importance as evidenced by the emergence of new expressionism and the resurrection of figurative paintings.

Douglas Clap, author of Serra's Sculpture: Redefining the Specificity of the Site, expresses this very briefly. In this article he defines many controversies behind Richard Serra's sculpture and reveals the true importance of the place. Through this revelation he draws a parallel line between the judgment society and the hypocrisy of the so-called institutional art. Is the art really a choice for artists? It is clear that his view is positive as Crimp defines his first observation of Serra 's work. In his explanation about Sera's splash, Crimp describes the combination of work, its environment, and the old warehouse. It is not an object at all, it has no clear shape and quality, nor does it produce a clear image. In this sentence, Crimp simply summarizes all of Sera's work.