We are delighted to celebrate the inaugural issue of imprint: an irregular periodical, dedicated to the work of a single artist; in-depth and in print.
imprint #1 features a substantial text by Mark Prince. The dialectical method of Ian McKeever is examined in depth, along with the wider context of contemporary art made during this period - the relationship between early conceptual art of the 60's and 70's, modernism and post-modernism, refracted by the long history of traditional British Landscape Art; the role of landscape as a pretext for a process, rather than as subject or object, and the tension between the differing modes of representation and material qualities of photography, painting and drawing:
"Ian McKeever's art of the 1970s and 80s is remarkable, for that time and context, in attempting to juggle large-scale painterly abstraction and conceptual, analytical modes. Rather than striving to resolve these contradictions, he transmuted them into a dialectical model which would give onto a series of others, as though in its image: between painting and photography; belief and reason; abstraction and representation; logic and intuition. True to the conceptual, relativistic side of this equation, McKeever's art of the 1970s embodies a conception of an artistic practice as a space accommodating forms of conflict and doubt which later generations would consider threatening to the coherence and autonomy of a single, artistic position, and even an artist's functional self-identity. In the context of market-driven, early 21st-century contemporary art, in which an artist, as marketable entity, is synonymous with a brand and should appear as resolved and singular in purpose as possible from the moment his work is presented, it is salutory to perceive the trajectory of McKeever's early work admitting the irreconcilability of coexisting positions as an ongoing rather than resolvable condition."
Mark Prince, Against Photography: Early Works, 1975-1990.
imprint #1, July 2014