Painting Factory (2012) 보도자료 중에서

"The Painting Factory examines how a painting tradition that was once seen as essentially reductive has now become expansive, bringing popular culture and current technology into its vocabulary. Abstraction has become more external and less internal, with the practice of abstract painting opening up to encompass not only its own history, but the other great artistic innovations of the early 20th century, including collage, the readymade, and the extension of art into performance. Once monolithic and doctrinaire, abstract painting is now more open and layered in its structure. Rather than reducing itself to a narrow definition of the medium, it has re-emerged as an arena where opposing concepts can invigorate each other. The hybrid has replaced purity of form.

Ironically, one of the places where this fresh approach to abstraction was germinating was the studio that might seem the furthest from the practice of the abstract tradition: Andy Warhol’s Factory. The Factory was a haven for all sorts of brilliant misfits, but it was also a laboratory where historical and contemporary innovations in art and culture could be remixed and reconstituted. Especially after Warhol refocused on painting in the late 1970s and ’80s with series such as Shadows, Oxidations and Rorschachs, he transformed pure abstraction into an impure product that opened up new directions. He thrived on the increasing confusion between high art and progressive popular culture and the challenge to conventional methods of painting by the techniques of mechanical reproduction. These confrontations simultaneously undermined and expanded the accepted approaches to painting.

[...]

No longer “pictures of nothing,” the paintings in the exhibition address today’s social and cultural issues in addition to their dialogue with the dynamic history of abstraction. Abstract painting, which for a time was left for dead, has re-emerged as one of the art forms most engaged with contemporary life." - 페인팅 팩토리 전시 보도자료 중

1. 이 보도자료에 따르면 워홀 이후 추상미술은 내적인 것이 아니라 외적인 것이 됐다. 오늘날의 사회적이고 문화적인 이슈를 다룬다. 하이브리드 이딴 건 잘 모르겠고, 이 말은 굉장히 중요해 보인다.

2. 하지만 more external less internal이란 말이 문제를 조금 복잡하게 만드는데, 완벽히 외부적이지 않다라는 말이기 때문에. 그러니까 다이치는 페인팅에서 완벽히 내부와 외부를 구분하고 있지 않다. 이것도 꽤 중요해 보인다.