Fifty paintings, reproduced in color, by an international array of
contemporary artists, show the aptness and relevance of painting in
an era of uncertainty. In an age of global instability, the threat
of chaos looms. Or is the threat more spectral than real? The fear
of chaos may simply be our response to living in a world controlled
by powerful forces beyond our understanding. Chaos and Awe
demonstrates the aptness and relevance of painting as a medium for
expressing the uncertainty of our era. It presents more than fifty
paintings, by an international array of contemporary artists, that
induce sensations of disturbance, curiosity, and expansiveness-the
new sublime, derived not from the unfathomable mystery of nature
but from the hidden and often insidious forces of culture. Essays
by art historians and "painters who write" offer context and
illumination. Chaos and Awe, which accompanies a major exhibition
at the Frist Art Museum in Nashville, shows that painting's
capacity to represent the liminal space between the real and the
virtual allows it to portray the shifting ground of today's social
imaginary. With suggestions of fragmentation, instability, and
murkiness, these paintings enclose what seems to be (as Simon
Morley writes in his essay) "wholly unenclosable." The paintings
presented offer visions of interconnected forces invisibly shaping
contemporary global experience; portray theintractability of veiled
racial animus and the phantoms of the past that continue to haunt
the present; suggest, through semi-abstract languages, long-term
conflicts played out through nationalism and extremism; depict the
conjunction of cultures not as flashpoints but in terms of
cross-fertilization and a new hybridity; convey the role of digital
technology in intertwining knowledge and doubt; express the elusive
nature of perception through floating forms, liquid, gas, flame,
and light; and cast instability and chaos as opportunities to
expand our perceptions of the connectedness of knowledge,
intuition, and spirituality. Painters Franz Ackermann, Ahmed
Alsoudani, Ghada Amer, Korakrit Arunanondchai, Radcliffe Bailey,
Ali Banisadr, Pedro Barbeito, Jeremy Blake, Matti Braun, Dean
Byington, Hamlett Dobbins, Nogah Engler, Anoka Faruqee, Barnaby
Furnas, Ellen Gallagher, Adrian Ghenie, Wayne Gonzales, Wade
Guyton, Rokni Haerizadeh, Peter Halley, Eddy Kamuanga Ilunga,
Rashid Johnson, Guillermo Kuitca, Heather Gwen Martin, Julie
Mehretu, Jiha Moon, Wangechi Mutu, James Perrin, Neo Rauch, Matthew
Ritchie, Rachel Rossin, Pat Steir, Barbara Takenaga, Dannielle
Tegeder, Kazuki Umezawa, Charline von Heyl, Sarah Walker, Corinne
Wasmuht, Sue Williams Contributors Media Farzin Media Farzin is a
writer, editor, and educator. Her writings have appeared in Bidoun,
Artforum, Afterimage, and Art-Agenda online. She is a faculty
member at the School of Visual Arts and the Sotheby's Institute of
Art, New York. Simon Morley is an artist and Professor at Dankook
University in Korea. He is the author of Writing on the Wall: Word
and Image in Modern Art and editor of The Sublime (MIT
Press/Whitechapel Gallery). Matthew Ritchie's work is regularly
exhibited worldwide and is in the collections of the Museum of
Modern Art (New York), the San Francisco Museum of Modern Art, the
Guggenheim, the Whitney Museum of American Art. He has written for
Artforum, Flash Art, Art & Text, October, and the Contemporary
Arts Journal. He lectures widely and is currently a Mentor
Professor in the Graduate Visual Arts Program at Columbia
University. Copublished with the Frist Art Museum, Nashville
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