f Painting and time: Fifteen points of view

This article offers a series of reflections upon the complex relationship of painting with time. The introduction sets out a trajectory from modernism to postmodernism. Painting’s physical immediacy was prized by modernists, but that immediacy was also subject to a logic of historical development: a disjuncture that was challenged by postmodern critics. As we move towards the contemporary period, understanding of our relationship with time has altered, according to various theorizations by David Harvey, Fredric Jameson and Paul Virilio. The introduction draws upon Nagel and Wood’s notion of ‘anachronism’ as means to consider painting’s relationship with time as non-linear; but it also proposes, as do the following contributions, that painting’s engagement with time is not merely theoretical, but is a matter of continual day-to-day practice.