Critical Paintings

Critical Painting considers itself a bastion against the hysterical image production of the globalized media- and art industry; an insurgence of painting as the archetypical expression of art.
– It is basic, rough, meagre, ‘handmade’ in the most positive meaning of the term, and it relies exclusively on ‘old-fashioned’ materials that refuse to conform to the merchandising constraints of the high-tech establishment.
– Text supplies the central pictorial element and the typefaces are, by necessity, plain and unadorned. Legibility constitutes the single typographical requirement, even where it - quite intentionally - demands considerable effort on the part of the viewer.
– The found object contains veracity: every painted text is a faithful quotation taken from the critical discussion of works of art. The author’s anonymity ensures that this inquiry is both content-oriented and unbiased. Hence, the critical painter pledges that he will at no time simply concoct such a critique (at the very most heightening its impact) and that he will under no circumstances reveal his sources.
--> see Manifesto: Critical Paintings!

Read more about Endlicher's Critical Paintings: The Last Word by Elke Krasny.