Abstract
I explore Brazilian, Japanese, and South Korean monochrome and monochromatic art from the late 1950s to the 1980s, and argue that a non- or trans-visual sensory dimension to painting is brought to the fore, in particular in relation to the haptic modality, which involves paying special attention to the tactile and kinesthetic properties of the body. This sets such monochromes apart from the more familiar ones produced in Europe and the United States. My aim is to widen the interpretation of monochrome painting as a whole beyond the narrow paradigm of the ‘epistemologies of the North’ in order to include the ‘epistemologies of the South’ (Santos).
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