The 'Zen' in the western monochrome

I look at the impact of Zen Buddhism on western painters during the 1950s and 1960s, focusing on the monochrome in particular, in order to create a historical context for the consideration of transcultural dialogue in relation to contemporary painting. I argue that a consideration of Zen can offer a 'middle way' between conceptions of the monochrome (and art in general) often hobbled by models of interpretation that function within a binary opposition between 'literalist/sensory' on the one hand, and 'intellectual/nonsensory' readings on the other.