Helen Westgeest

Slow Painting

Contemplation and Critique in the Digital Age

• Gebundenes Buch

Produktbeschreibung

The abundance of images in our everyday lives-and the speed at which they are consumed-seems to have left us unable to critique them. To rectify this situation, artists such as Daniel Richter, Jaune Quick-to-See Smith, and Artur Zmijewski have demonstrated that painting is brilliantly equipped to produce 'slow images' that enable, encourage and reward reflection. In this book, Helen Westgeest attempts to understand how various forms of slow painting can be used as tools to interrogate the visual mediations we encounter daily. Painting was expected to disappear in the digital age but, through interactive painting performances and painting-like manipulated photographs and videos, Westgeest shows how photography, video and new media art have themselves developed the visual strategies that painting had already mastered. Moreover, the fleeting nature of digital mass media appears to have unlocked a desire for more physically stable and enduring pictures, like paintings. Slow Painting charts how, in a world where the constant quest for speed can leave us exhausted, the appeal of this 'slower medium' has only grown.

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Produktdetails

• Verlag: Bloomsbury Academic
• Seitenzahl: 240
• Erscheinungstermin: 26. November 2020
• Englisch
• Abmessung: 240mm x 162mm x 15mm
• Gewicht: 526g
• ISBN-13: 9781788314046
• ISBN-10: 1788314042
• Artikelnr.: 58409327

Autorenporträt

Helen Westgeest

Inhaltsangabe

Acknowledgments Introduction Part 1: Photographs Transformed into
Socio-Critical Paintings Chapter 1. Paintings Consolidating Fleeting Press
Photos Case-study of Daniel Richter's Phienox (2000) The Fast Immediacy of
Action Photography Turned into the Slow Immediacy of Painting Actions The
Indirectness of Photo-Reproducibility Slowing down the Perception of the
Hosting Painting The Corporality of Paintings That Include News Photos
Bridging Distances in Time through History Painting and Histories of
Painting Experiencing the Absence of Text: Mind the Gap Chapter 2. Collage
Paintings Sparring with Visual Propaganda Two Case-studies: Kerry James
Marshall's Great America (1994) and Jaune Quick-To-See Smith's Spam (1995)
Debates on Paintings Including Text Collage Paintings Returning Physicality
to Collages in the Digital Age Feminists' Aversion to and Rediscovery of
Painting in Collage Paintings The Power of Visual Political Propaganda
Interrogated and Applied The Rhetoric of Commercials Applied in Collage
Paintings Chapter 3. Slow and Socio-Critical Painting-like Digital
Photographs Case-study of AES+F's Last Riot 2, Tondo #22 (2006) Debates on
Digital Imagery's Relationship with Painting Parasitizing on the
"Truthfulness" of War Photography and Artistic Truth in History Paintings
Space-Time Compressions and "Fakeness" in Constructed Digital Photographs
Part 2: Painting as Socio-Critical Time-Based-Art Chapter 4. Painting
Actions Materializing Social Relationships Two Case-studies: Pawel
Althamer's Draftmen's Congress (2012) and Artur Zmijewski's Them (2007)
Painting as a Verb: From Action Painting to Painting as Socio-Critical
Action Painting in the Expanded Field: Entering the Space of Paintings
Delegated Performance: The Social Space of Painting Chapter 5.
Socio-Critical Expanded Paintings through Veiling and Unveiling Case-study
of Jasmina Metwaly's Tahrir Square: Metro Vent (2011) Video Art's
Relationship with Painting The Screen as Canvas: Centripetal Images Evoking
Critical Contemplation Functionally Disturbed Moving Images as Video
Paintings The Dynamics of Digital Video Technology as Metaphor for Social
Memory Slow and Boring Videos Challenging Perception and Interrogating
Stillness Concluding Remarks Bibliography