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Expanded Painting - Ontological Aesthetics and the Essence of Colour (Paperback)
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Expanded Painting - Ontological Aesthetics and the Essence of Colour (Paperback)
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The relevance of painting has been questioned many times over the
last century, by the arrival of photography, installation art and
digital technologies. But rather than accept the death of painting,
Mark Titmarsh traces a paradoxical interface between this art form
and its opposing forces to define a new practice known as 'expanded
painting' giving the term historical context, theoretical structure
and an important place in contemporary practice. As the formal
boundaries tumble, the being of painting expands to become a kind
of total art incorporating all other media including sculpture,
video and performance. Painting is considered from three different
perspectives: ethnology, art theory and ontology. From an
ethnological point of view, painting is one of any number of
activities that takes place within a culture. In art theory terms,
painting is understood to produce objects of interest for
humanities disciplines. Yet painting as a medium often challenges
both its object and image status, 'expanding' and creating hybrid
works between painting, objects, screen media and text.
Ontologically, painting is understood as an object of aesthetic
discourse that in turn reflects historical states of being. Thus,
Expanded Painting delivers a new kind of saying, a post-aesthetic
discourse that is attuned to an uncanny tension between the
presence and absence of painting.
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