Description
Book SynopsisThe abundance of images in our everyday livesand the speed at which they are consumedseems 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 Pain
Trade Review
Slow Painting roundly rebuts the notion that painting has been made obsolete by lens-based media or digital developments. On the contrary, Helen Westgeest argues for painting’s relevance as a contemporary medium that is flexible, vibrantly political and endlessly renewing. This masterful, accessible book provides a rallying point for discussions of painting in the twenty-first century. * Lucy Soutter, author of Why Art Photography? (2013) *
Table of Contents
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
