Painting in the Digital Age: Redefining the Medium's Relationship to its History, Materiality, and Ideas of the Temporal

Research output: Chapter in Book/Conference proceeding with ISSN or ISBNChapter

Abstract

The essay explores the current relationship between painting and photography and particularly the relationship painting has to the digital. The core of the text investigates the current position of the material practice of painting in relation to screen-based digitisation. Taking examples from contemporary practices the essay examines painting's continuing capacity for reinvention by being open to that which might be "alien" to it. Cultural commentators note that painting's relationship to historical frameworks centres on the "atemporal"- that contemporary painting resides within a horizontal network of visual source material. Painters can now absorb the visual culture all at once-laterally-rather than having to look to artistic influences historically (and understand its progression sequentially). Painters now have immediate access, through the Internet, to an infinitely vast repository of two dimensional visual material: photography, video, film, painting, digital. Moreover, painters are eagerly embracing this rapidly expanding resource-especially the"new" visuals that digitised imagery has to offer-as a means by which to reinvent the languages and material practices of painting. Of particular fascination for painters the paradox of the time-based, mediated and autographic nature of painting appropriating the contrasting immediacy of the destabilised digitised image. The reinvention of the language of painting reinvigorates the medium and maintains its position amongst other art practices as a valid form of interpreting and shaping the world.
Original languageEnglish
Title of host publicationPainting Digital Photography
Subtitle of host publicationSynthesis and Difference in the Age of Media Equivalence
EditorsCarl Robinson
Place of PublicationNewcastle upon Tyne
PublisherCambridge Scholars Publishing
Chapter10
Pages229-250
Number of pages21
ISBN (Print)1527511103
Publication statusPublished - 1 Sep 2018

Fingerprint

Digital Age
History
Materiality
Painters
Photography
Language
Digitization
Source Material
Resources
Repository
Art
Visual Culture
Commentators
Paradox
Progression
World Wide Web
Immediacy
Imagery

Keywords

  • Painting Digital Photography

Cite this

Wright, J. (2018). Painting in the Digital Age: Redefining the Medium's Relationship to its History, Materiality, and Ideas of the Temporal. In C. Robinson (Ed.), Painting Digital Photography: Synthesis and Difference in the Age of Media Equivalence (pp. 229-250). Newcastle upon Tyne: Cambridge Scholars Publishing.
Wright, Joseph. / Painting in the Digital Age : Redefining the Medium's Relationship to its History, Materiality, and Ideas of the Temporal. Painting Digital Photography: Synthesis and Difference in the Age of Media Equivalence. editor / Carl Robinson. Newcastle upon Tyne : Cambridge Scholars Publishing, 2018. pp. 229-250
@inbook{7a9ebfc3defb40b7b1456b9f6e85443d,
title = "Painting in the Digital Age: Redefining the Medium's Relationship to its History, Materiality, and Ideas of the Temporal",
abstract = "The essay explores the current relationship between painting and photography and particularly the relationship painting has to the digital. The core of the text investigates the current position of the material practice of painting in relation to screen-based digitisation. Taking examples from contemporary practices the essay examines painting's continuing capacity for reinvention by being open to that which might be {"}alien{"} to it. Cultural commentators note that painting's relationship to historical frameworks centres on the {"}atemporal{"}- that contemporary painting resides within a horizontal network of visual source material. Painters can now absorb the visual culture all at once-laterally-rather than having to look to artistic influences historically (and understand its progression sequentially). Painters now have immediate access, through the Internet, to an infinitely vast repository of two dimensional visual material: photography, video, film, painting, digital. Moreover, painters are eagerly embracing this rapidly expanding resource-especially the{"}new{"} visuals that digitised imagery has to offer-as a means by which to reinvent the languages and material practices of painting. Of particular fascination for painters the paradox of the time-based, mediated and autographic nature of painting appropriating the contrasting immediacy of the destabilised digitised image. The reinvention of the language of painting reinvigorates the medium and maintains its position amongst other art practices as a valid form of interpreting and shaping the world.",
keywords = "Painting Digital Photography",
author = "Joseph Wright",
year = "2018",
month = "9",
day = "1",
language = "English",
isbn = "1527511103",
pages = "229--250",
editor = "Carl Robinson",
booktitle = "Painting Digital Photography",
publisher = "Cambridge Scholars Publishing",

}

Wright, J 2018, Painting in the Digital Age: Redefining the Medium's Relationship to its History, Materiality, and Ideas of the Temporal. in C Robinson (ed.), Painting Digital Photography: Synthesis and Difference in the Age of Media Equivalence. Cambridge Scholars Publishing, Newcastle upon Tyne, pp. 229-250.

Painting in the Digital Age : Redefining the Medium's Relationship to its History, Materiality, and Ideas of the Temporal. / Wright, Joseph.

Painting Digital Photography: Synthesis and Difference in the Age of Media Equivalence. ed. / Carl Robinson. Newcastle upon Tyne : Cambridge Scholars Publishing, 2018. p. 229-250.

Research output: Chapter in Book/Conference proceeding with ISSN or ISBNChapter

TY - CHAP

T1 - Painting in the Digital Age

T2 - Redefining the Medium's Relationship to its History, Materiality, and Ideas of the Temporal

AU - Wright, Joseph

PY - 2018/9/1

Y1 - 2018/9/1

N2 - The essay explores the current relationship between painting and photography and particularly the relationship painting has to the digital. The core of the text investigates the current position of the material practice of painting in relation to screen-based digitisation. Taking examples from contemporary practices the essay examines painting's continuing capacity for reinvention by being open to that which might be "alien" to it. Cultural commentators note that painting's relationship to historical frameworks centres on the "atemporal"- that contemporary painting resides within a horizontal network of visual source material. Painters can now absorb the visual culture all at once-laterally-rather than having to look to artistic influences historically (and understand its progression sequentially). Painters now have immediate access, through the Internet, to an infinitely vast repository of two dimensional visual material: photography, video, film, painting, digital. Moreover, painters are eagerly embracing this rapidly expanding resource-especially the"new" visuals that digitised imagery has to offer-as a means by which to reinvent the languages and material practices of painting. Of particular fascination for painters the paradox of the time-based, mediated and autographic nature of painting appropriating the contrasting immediacy of the destabilised digitised image. The reinvention of the language of painting reinvigorates the medium and maintains its position amongst other art practices as a valid form of interpreting and shaping the world.

AB - The essay explores the current relationship between painting and photography and particularly the relationship painting has to the digital. The core of the text investigates the current position of the material practice of painting in relation to screen-based digitisation. Taking examples from contemporary practices the essay examines painting's continuing capacity for reinvention by being open to that which might be "alien" to it. Cultural commentators note that painting's relationship to historical frameworks centres on the "atemporal"- that contemporary painting resides within a horizontal network of visual source material. Painters can now absorb the visual culture all at once-laterally-rather than having to look to artistic influences historically (and understand its progression sequentially). Painters now have immediate access, through the Internet, to an infinitely vast repository of two dimensional visual material: photography, video, film, painting, digital. Moreover, painters are eagerly embracing this rapidly expanding resource-especially the"new" visuals that digitised imagery has to offer-as a means by which to reinvent the languages and material practices of painting. Of particular fascination for painters the paradox of the time-based, mediated and autographic nature of painting appropriating the contrasting immediacy of the destabilised digitised image. The reinvention of the language of painting reinvigorates the medium and maintains its position amongst other art practices as a valid form of interpreting and shaping the world.

KW - Painting Digital Photography

M3 - Chapter

SN - 1527511103

SP - 229

EP - 250

BT - Painting Digital Photography

A2 - Robinson, Carl

PB - Cambridge Scholars Publishing

CY - Newcastle upon Tyne

ER -

Wright J. Painting in the Digital Age: Redefining the Medium's Relationship to its History, Materiality, and Ideas of the Temporal. In Robinson C, editor, Painting Digital Photography: Synthesis and Difference in the Age of Media Equivalence. Newcastle upon Tyne: Cambridge Scholars Publishing. 2018. p. 229-250