Abstract
'From today painting is dead' the painter Paul Delaroche 1839
Notwithstanding statements like the one above by Paul Delaroche who made that remark in relation to the advent of photography, painting is alive and well and still continues to flourish in the world today. But how has the practice of painting evolved in relation to a culture increasingly understood through lens and screen based media?
In his essay On the Museum's Ruins Douglas Crimp talks about modernism being perverted by photography and the notion of contamination in relation to the art of Warhol and Rauschenberg. Crimp's contention is that from the moment that photography entered the gallery it challenged the very cornerstone of modernist ideology by disrupting categories like painting and sculpture. In contemporary culture the photographic is now so ubiquitous that it is hard to imagine what it must have been like to develop a picture without recourse to mediated imagery. How do contemporary representational artists use photography in their practice as painters? Is photography a help or a hindrance? This paper examines some of the issues and tensions relating to the practice of representational painting in the digital age.
Notwithstanding statements like the one above by Paul Delaroche who made that remark in relation to the advent of photography, painting is alive and well and still continues to flourish in the world today. But how has the practice of painting evolved in relation to a culture increasingly understood through lens and screen based media?
In his essay On the Museum's Ruins Douglas Crimp talks about modernism being perverted by photography and the notion of contamination in relation to the art of Warhol and Rauschenberg. Crimp's contention is that from the moment that photography entered the gallery it challenged the very cornerstone of modernist ideology by disrupting categories like painting and sculpture. In contemporary culture the photographic is now so ubiquitous that it is hard to imagine what it must have been like to develop a picture without recourse to mediated imagery. How do contemporary representational artists use photography in their practice as painters? Is photography a help or a hindrance? This paper examines some of the issues and tensions relating to the practice of representational painting in the digital age.
| Original language | English |
|---|---|
| Title of host publication | As it is: The Proceedings of the Representational Art Conference 2015 |
| Subtitle of host publication | TRAC 2015 The Representational Conference |
| Editors | Michael Pearce |
| Place of Publication | USA |
| Publisher | California Lutheran University |
| Chapter | 12 |
| Pages | 167 - 177 |
| Number of pages | 10 |
| Edition | 1 |
| ISBN (Print) | 978-1545325483 |
| Publication status | Published - 11 Apr 2017 |
| Event | The Representational Art Conference 2015: TRAC 2015 - Ventura, United States Duration: 1 Nov 2015 → 4 Nov 2015 |
Conference
| Conference | The Representational Art Conference 2015 |
|---|---|
| Country/Territory | United States |
| City | Ventura |
| Period | 1/11/15 → 4/11/15 |
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John Devane
- Research Centre for Arts, Memory and Communities - Professor
Person: Teaching and Research