Painting: Discursive Battlefield and Intermedial Laboratory
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Painting : Discursive Battlefield and Intermedial Laboratory. / Petersen, Anne Ring.
Mal’ba v postmediálnom veku/Painting in the Postmedial Age. ed. / Jana Geržová. Vol. 1 1. ed. Bratislava : VŠVU, 2012. p. 66-83 (engelsk).Research output: Chapter in Book/Report/Conference proceeding › Book chapter › Research
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TY - CHAP
T1 - Painting
T2 - Discursive Battlefield and Intermedial Laboratory
AU - Petersen, Anne Ring
N1 - Bogens udgivelsesår er angivet til 2012, men den er først blevet trykt i 2013.
PY - 2012
Y1 - 2012
N2 - The ongoing struggle of painting – leading to recurrent announcements of its ‘demise’ and subsequently of its ‘return’ – serves as point of departure for an examination of ‘expanded painting’. The article suggests that contemporary painting is not only a field of incessant disciplinary and discursive battles over the essentially self-reflective question of “What is painting?” Over the last decades it has also become an intermedial laboratory in which artists experiment with developing a connective aesthetic in the interface between painting and other media. Accordingly, it is has become a commonly held opinion that painting has transformed itself into an expanded field and thus renewed itself – again. The article argues that in recent decades a remarkable number of painters have explored the possibility of developing painting by redefining what ‘space’ is in relation to painting. Much energy has been put into expanding painting physically by exploring painting’s relations to objects, space, place, and ‘the everyday’. The text focuses on works of art that are conceived as an installation based on the medium of painting, including works by Slovak artists Dorota Sadovská and Daniel Fischer. Its discussion of the ways in which the transformation of painting into installation affects the relationship between the work and its contexts eventually leads to a consideration of how Slovak art is positioned in relation to the Western artworld understood as a system of centres and peripheries.Text in English (pp. 66-83) and Slovak (pp. 44-65).
AB - The ongoing struggle of painting – leading to recurrent announcements of its ‘demise’ and subsequently of its ‘return’ – serves as point of departure for an examination of ‘expanded painting’. The article suggests that contemporary painting is not only a field of incessant disciplinary and discursive battles over the essentially self-reflective question of “What is painting?” Over the last decades it has also become an intermedial laboratory in which artists experiment with developing a connective aesthetic in the interface between painting and other media. Accordingly, it is has become a commonly held opinion that painting has transformed itself into an expanded field and thus renewed itself – again. The article argues that in recent decades a remarkable number of painters have explored the possibility of developing painting by redefining what ‘space’ is in relation to painting. Much energy has been put into expanding painting physically by exploring painting’s relations to objects, space, place, and ‘the everyday’. The text focuses on works of art that are conceived as an installation based on the medium of painting, including works by Slovak artists Dorota Sadovská and Daniel Fischer. Its discussion of the ways in which the transformation of painting into installation affects the relationship between the work and its contexts eventually leads to a consideration of how Slovak art is positioned in relation to the Western artworld understood as a system of centres and peripheries.Text in English (pp. 66-83) and Slovak (pp. 44-65).
KW - Det Humanistiske Fakultet
KW - Maleri
KW - global art
KW - installationskunst
KW - painting
KW - installation art
KW - global art
KW - globalisation
M3 - Bidrag til bog/antologi
SN - 978-80-556-0881-5
VL - 1
SP - 66-83 (engelsk)
BT - Mal’ba v postmediálnom veku/Painting in the Postmedial Age
A2 - Geržová, Jana
PB - VŠVU
CY - Bratislava
ER -
ID: 48904812