PaintingDigitalPhotography: Synthesis and Difference in the Age of Media Equivalence
- Submitting institution
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University of Derby
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 779022-1
- Type
- T - Other
- DOI
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- Location
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- Brief description of type
- Multi-Component Body of Work
- Open access status
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- Month
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- Year
- 2020
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This research project investigates the relationship of painting, the digital, and photography in contemporary visual art practices. Whilst there are texts that explore aspects of contemporary painting and photography in their discrete relationships to the digital–for instance, Painting Beyond itself: The Medium in the Post Medium Condition; Digital Art, Aesthetic Creation: The Birth of a Medium; After Photography –there is little in practice or the literature that explores the conjunction of painting, the digital, and photography together. The two International symposiums I organised at QUAD Arts Centre Derby, May 2017 and October 2019, and the resulting books I edited –PaintingDigitalPhotography and PhotographyDigitalPainting – begin to fill the gap in knowledge related to associations across all three mediums together.
Submissions to the symposiums and the subsequent books were double-blind peer reviewed, and I “curated” the combination of presentations into coherent events, and their subsequent chapters into edited volumes of texts; this enabled the connections between the mediums to cohere, much in the same way as a curated exhibition. Internationally renowned photographer John Hilliard and A.I. artist Mario Klingemann were keynotes for the first and second symposiums respectively, with others from national academic institutions — RCA, Glasgow School of Art, Camberwell amongst others–and Germany contributing. Anthologies of essays from the events formed the edited books, PaintingDigitalPhotography: Synthesis and difference in the age of media equivalence (summer 2018) and PhotographyDigitalPainting: Medium interconnectivity in contemporary visual art practices (summer 2020). Further writers from Germany contributed to the first volume, and I wrote that book’s introduction, which underlined the coherence of the whole by giving an overview of current practices in this area. I contributed the essay Twofoldess/Threefoldness: Marc Lüders’ Photopicturen to the first book, and Terry Shave: A Hybridised, Synthesised Practice to the second, which underpin the research imperative of these collections.
- Author contribution statement
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- Non-English
- No
- English abstract
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