Adaptation and Appropriation through Painting
- Submitting institution
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The University of Lancaster
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 306173875
- Type
- M - Exhibition
- Venue(s)
- United Kingdom and Poland
- Open access status
- -
- Month of first exhibition
- April
- Year of first exhibition
- 2017
- 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 multi-component output uses transmedial adaption to address temporality, between paintings and the time of making and reception. The topic is explored in paintings exhibited in four exhibitions during 2017 and 2019: Made in Britain: 82 Painters of the 21st Century, National Museum Gdansk, Poland; Beyond Words, Long Gallery, Newcastle-upon-Tyne; Enough is Definitely Enough, General Practice Gallery, Lincoln; and Once is Not Enough, Isherwood Gallery Wigan.
As one of ‘a new cohort of interesting painters with common aims emerging’ (Priseman), Quin’s exploration of the temporal conditions of painting has been seen as an original contribution in the field. These works stake distinctive positions on questions about what painting does as part of current international discourse. Mieke Bal describes such works as ‘sticky images’, that dilate time and decelerate the gaze. For Beyond Words, Quin used an adaptive process to produce images that functioned as first-person plural images. These parallel Murakami’s first-person plural narrative in After Dark, enabling reflection on meaning in narrative media, through the matter of paint. Repetition of forms in canonical works was similarly addressed in works exhibited in Lincoln and Wigan. The focus is on Velasquez’s ‘Las Meninas’ and reproductions of Matisse and Bruegel works, distilling essential aspects of part, tonality, pattern, and spatial articulation, that build recognition and emphasis on the depth cues carried through improbable means. The Gdansk exhibition was drawn from the Prizeman Collection of 21st Century British Painting of work by recipients of national painting prizes since 2010. Quin’s work in this collection, first exhibited here, is also adapted from Breughel, exploring the ‘getaway’ as discussed by Svetlana Alpers. The series of works in the output manifests the experimental nature of painting practice within research-oriented enquiry.
- Author contribution statement
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- Non-English
- No
- English abstract
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