Abstract
Whether creating spray-painted inflatables or acrylic paint mosaics, many contemporary painters find their voices in innovative approaches to materials. This pervasive interest in materiality is timely, considering how digital technologies increasingly displace the importance of the body for that of the eye or the mind. In her lecture “Color as Material,” Amy Sillman contrasts the knowledge of the painter with that of the art historian: the former intimately knows how paint behaves as a material. Humans learn through lived experience, categorizing information and images as we move through the world. Informed by a physiological understanding of real space, we develop mental maps of digital space by jumping between windows and tabs on our screens. Just as the discipline of painting is no longer limited by its historical boundaries, our visual field has expanded into the digital realm. How does an emphasis on materiality allow painters to make sense of a world so rapidly changing before their eyes? How can a painting class pull students out of their minds, away from their screens, and back into their bodies? By examining a range of practices that celebrate materiality, Snodgrass contextualizes her work and teaching in the ever-expanding discipline of painting.
Original language | American English |
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State | Published - 21 Oct 2016 |
Externally published | Yes |
Event | 2016 Annual Southeastern College Art Conference - Roanoke, VA Duration: 21 Oct 2016 → … |
Conference
Conference | 2016 Annual Southeastern College Art Conference |
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Period | 21/10/16 → … |
EGS Disciplines
- Painting
- Art Practice