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Expanded Painting
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Table of Contents

preface acknowledgements Introduction: Presence of Paint 1.Painting An Ecology of Painting? Fieldworks Painting Expanded Post Aesthetics Research-Making 2. Expanded Painting The Death of Painting Cave, church, easel, other Another beginning (i) Early 20th Century avant-garde - Punching through the screen (ii) 1960s Conceptual Art and Minimalism - The Escape from Painting (iii) 1980s Neo-Conceptualism - Painting Forgotten and the Misnomer of Installation Art (iv) Recent expanded painting - Not painting Now Craftiness 3. Post Aesthetics Questioning Ontology Picturing Worlds Falls the Shadow Revelation Thinking Earth Four Earths Thinking World Absent Nature Pres-absential Strifely Assemblages Coming to Presence Ontology of Making Making Heidegger Paint Paint-Tool The Being of Becoming Thinking Making Causing Making Genres of production Producing Expanded Painting Post Aesthetics Phainesthetics Post Aesthetic Enigma Applied Post Aesthetics Applied Heidegger 4. Ontology of Colour What is Colour? Colourism Colour IS Apprehending Light The Idea of Light The Good Light The other look Moment of Vision Conclusion: The Painting of Being Paint itself The Idea of Expanded Painting In a new light Ontological Aesthetics Politics of Being Ontological Goods index

Promotional Information

An original and clear book on aesthetics by a practicing artist which defines and then provides an account of 'expanded painting'.

About the Author

Mark Titmarsh is a visual artist working in painting, video and writing. He is lecturer in Interdisciplinary Studies, in the School of Design, University of Technology, Sydney, Australia. His artworks are held in the collection of the National Gallery of Australia and in private collections overseas.

Reviews

Mark Titmarsh is both a practitioner and a thinker. 'Expanded painting' names both a moment in the history of painting as well as a specific set of stylistic determinations. Expanded painting calls upon the resources of both philosophy and history in order that it be understood. Mark Titmarsh's response to that call has led to a book that will be indispensable for any serious discussion of painting today. -- Andrew Benjamin, Professor of Philosophy, Monash University, Australia and Professor of Philosophy and the Humanities, Kingston University, UK
Mark (playing dual roles as writer and artist) wrestles adeptly with a subject that is constantly in motion; in the process he names a new medium and creates for it a necessary new language. Expanded Painting promises to be a touchstone for scholars, artists and acolytes of colour and light. * UMag, University of Technology, Australia *

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