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Slow Painting
The abundance of images in our everyday lives-and the speed at which they are consumed-seems to have left us unable to critique them. To rectify this situation, artists such as Daniel Richter, Jaune Quick-to-See Smith, and Artur Zmijewski have demonstrated that painting is brilliantly equipped to produce 'slow images' that enable, encourage and reward reflection. In this book, Helen Westgeest attempts to understand how various forms of slow painting can be used as tools to interrogate the visual mediations we encounter daily. Painting was expected to disappear in the digital age but, through interactive painting performances and painting-like manipulated photographs and videos, Westgeest shows how photography, video and new media art have themselves developed the visual strategies that painting had already mastered. Moreover, the fleeting nature of digital mass media appears to have unlocked a desire for more physically stable and enduring pictures, like paintings. Slow Painting charts how, in a world where the constant quest for speed can leave us exhausted, the appeal of this 'slower medium' has only grown.
Photography Theory in Historical Perspective
Photography Theory in Historical Perspective: Case Studies from Contemporary Art aims to contribute to the understanding of the multifaceted and complex character of the photographic medium by dealing with various case studies selected from photographic practices in contemporary art, discussed in the context of views and theories of photography from its inception. uses case studies to explain photographic practices in contemporary art and place them in the context of theory presents current debates on theory of photography through comparisons to research of other visual media applicable to vernacular and documentary photography as well as art photography
New Collecting: Exhibiting and Audiences after New Media Art
The collections of museums, galleries and online art organisations are increasingly broadening to include more new media art. Because new media is used as a means of documenting, archiving and distributing art, and because new media art might be interactive with its audiences, this highlights the new kinds of relationships that might occur between audiences as viewers, participants, selectors, taggers or taxonomisers. New media art presents many challenges to the curator and collector, but there is very little published analytical material available to help meet those challenges. This book fills that gap. Drawing from the editor's extensive research and the authors' expertise in the field, the book provides clear navigation through a disparate arena. The authors offer examples from a wide geographical reach, including the UK, North America and Asia and integrate the consideration of audience response into all aspects of their work. The book will be essential reading for those studying or practicing in new media, curating or museums and galleries.
Why Art Photography?
The second edition of Why Art Photography? is an updated, expanded introduction to the ideas behind today’s striking photographic images. Lively, accessible discussions of key issues such as ambiguity, objectivity, fiction, authenticity, and photography’s expanding field are supplemented with new material around timely topics such as globalization, selfie culture, and photographers’ use of advanced digital technologies, including CGI and virtual reality. The new edition includes: an expanded introduction extended chapters featuring emerging trends a larger selection of images, including new color images an improved and expanded bibliography This new edition is essential for students looking to enrich their understanding of photography as a complex and multi-faceted art form.
Precarious Times
In Precarious Times, Anne Fuchs explores how works of German literature, film, and photography reflect on the profound temporal anxieties precipitated by contemporary experiences of atomization, displacement, and fragmentation that bring about a loss of history and of time itself and that is peculiar to our current moment. The digital age places premiums on just-in-time deliveries, continual innovation, instantaneous connectivity, and around-the-clock availability. While some celebrate this 24/7 culture, others see it as profoundly destructive to the natural rhythm of day and night—and to human happiness. Have we entered an era of a perpetual present that depletes the future and erodes our grasp of the past? Beginning its examination around 1900, when rapid modernization was accompanied by comparably intense reflection on changing temporal experience, Precarious Times provides historical depth and perspective to current debates on the "digital now." Expanding the modern discourse on time and speed, Fuchs deploys such concepts as attention, slowness and lateness to emphasize the uneven quality of time around the world.
Experiments in Cinema Yearbook #3: The Cubano Edition
Experiments in Cinema international film festival (an annual Basement Films production) is proud to offer our 3rd annual yearbook that focuses on the current state of the art in Cuban alternative cinematic practices. The essays in this text are published in both English and Spanish.
Modernism and the Occult
This study of modernism's high imperial, occult-exotic affiliations presents many well-known figures from the period 1880-1960 in a new light. Modernism and the Occult traces the history of modernist engagement with 'irregular', heterodox and imported knowledge.
Imaging History
In archaeology, photography is mainly used as a technique for gathering data and evidence. Within the framework of the research project '(in)site, site-specific photography revisited' the relationship between photography and archaeology, or broader, history is explored. How do photographers visualize history? What is the importance of place, particularly the place that remains after the event took place? How do photographers or artists use photography to depict the past, when time has become 'past time'? These articles and portfolios explore, both on practical and theoretical level, how history can be captured. The research project is an attempt to redefine the traditional relationship between archaeology and photography in order to produce new forms of image-making more adapted to contemporary visual culture. The project considers photography as a practice in which a picture is shaped and constructed by the photographer, not a practice in which a picture is mechanically taken.
Philippe Van Snick
This publication is the first career-encompassing monographic study of the artistic production of Philippe Van Snick. The result of a long-term collaboration between the artist, a team of researchers and a group of designers, it serves as an instrument for discovering Van Snick's oeuvre as a totality. This book reveals Van Snick's long-standing experimentation with a wide variety of materials and techniques, such as drawings and works on paper, photography, film, sculptures and works in situ. A red thread through the artworks is their close ties to everyday reality, life and nature.
