Sharon Orleans Lawrence | American University of Kuwait (original) (raw)

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Research paper thumbnail of Introduction, How the Materiality of Paint is Intrinsic to the Work of Art: An Explanation of the Meaningful Placement of the Medium of Painting in Contemporary Art Theory

How the Materiality of Paint is Intrinsic to the Work of Art: An Explanation of the Meaningful Placement of the Medium of Painting in Contemporary Art Theory, Jun 15, 2013

"The material nature of painting is considered as a leading actor throughout art history, as well... more "The material nature of painting is considered as a leading actor throughout art history, as well as the source of its viability as a contemporary medium of artmaking in contemporary art practice.
Viewing painting in the context of its art historical present, this manuscript examines painting’s history in art, its death by art theory, and its resurrection in various forms in contemporary art practice. In this context, prevailing art historical theories are examined in order to position painting in contemporary society.
The rhizomatic web theorized by DeLeuze is revisited to both explain and expand the material presence of paint in conceptual art practice, as well as to connect art theory, art history and art-making. In this context, painting is considered as a complex mode of thinking and positioned as both a post-modern avant-garde strategy and a medium of artistic significance in a post-medium age.
Integral to the discussion is resonance, the quality embodied in a work of art that continues to engage the viewer in visceral communication over time. Resonance is therefore a determining characteristic in the viability of painting in any age.
The role of materiality in resonance is explored and identified as the embodiment of painting’s ontology. This is materiality of surface and beyond, distilled from the characteristics of the paint, the painter’s experience with the paint, and its presentation to the viewer in such a way as to evoke a visceral response.
Painting is alive; painting has evolved and is yet evolving. Even now, painting is reconfiguring and reinventing itself in the artifacts themselves as well as in the context of contemporary art theory."

Research paper thumbnail of Introduction, How the Materiality of Paint is Intrinsic to the Work of Art: An Explanation of the Meaningful Placement of the Medium of Painting in Contemporary Art Theory

How the Materiality of Paint is Intrinsic to the Work of Art: An Explanation of the Meaningful Placement of the Medium of Painting in Contemporary Art Theory, Jun 15, 2013

"The material nature of painting is considered as a leading actor throughout art history, as well... more "The material nature of painting is considered as a leading actor throughout art history, as well as the source of its viability as a contemporary medium of artmaking in contemporary art practice.
Viewing painting in the context of its art historical present, this manuscript examines painting’s history in art, its death by art theory, and its resurrection in various forms in contemporary art practice. In this context, prevailing art historical theories are examined in order to position painting in contemporary society.
The rhizomatic web theorized by DeLeuze is revisited to both explain and expand the material presence of paint in conceptual art practice, as well as to connect art theory, art history and art-making. In this context, painting is considered as a complex mode of thinking and positioned as both a post-modern avant-garde strategy and a medium of artistic significance in a post-medium age.
Integral to the discussion is resonance, the quality embodied in a work of art that continues to engage the viewer in visceral communication over time. Resonance is therefore a determining characteristic in the viability of painting in any age.
The role of materiality in resonance is explored and identified as the embodiment of painting’s ontology. This is materiality of surface and beyond, distilled from the characteristics of the paint, the painter’s experience with the paint, and its presentation to the viewer in such a way as to evoke a visceral response.
Painting is alive; painting has evolved and is yet evolving. Even now, painting is reconfiguring and reinventing itself in the artifacts themselves as well as in the context of contemporary art theory."