Watching Paint, Motion Picture (original) (raw)

On the Idea of Painting as Moving Image: When a Painting Moves...Something Must Be Rotten!

CHARTA, 2011

Edited together with Selene Wendt, When a Painting Moves...Something must be Rotten! contains essays and interviews on the idea of painting as moving image. In the actual context painting measures itself against its own history and myths while at the same time deploying interdisciplinary and digital approaches, and where the authenticity of an artwork or the origins of the source material are irrelevant. When does a painting cease to be a painting? How can we construct a painting that informs itself through the analogue and digital realms? Is a moving painting a perversion of painting? Does painting even have performative side to it? How does all this affect a medium as old as painting? These are some of the questions that this book, inspired by the exhibition When a Painting Moves…Something Must be Rotten! tries to tackle. The artists presented here work in a formal, literal, or conceptual manner with the concept of the pictorial as “moving image”. These artists reformulate classical genres such as still life, landscape, and portraiture, and merging painting with performance, video, photography and the digital realm. The first part of the book feautres a series of essays that enable a contextualization of painting as moving image and its relationship to cinema, music and video-clip; painting’s iconography re-written from a feminine perspective; the pictorial as moving image both as abstract or figurative experiment and as performance; and, finally, the idea of painting as animation. The second part showcases interviews with Sam Taylor-Wood, A K Dolven, Bill Viola, Ori Gersht, Fabián Marcaccio, and Crispin Gurholt, whose thoughts offer the reader a good insight into the motivations and possibilities of painting as video, film or animation.

Framing forces: Models of cinema expressed by films that frame painting

Journal of Contemporary Painting, 2015

This essay looks at ways in which a number of films have employed painting in order to substantiate the aesthetics of cinema that they envisage. The focus of the essay specifically concerns the differences between centrifugal and centripetal forces at the edges of paintings and the limits of the film frame. Beginning with examples from narrative cinema, the essay turns to look at crossovers between the aesthetics of painting and cinema in the context of experimental film, from early exponents of abstract cinema in the 1920s through to more recent examples.

Painting, Moving Images and Philosophy

Cinema: Journal of Philosophy and the Moving Image n.10, 2018

Susana Viegas and James Williams (Eds), "Painting, Moving Images and Philosophy", Cinema: Journal of Philosophy and the Moving Image n. 10, Dec 2018. ARTICLES . Painting at the Beginning of Time: Deleuze on the Image of Time in Francis Bacon and Modern Cinema, David Benjamin Johnson . “Each Single Gesture Becomes a Destiny”: Gesturality between Cinema and Painting in Raúl Ruiz’s L’hypothèse du Tableau Volé, Greg Hinks . Whither the Sign: Mohammed Khadda in Assia Djebar’s La Nouba des Femmes du Mont Chenoua, Natasha Marie Llorens . Manet and Godard: Perception and History in Histoire(s) du Cinéma, Pablo Gonzalez Ramalho . A Work of Chaos: Gianluigi Toccafondo’s Animated Paintings, Paulo Viveiros . Ill Seen, Ill Said: The Deleuzian Stutter Meets the Stroop Effect in Diana Thater’s Colorvision Series (2016), Colin Gardner . Blue Residue: Painterly Melancholia and Chromatic Dingnity in the Films of David Lynch, Ed Cameron

The Still/Moving Image: Cinema and the Arts

The Still/Moving Image: Cinema and the Arts, 2010

"The usefulness of this book lies above all in the judicious and felicitous choice of contrasting complementary case studies, each of which is given a highly original historical placement and subjected to a complex multi-layered historical hermeneutics," Professor Thomas Elsaesser writes. What happens when we suddenly feel that a moving image is being slowed down or halted? Nowadays it happens all the time in the cinema and the art galleries. A basic question of life - is it still or is it moving? - here urgently addresses emotional and aesthetical issues as well as questions concerning media. The still/moving image compels a new sensibility. (from Saarbrucken: Lamber Academic Publishing, 2010)

Perception, Painting, (Motion) Picture: Film Analysis of Never Look Away (Werk ohne Autor, D 2018)

German as a Foreign Language, 2021

Films about art and artists are not uncommon. In addition to films about writers and musicians, artist films are among the most popular subgenres of the biopic. Here, too, the life and work of the artists is staged on the big screen in a variety of ways. Based on a film analysis of NEVER LOOK AWAY (WERK OHNE AUTOR, D 2018, Florian Henckel von Donnersmarck), this paper contributes numerous points of reference for conversation in GFL teaching. Filme über Kunst und Künstler stellen keine Seltenheit dar. Neben Schriftsteller- und Musikerfilmen gehören Künstlerfilme zu den am meisten verfilmten Subgenres des Biopics. Auch in diesen Werken wird das Leben und Wirken der Kunstschaffenden auf der großen Leinwand in vielfältiger Weise inszeniert. Der vorliegende Beitrag zeigt anhand einer Filmanalyse zu WERK OHNE AUTOR (D 2018, Florian Henckel von Donnersmarck) die vielfältigen Anknüpfungspunkte auf, denen im Kontext des Lehrens und Lernens des Deutschen als Fremdsprache nachgegangen werden kann.