LEADER 03156nam 22005651 450 001 9910511636703321 005 20171009095604.0 010 $a1-350-00419-7 010 $a1-350-00416-2 024 7 $a10.5040/9781350004191 035 $a(CKB)4340000000213381 035 $a(MiAaPQ)EBC4939398 035 $a(PPN)233131728 035 $a(OCoLC)1000048121 035 $a(UtOrBLW)bpp09261140 035 $a(EXLCZ)994340000000213381 100 $a20171025d2017 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aExpanded painting $eontological aesthetics and the essence of colour /$fMark Titmarsh 210 1$a[New York] :$cBloomsbury Academic,$d2017. 215 $a1 online resource (228 pages) 311 $a1-350-10199-0 311 $a1-350-00417-0 320 $aIncludes bibliographical references and index. 327 $aChapter 1. The Presence of Paint -- Chapter 2. Expanded Painting -- Chapter 3. Post Aesthetics -- Chapter 4. An Ontology of Colour -- Chapter 5. The Painting of Being -- Notes -- Bibliography. 330 $a"The relevance of painting has been questioned many times over the last century, by the arrival of photography, installation art and digital technologies. But rather than accept the death of painting, Mark Titmarsh traces a paradoxical interface between this art form and its opposing forces to define a new practice known as 'expanded painting' giving the term historical context, theoretical structure and an important place in contemporary practice. As the formal boundaries tumble, the being of painting expands to become a kind of total art incorporating all other media including sculpture, video and performance. Painting is considered from three different perspectives: ethnology, art theory and ontology. From an ethnological point of view, painting is one of any number of activities that takes place within a culture. In art theory terms, painting is understood to produce objects of interest for humanities disciplines. Yet painting as a medium often challenge both its object and image status, 'expanding' and creating hybrid works between painting, objects, screen media and text. Ontologically, painting is understood as an object of aesthetic discourse that in turn reflects historical states of being. Thus, Expanded Painting delivers a new kind of saying, a post-aesthetic discourse that is attuned to an uncanny tension between the presence and absence of painting."--Bloomsbury Publishing. 606 $aAesthetics 606 $aArt$xPhilosophy 606 $aColor in art 606 $aOntology 606 $aPainting$xPhilosophy 606 $2Philosophy: aesthetics 608 $aElectronic books. 615 0$aAesthetics. 615 0$aArt$xPhilosophy. 615 0$aColor in art. 615 0$aOntology. 615 0$aPainting$xPhilosophy. 676 $a745.723 700 $aTitmarsh$b Mark$01067174 801 0$bUtOrBLW 801 1$bUtOrBLW 906 $aBOOK 912 $a9910511636703321 996 $aExpanded painting$92550629 997 $aUNINA