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

This is an imaginative and masterful examination of painting's history in art, its death by art theory, and its resurrection in various forms in contemporary art practice. Artists of any skill, art students, art historians, art theorists will delight in this purposeful exploration of how the material nature of paint becomes the embodiment of a painting's ontology in contemporary art theory. 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 art making in contemporary art practice. Viewing painting in the context of its art historical present, this book 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. 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. Painting is alive; painting has evolved and is yet evolving. Even now, painting is configuring and reinventing itself in the artifacts themselves as well as in the context of contemporary art theory Content: 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 Copyright Page Dedication Table of Contents Foreword Acknowledgments Introduction Chapter 1 -- The Materiality of What Painting Was Chapter 2 -- The Materiality of What Painting Is Chapter 3 -- The Materiality of Paint Chapter 4 -- The Materiality of Paint and Painters Chapter 5 -- The Materiality of Experience, Painterliness Chapter 6 -- The Materiality of Experience, Markmaking. Chapter 7 -- The Materiality of Experience, Artist's Intent and the ViewerConclusion Bibliography Index. With the invention and ascendance of photography, film and telematics art, has the art of painting become redundant? This book centers on the argument that oil painting, as art-making, remains viable and necessary as a contemporary medium. It does so by examining the materiality present in paint and how it contributes to a viewer's engagement with a painting. Materiality is, literally, the embodiment of the painting's ontology, 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.