| Field |
Value |
Language |
|
dc.contributor.author |
Titmarsh, M
https://orcid.org/0000-0002-1033-3867
|
en_US |
|
dc.contributor.editor |
Sarah Newall |
en_US |
|
dc.date |
2013-08-23 |
en_US |
|
dc.identifier.citation |
Intra-sections |
en_US |
|
dc.identifier.isbn |
978-0-9923331-0-2 |
en_US |
|
dc.identifier.uri |
http://hdl.handle.net/10453/32635
|
|
|
dc.identifier.uri |
http://hdl.handle.net/10453/34037
|
|
|
dc.description.abstract |
Chromo-man, 2013, performance Chromo-vitruvian-man, 2013, installation, silly string, variable dimensions Specific Painting3, 2009-2013, slumped perspex, 108x98x60cm The Look, 2013, collage on aluminium, 29 x 53 cm |
en_US |
|
dc.publisher |
Verge Gallery |
en_US |
|
dc.relation.ispartof |
Intra-sections |
en_US |
|
dc.title |
Chromo-man, Chromo-vitruvian-man, Specific Painting3 and The Look |
en_US |
|
dc.type |
Exhibition |
|
|
utslib.location |
Verge Gallery, City Road, Camperdown, Sydney |
en_US |
|
utslib.location.activity |
Sydney Morning Herald, City News, Alternative Media |
en_US |
|
utslib.for |
1905 Visual Arts and Crafts |
en_US |
|
dc.location.activity |
Sydney Morning Herald, City News, Alternative Media |
|
|
pubs.embargo.period |
Not known |
en_US |
|
pubs.organisational-group |
/University of Technology Sydney |
|
|
pubs.organisational-group |
/University of Technology Sydney/Faculty of Design, Architecture and Building |
|
|
pubs.organisational-group |
/University of Technology Sydney/Faculty of Design, Architecture and Building/School of Design |
|
|
utslib.copyright.status |
open_access |
|
|
pubs.place-of-publication |
Verge Gallery, City Road, Camperdown, Sydney |
en_US |
|
pubs.start-date |
2013-08-23 |
en_US |
|
pubs.rights-statement |
These exhibitions are located in the field of image making and expanded painting with a specific focus on the spatialisation of traditional craft based skills in the visual art disciplines of painting and drawing. The works question the nature of static imagery in an age of convergent media and multimodal practices. The aesthetic premise of these works is that the artist or designer can you use any coloured thing to create work and is not restricted to traditional mark making tools like the pen, pencil, brush or even the virtual presentation of those devices on image making software like photoshop or illustrator. Furthermore in these two works performance is used as a time-based event in which the artist can become the surface on which colour is applied rather than the director of marks beyond his own body. As Stephen Melville (2001) argues “painting has no essence outside of history, gathering and dispersing itself at every moment”, in this case dispersing away from brush and easel to gather around string and the body. These works offer alternate models of practice that move beyond the traditional presumptions suggested by the apparatus of historical mark making devices. They engage an impetus subtly suggested by the digital era in which individuals are compelled to use more than one skill and any available device must also move across several technical boundaries. Intrasections was reviewed by Andrew Frost, Sydney Morning Herald (Saturday 31 August 2013) and by Leanne Richards, City News (5 September 2013). |
en_US |
