| Field |
Value |
Language |
|
dc.contributor.author |
Titmarsh, M
https://orcid.org/0000-0002-1033-3867
|
en_US |
|
dc.date |
2014-06-09 |
en_US |
|
dc.identifier.citation |
Cloud LIbrary (SCA Art Project 3) |
en_US |
|
dc.identifier.uri |
http://hdl.handle.net/10453/33395
|
|
|
dc.format |
Painting |
en_US |
|
dc.relation.ispartof |
Cloud LIbrary (SCA Art Project 3) |
en_US |
|
dc.title |
1. “I am ( I and I)”, (1996), acrylic on paper, manipulated book 2. “LXZb” (2002), acrylic on hard cover book, manipulated book 3. “Adam and Eve”, (1997), oil stick on paper, manipulated book 4. “On Illustration”, (2012), acrylic on paper (dust jacket) and wood 5. “Philosophy and Simulation”, (2012), acrylic on paper (dust jacket) and wood 6. “Michelangelo”, (2012), acrylic on paper (dust jacket) and wood 7. “Conceptual Art”, (2012), acrylic on paper (dust jacket) 8. “The Artists”, (2012), acrylic on paper (dust jacket) 9. “Isolated Houses”, (2012), acrylic on paper (dust jacket) 10. “Burtynsky Oil”, (2012), acrylic on paper (dust jacket) 11. “Creative Britain”, (2012), acrylic on paper (dust jacket) 12. “A Critical Anthology”, (2012), acrylic on paper (dust jacket) |
en_US |
|
dc.type |
Exhibition |
|
|
utslib.location |
Fisher LIbrary Gallery |
en_US |
|
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.consider-herdc |
true |
en_US |
|
pubs.finish-date |
2014-08-12 |
en_US |
|
pubs.place-of-publication |
Fisher LIbrary Gallery |
en_US |
|
pubs.start-date |
2014-06-09 |
en_US |
|
pubs.rights-statement |
These works come into being out of the detritus of contemporary library practice. Because of the application of digital security codes onto the spines of books the dust jacket tends to get in the way and is discarded. Those who catch them as they fall can use them as they will. Painting and books have related to each other since the first illuminated manuscripts. Painting was to some extent born from the structure of the book, particularly its quadratic orientation with vellum stitching and hand drawn text applied by sable hair or ceramic stylus. By spilling paint onto the graphic surface of the dust jacket, or disturbing the gridded composition of the contents of a book, some hidden background energy is released. Some of it is historical, like the links between the spoken word and the illumination of vision. Some of it is contemporary, like the digital magnetic force in some images as they travel from hard copy to soft copy, tending to snap together at their perfect edges. |
en_US |
