Between canvas and celluloid: Painted films and filmed paintings
This article investigates how artists’ attempts to inject a time element to painting through cinematic means expanded the aesthetic and affective possibilities of both mediums. These approaches include ‘painted films’ wherein the artist applies paint directly onto the celluloid in an exploration of an alternative material support for painting, as well as ‘filmed paintings’, films that display the act of a painting being made. The article surveys the historical development of these intermedial concepts and methods before offering close readings of films by José Antonio Sistiaga, Francis Lee, David Haxton, in order to demonstrate how these works simultaneously complicate the notion of medium specificity as they present new modes of, and encounters with, painting.
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Document Type: Research Article
Affiliations: Georgia Institute of Technology
Publication date: 01 December 2014
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- The Moving Image Review & Art Journal (MIRAJ) is the first international peer-reviewed scholarly publication devoted to artists' film and video, and its contexts. It offers a forum for debates surrounding all forms of artists' moving image and media artworks: films, video installations, expanded cinema, video performance, experimental documentaries, animations, and other screen-based works made by artists. MIRAJ aims to consolidate artists' moving image as a distinct area of study that bridges a number of disciplines, not limited to, but including art, film, and media.
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