Ongoing collection to chart the passage for painting in the continuous current, with writing for work informed by or informing painted practice. Images, modelled and actual paint all twisted like a vine, etc.
PAINTED,ETC. is a broad research initiative currently produced by artist Ry David Bradley to document the practice, understanding and lineage of painting and its descendants in the internet age...PAINTED,ETC. accepts contributions, brief reviews, short artist essays, statements and images.......
To send work click here • PAINTED, ETC.
I don’t have a ‘fuck the bourgeoisie’ attitude about art. I think it’s a conversation, but I do think you have to aim slightly above their heads. I always aim three quarters above the middle. I also think art should be, metaphorically maybe, layered like an onion. The more you peel off, there’s always something. Maybe the first layer is an attractive layer, which is enough to hook the most elementary viewer. But if you keep peeling it away, at the core there’s something so fascinating for the most erudite viewer. That’s a goal. Who can do it?
- John Baldessari
In the Elevator, Enda O’Donoghue
PAINTING FROM INTERNET
The internet is made up of quickly forgotten things.
That may explain why the German-based Irish artist Enda O’Donoghue likes to immortalize them in paint. Exclusively by other people, and discovered on popular online social networks and blogs on an ongoing basis, the photographs upon which he bases his paintings tend to look like throwaways, the kind of thing we snap with our increasing numbers of cameras and camera-phones, and post online, rarely to be seen again.
O’Donoghue even digs into their provenance, tracing the pictures’ ownership and requesting permission to use them, which is a strategy not just for coping with a fluid understanding of copyright online but for reversing the web’s anonymous ways.
At Triangulation, he talks about his process, and shares a kind of how-to video.
“A huge influence on my work has come from my own background both from studying computer programming for almost three years and also working in web design, web development, video editing, online marketing and other Internet and multi-media type work. All of that has effected not only the images that I choose and the source of these images but also has a direct influence on the way my process has developed.
The original photo was found on a photo sharing website. Like all with all my recent work the source was someone else’s photograph, found online while searching and surfing. I collect photos on an ongoing basis and categorize and catalogue them. When I find one that I wish to work with I attempt to make contact with the original photographer and request their permission to use their photo for my work. This is often met with complete surprise because I tend not to be asking for their “best” photos, in fact often they think I am asking for their worst. When each painting is completed I make a point of sending a photo of the painting back to the original photographer, and in some cases this brings the image back to its source in a way…”
Someday most painting may be this way – not still lifes, but still internets.
DDDDoomed or, Collectors & Curators of the Image - A Brief Future History of The Image Aggregator
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Excellent analysis of the current state of Images by R. Gerald Nelson. As you already know - todays paintings are inextricably tied to Images if they are not now Images themselves.
via Brad Troemel
![Art Games
2011
Leo Caillard
“We see thousands of different pictures every day in news, art, fashion, internet ads, Facebook,” says Caillard. “Everything is together without any organization. People start to lose the ability to reflect on what they are looking at.”
Caillard arrived at the UI concept after visiting Paris’ famous museums. He saw visitors looking at masterpieces for five seconds at a time, the same way they look at pictures on a mobile phone, and then move on to the next painting.
“Digital technology is changing the way we consume culture,” he says. “This is neither good or bad. A lot of very interesting art emerges from new tools of expression. But, like any change, it will take time for people to understand that we need art of the past and masterpiece paintings [in order] to make something interesting with digital creation. The future will let us know.”
via Jennifer Chan](http://25.media.tumblr.com/tumblr_lexoizSf8s1qzeexuo1_1280.jpg)
Art Games
2011
“We see thousands of different pictures every day in news, art, fashion, internet ads, Facebook,” says Caillard. “Everything is together without any organization. People start to lose the ability to reflect on what they are looking at.”
Caillard arrived at the UI concept after visiting Paris’ famous museums. He saw visitors looking at masterpieces for five seconds at a time, the same way they look at pictures on a mobile phone, and then move on to the next painting.
“Digital technology is changing the way we consume culture,” he says. “This is neither good or bad. A lot of very interesting art emerges from new tools of expression. But, like any change, it will take time for people to understand that we need art of the past and masterpiece paintings [in order] to make something interesting with digital creation. The future will let us know.”
via Jennifer Chan
Six Days In The Life Of Sandra Lolax, Videotaped
2010
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Whether painted or not, gestures are on the internet, in the computer, and always coming from physical life. Painting is what happens when hands create a trace image - video does something toward that also.
Violent Paintings
2010
Alterazioni Video
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Alterazioni Video is a group of five artists who have been working together for six years, and are currently located in Milan, New York and Berlin. The distances between the various members of the group and their constant movements have made communications between them – mostly mediated by phone and the net - one of the key aspects of their work: communications hindered by time differences, erratic connections and the inherent problems to do with operating as a group. In this way, over the years communication between the group’s members has regressed, going from schizophrenic clashes in person to shorter and shorter chatroom messages to the current situation of preverbal interfacing.
The Violent Paintings are in fact the result of an intense exchange of images found on the net, manipulated each time they change hands: a dialogue of cut and paste, the product of an irrepressible urge to create visions. At times the image becomes a work in its own right, at others it remains a study, a model to deconstruct and recombine to give rise to new representations. The Violent Paintings bear witness to the ongoing construction of an artistic idiom, the result of a dialogue between five individuals who no longer have anything to say to each other but continue to feel the pressing need to communicate. The violence in the title varies from that unleashed in the heated exchanges between the members of the group, to the content of the images themselves, images which are then transferred onto a medium, a light pvc which is bent and deformed, or that afflicted by classic painting, parodied in an appropriation and amateurish use of Photoshop, or lastly that which the images inflict on the spectator, who is challenged to make sense of this mish-mash of amateur photos, porn, hentai graphics, second-rate effects and art classics.
In this sense the Violent Paintings are also the result of the reflections of Alterazioni Video – which has always been interested in the cultural implications of the digital revolution, from copyright to censorship – on the increasingly widespread practice of social processing of images.
- from Fabio Paris Gallery
