Photo Booth Painting
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.
In My Computer, by Miltos Manetas, is a collection of essays, interviews, short tales, parables, e-mails and drafts by its author. Written between 1997 and 2011, some of these texts are widely known, many others are unpublished, and just came out of his computer. All of them contribute to portray a personality who had a strong influence on younger generations of artists, thanks to his impressive body of work – including paintings, videos, installations, prints, performances and, last but not least, websites – but also to his writings.
![HEILMANN: And you’ve been using Photoshop to make your Color-Field works. It’s very basic Photoshop, right?
ARCANGEL: Just one click. If you have Photoshop I could show you. [At Heilmann’s computer] You open it up and there’s this paint bucket. If you click and hold it you get the gradient tool. Then you click up here and get to pick these different options. You drag it and it goes like this! That’s how you make them.
HEILMANN: When do you call up [gallery owner] Larry Gagosian?
ARCANGEL: Well, when I’m done I print them out. The printing is important because it’s very high-end. It’s printed on photographic paper and it’s exposed to a laser. That’s how most photographers print their work now. They don’t do darkroom stuff. It’s all digital.
HEILMANN: Do you consider these works paintings?
ARCANGEL: People keep coming at me with the question, is it a painting or is it a photograph? Technically it’s a photograph. It’s a photograph because it’s photographic paper. But obviously I think about them as paintings, because they refer to the history of painting, right? I also have to think about them as sculptures, because every part of the process is part of the project. They’re sculptures because they play on the idea of what should be hanging in a gallery. In that sense they’re also kind of ready-mades.
HEILMANN: I always think of my paintings as sculptures. Are these works multiples or one of a kind?
ARCANGEL: They’re uniques. I advertise them as being really easy to make, but the truth is, nothing is really easy to make. I make hundreds and hundreds of them, and then I edit down to the four that seem to work well together. But, of course, I try to play it up. Like, “Oh, they’re so easy. It’s nothing.”
HEILMANN: Right. Except you have to be a genius to make this easy stuff. [laughs]
ARCANGEL: I wouldn’t say you have to be a genius, but making things look simple is half the battle.
excerpt from Mary Heilmann for Interview Magazine](http://24.media.tumblr.com/tumblr_lm2dlz9PD01qzeexuo1_400.jpg)
HEILMANN: And you’ve been using Photoshop to make your Color-Field works. It’s very basic Photoshop, right? ARCANGEL: Just one click. If you have Photoshop I could show you. [At Heilmann’s computer] You open it up and there’s this paint bucket. If you click and hold it you get the gradient tool. Then you click up here and get to pick these different options. You drag it and it goes like this! That’s how you make them. HEILMANN: When do you call up [gallery owner] Larry Gagosian? ARCANGEL: Well, when I’m done I print them out. The printing is important because it’s very high-end. It’s printed on photographic paper and it’s exposed to a laser. That’s how most photographers print their work now. They don’t do darkroom stuff. It’s all digital. HEILMANN: Do you consider these works paintings? ARCANGEL: People keep coming at me with the question, is it a painting or is it a photograph? Technically it’s a photograph. It’s a photograph because it’s photographic paper. But obviously I think about them as paintings, because they refer to the history of painting, right? I also have to think about them as sculptures, because every part of the process is part of the project. They’re sculptures because they play on the idea of what should be hanging in a gallery. In that sense they’re also kind of ready-mades. HEILMANN: I always think of my paintings as sculptures. Are these works multiples or one of a kind? ARCANGEL: They’re uniques. I advertise them as being really easy to make, but the truth is, nothing is really easy to make. I make hundreds and hundreds of them, and then I edit down to the four that seem to work well together. But, of course, I try to play it up. Like, “Oh, they’re so easy. It’s nothing.” HEILMANN: Right. Except you have to be a genius to make this easy stuff. [laughs] ARCANGEL: I wouldn’t say you have to be a genius, but making things look simple is half the battle. excerpt from Mary Heilmann for Interview Magazine
Unrelenting Physical Aggression (Action Painting)
2011
In Action Painting, gestures are extracted from action film sequences (car chase movies, fight scenes, explosions, etc.) and used as material to compose digital paintings in the abstract expressionist style of Jackson Pollock.
PAINTED, ETC. will soon be posting a paper analyzing the relationship of gimmicks and special effects to contemporary art - tracing a line through the present and a method unhindered by historically loaded terms. Arriving June.
