{"id":15,"date":"2020-04-28T15:58:50","date_gmt":"2020-04-28T14:58:50","guid":{"rendered":"https:\/\/blogs.ncl.ac.uk\/paintingplus\/?page_id=15"},"modified":"2021-03-08T22:33:35","modified_gmt":"2021-03-08T22:33:35","slug":"online-material","status":"publish","type":"page","link":"https:\/\/blogs.ncl.ac.uk\/paintingplus\/online-material\/","title":{"rendered":"Reading"},"content":{"rendered":"\n

The readings for each session can be downloaded from this blog directly. The areas are password protected<\/strong> and for Newcastle students only. To access the online material<\/strong> please contact: Christian.Mieves@newcastle.ac.uk<\/p>\n\n\n\n

Banquo’s Funeral, Tony Scherman | Andrew Benjamin<\/em> Matter\u2019s Insistence
http:\/\/www.tonyscherman.com\/essay-banquos-funeral<\/a><\/p>\n\n\n\n

DAVID JOSELIT ‘Painting Beside Itself’, October<\/em>, 130, Fall 2009, pp. 125\u2013134.<\/a>
<\/p>\n\n\n\n

Simon O\u2019Sullivan 
From Stuttering and Stammering to the Diagram: Deleuze, Bacon and Contemporary Art Practice <\/p>\n\n\n\n

Deleuze, Gilles (2003) Francis Bacon: The Logic of Sensation<\/em>, trans. Daniel W. Smith, London: Continuum.
Gille<\/a>s Deleuze Francis Bacon: The Logic of Sensation<\/em><\/p>\n\n\n\n

Frances Guerin ‘The Grey Space Between: Gerhard Richter\u2019s 18.Oktober 1977’, in Guerin, Frances., and Roger. Hallas. The Image and the Witness : Trauma, Memory and Visual Culture<\/em>. Nonfictions. London: Wallflower, 2007.<\/p>\n\n\n\n

Dieter Roelstraete
The Way of the Shovel: On the Archeological Imaginary in Art<\/p>\n\n\n\n

Bal, Mieke. Reading Rembrandt. Amsterdam Academic Archive. 2006.
Online through the library <\/a><\/p>\n\n\n\n

Clark, T. J. The Sight of Death : An Experiment in Art Writing<\/em>. New Haven: Yale University Press, 2006.<\/p>\n\n\n\n

Baudelaire, Charles,The Painter of Modern Life and Other Essays<\/em>. 2nd ed. Art & Letters. London: Phaidon, 1995.
Link<\/p>\n\n\n\n

Shiff, Richard. Doubt. Theories of Modernism and Postmodernism in the Visual Arts. New York: Routledge, 2008, 61.<\/p>\n\n\n\n

Sennett, Richard. The Craftsman<\/em>. London: Penguin Books, 2008.
Chapter 8: Resistance and Ambiguity  <\/p>\n\n\n\n

Maurice Merleau-Ponty’s chapter Cezanne’s Doubt<\/em>. .Merleau-Ponty, Maurice. Sense and Non-Sense<\/em>. Evanston, IL: Northwestern University Press, 1964.<\/p>\n\n\n\n

Ives Alain Bois:
Painting: The Task of Mourning <\/p>\n\n\n\n

JOHN KULVICKI and BENCE NANAY
ART MADE FOR PICTURES<\/strong><\/p>\n\n\n\n

Barry Schwabsky
Object or Project, Reflections on the Ontology of Painting<\/strong><\/p>\n\n\n\n

Barry Schwabsky
Picturehood is Powerful<\/strong><\/p>\n\n\n\n

Laura Hoptman
Fin de Si\u00e8cle (Elizabeth Peyton)<\/strong><\/p>\n\n\n\n

ANNIE BOURNEUF
“Radically Uncolorful Painting”: Walter Benjamin and the Problem of Cubism<\/strong><\/p>\n\n\n\n

Albert Camus
Create Dangerously<\/strong><\/p>\n\n\n\n

 Lyotard\u2019s discussion of the sublime in Barnett Newman\u2019s work. Newman speaks of the absence of subject matter and  \u2018presence\u2019 of man. See the chapter \u2018 Newman: The Instant\u2019 in Jean-Francois Lyotard The Inhuman: Reflections on Time<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

The readings for each session can be downloaded from this blog directly. The areas are password protected and for Newcastle students only. To access the online material please contact: Christian.Mieves@newcastle.ac.uk Banquo’s Funeral, Tony Scherman | Andrew Benjamin Matter\u2019s Insistencehttp:\/\/www.tonyscherman.com\/essay-banquos-funeral DAVID JOSELIT ‘Painting Beside Itself’, October, 130, Fall 2009, pp. 125\u2013134. Simon O\u2019Sullivan From Stuttering and Stammering […]<\/p>\n","protected":false},"author":8273,"featured_media":0,"parent":0,"menu_order":4,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-15","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/blogs.ncl.ac.uk\/paintingplus\/wp-json\/wp\/v2\/pages\/15","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.ncl.ac.uk\/paintingplus\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/blogs.ncl.ac.uk\/paintingplus\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.ncl.ac.uk\/paintingplus\/wp-json\/wp\/v2\/users\/8273"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.ncl.ac.uk\/paintingplus\/wp-json\/wp\/v2\/comments?post=15"}],"version-history":[{"count":6,"href":"https:\/\/blogs.ncl.ac.uk\/paintingplus\/wp-json\/wp\/v2\/pages\/15\/revisions"}],"predecessor-version":[{"id":369,"href":"https:\/\/blogs.ncl.ac.uk\/paintingplus\/wp-json\/wp\/v2\/pages\/15\/revisions\/369"}],"wp:attachment":[{"href":"https:\/\/blogs.ncl.ac.uk\/paintingplus\/wp-json\/wp\/v2\/media?parent=15"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}