{"id":34,"date":"2020-04-28T16:20:27","date_gmt":"2020-04-28T15:20:27","guid":{"rendered":"https:\/\/blogs.ncl.ac.uk\/paintingplus\/?page_id=34"},"modified":"2024-10-17T17:27:10","modified_gmt":"2024-10-17T16:27:10","slug":"reading-by-session","status":"publish","type":"page","link":"https:\/\/blogs.ncl.ac.uk\/paintingplus\/online-material\/reading-by-session\/","title":{"rendered":"Reading by Session"},"content":{"rendered":"\n

12 June 2020<\/strong>
THE MNEMONIC FUNCTION OF THE PAINTED IMAGE<\/p>\n\n\n\n

Alison M. Gingeras<\/strong>
THE MNEMONIC FUNCTION OF THE PAINTED IMAGE<\/a><\/p>\n\n\n\n

\"\"
Kai Althoff \u201cUntitled\u201d, 2014, Oil and enamel on fabric, 91.5 x 112 cm<\/em><\/figcaption><\/figure>\n\n\n\n

29 May 2020<\/strong>
The Logic of Sensation<\/p>\n\n\n\n

Deleuze, Gilles<\/strong> (2003)\u00a0Francis Bacon: The Logic of Sensation<\/em>, trans. Daniel W. Smith, London: Continuum.Deleuze\u00a0<\/a>Francis Bacon:\u00a0The Logic of Sensation<\/a><\/em><\/p>\n\n\n\n

\"\"
Francis Bacon<\/a> Triptych August 1972, 1972<\/figcaption><\/figure>\n\n\n\n

15 May 2020<\/strong>
Painting beside itself<\/p>\n\n\n\n

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

\"\"<\/a>
Jutta Koether<\/figcaption><\/figure>\n\n\n\n

1 May 2020<\/strong>
Abstraction of the Body<\/p>\n\n\n\n

\"This
Amy Sillman<\/figcaption><\/figure>\n\n\n\n
\"This
Amy Sillman the n<\/strong><\/a>ervous system, arts club of chicago<\/a><\/strong><\/figcaption><\/figure>\n\n\n\n

Melissa Gordon, \u201cAbstraction of The Body: Melissa Gordon on Amy Sillman at Camden Arts Centre, London,\u201d\u00a0Texte zur Kunst<\/a><\/em>, December 2018<\/a>
<\/p>\n\n\n\n

24 April 2020<\/strong>
‘The Grey Space’<\/p>\n\n\n\n

\"This
Gerhard Richter Confrontation 1<\/strong>, 1988

<\/figcaption><\/figure>\n\n\n\n

Frances Guerin \u2018The Grey Space Between: Gerhard Richter\u2019s 18.Oktober 1977\u2019<\/a>, in Guerin, Frances., and Roger. Hallas. The Image and the Witness : Trauma, Memory and Visual Culture<\/em>. Nonfictions. London: Wallflower, 2007.

THE MNEMONIC FUNCTION
Alison M. Gingeras<\/strong> THE MNEMONIC FUNCTION OF THE PAINTED IMAGE
https:\/\/www.saatchigallery.com\/art\/essays.htm<\/a>
<\/p>\n\n\n\n

Antigone: freedom fighter or terrorist?
Guardian, Feb 2015<\/p>\n\n\n\n

\"This<\/a><\/figure>\n\n\n\n

Useful material and videos on Richter’s work:<\/strong>
https:\/\/www.gerhard-richter.com\/en\/art\/paintings\/photo-paintings\/baader-meinhof-56\/dead-7688?&categoryid=56&p=1&sp=32&tab=videos-tabs<\/a><\/p>\n\n\n\n

Germany in Autumn (Deutschland im Herbst) showing the backdrop and discussion of events and terrorism in Germany in 70s <\/p>\n\n\n\n

\nhttps:\/\/www.youtube.com\/watch?v=9MwCaTq2QvM\n<\/div><\/figure>\n\n\n\n

<\/p>\n\n\n\n

<\/p>\n\n\n\n

17 April 2020<\/strong>
Resistance and Ambiguity<\/p>\n\n\n\n

\"This<\/a>
Aldo Van Eyck: Playground, Nieuwmarkt.<\/strong>
See a discussion about Van Eyck’s work:
Aldo van Eyck\u2019s Playgrounds: Aesthetics, Affordances, and Creativity<\/figcaption><\/figure>\n\n\n\n

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

Additional Reading<\/strong> on the idea of snow and white surfaces see:
CharlesHarrison, \u201cOn the Surface of Painting,\u201d Critical Inquiry<\/em>15.2 (1989).<\/p>\n\n\n\n

\n\n\n\n

3 April 2020<\/strong>
The Way of the Shovel<\/p>\n\n\n\n


Discussions around Dieter Roelstraete <\/strong>The Way of the Shovel<\/strong><\/a><\/p>\n\n\n\n

\"This<\/a><\/figure>\n\n\n\n

Tim Ingold<\/strong>
Materials against materiality <\/p>\n\n\n\n

\"This<\/a><\/figure>\n\n\n\n

\u2018Towards understanding the nature of history and its limitations\u2019: An interview with the American Artist David Schutter<\/strong>. Journal of Contemporary Painting<\/em>
https:\/\/blogs.ncl.ac.uk\/christianmieves\/files\/2020\/04\/5.-JCP_4.2_Mieves_285-300.pdf<\/a><\/p>\n\n\n\n

\"This<\/a><\/figure>\n\n\n\n

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

\"This<\/a><\/figure>\n\n\n\n
\n\n\n\n

22 Nov 2019<\/strong>
How the World came in.<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n\n\n\n


Painting 2.0 Expression in the Information Age<\/em>.
Achim Hochd\u00f6rfer: How the World came in.<\/a>


<\/p>\n\n\n\n

8 Nov 2019<\/strong>
The Space of the Canvas<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n\n\n\n

Session 2<\/strong>
Foucault: Manet and the Object of Painting
Chapter 1: THE SPACE OF THE <\/a>CANVAS<\/a>
<\/p>\n\n\n\n

<\/p>\n\n\n\n

1 Nov 2019<\/strong>
Humor and Painting<\/strong><\/p>\n\n\n\n

Session 1<\/strong>
\u2018Ansel Krut and Ana Milenkovic talk art school, creative block and finding your style\u2019
https:\/\/www.itsnicethat.com\/features\/artists-in-conversation-ansel-krut-ana-milenkovic-160217<\/a><\/p>\n\n\n\n

\"This<\/a><\/figure>\n\n\n\n
\"This
BOOKS
SENSES OF HUMOR<\/a>
Christopher S. Wood on Saturn and Melancholy<\/em><\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

12 June 2020THE MNEMONIC FUNCTION OF THE PAINTED IMAGE Alison M. GingerasTHE MNEMONIC FUNCTION OF THE PAINTED IMAGE 29 May 2020The Logic of Sensation Deleuze, Gilles (2003)\u00a0Francis Bacon: The Logic of Sensation, trans. Daniel W. Smith, London: Continuum.Deleuze\u00a0Francis Bacon:\u00a0The Logic of Sensation 15 May 2020Painting beside itself DAVID JOSELIT ‘Painting Beside Itself’, October, 130, Fall […]<\/p>\n","protected":false},"author":8273,"featured_media":0,"parent":15,"menu_order":1,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-34","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/blogs.ncl.ac.uk\/paintingplus\/wp-json\/wp\/v2\/pages\/34","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=34"}],"version-history":[{"count":19,"href":"https:\/\/blogs.ncl.ac.uk\/paintingplus\/wp-json\/wp\/v2\/pages\/34\/revisions"}],"predecessor-version":[{"id":201,"href":"https:\/\/blogs.ncl.ac.uk\/paintingplus\/wp-json\/wp\/v2\/pages\/34\/revisions\/201"}],"up":[{"embeddable":true,"href":"https:\/\/blogs.ncl.ac.uk\/paintingplus\/wp-json\/wp\/v2\/pages\/15"}],"wp:attachment":[{"href":"https:\/\/blogs.ncl.ac.uk\/paintingplus\/wp-json\/wp\/v2\/media?parent=34"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}