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Index
Cover
Half-Title
Title
Contents
List of Figures
Acknowledgments
Introduction
Part One Photographs Transformed into Socio-critical Paintings
1 Paintings Consolidating Fleeting Press Photos
Case Study of Daniel Richter’s Phienox (2000)
The Fast Immediacy of Action Photography Turned into the Slow Immediacy of Painting Actions
The Indirectness of Photo-reproducibility Slowing down the Perception of the Hosting Painting
The Corporality of Paintings That Include News Photos
Bridging Distances in Time through History Painting and Histories of Painting
Experiencing the Absence of Text: Mind the Gap
2 Collage Paintings Sparring with Visual Propaganda
Two Case Studies: Kerry James Marshall’s Great America (1994) and Jaune Quick-to-See Smith’s Spam (1995)
Debates on Paintings Including Text
Collage Paintings Returning Physicality to Collages in the Digital Age
Feminists’ Aversion to and Rediscovery of Painting in Collage Paintings
The Power of Visual Political Propaganda Interrogated and Applied
The Rhetoric of Commercials Applied in Collage Paintings
3 Slow and Socio-critical Painting-like Digital Photographs
Case Study of AES+F’s Last Riot 2, Tondo #22 (2006)
Debates on Digital Imagery’s Relationship with Painting
Parasitizing on the “Truthfulness” of War Photography and Artistic Truth in History Painting
Space-time Compressions and “Fakeness” in Constructed Digital Photographs
Part Two Painting as Socio-critical Time-based Art
4 Painting Actions Materializing Social Relationships
Two Case Studies: Paweł Althamer’s Draftmen’s Congress (2012) and Artur Zmijewski’s Them (2007)
Painting as a Verb: From Action Painting to Painting as Socio-critical Action
Painting in the Expanded Field: Entering the Space of Paintings
Delegated Performance: The Social Space of Painting
5 Socio-critical Expanded Paintings through Veiling and Unveiling
Case Study of Jasmina Metwaly’s Tahrir Square: Metro Vent (2011)
Video Art’s Relationship with Painting
The Screen as Canvas: Centripetal Images Evoking Critical Contemplation
Functionally Disturbed Moving Images as Video Paintings
The Dynamics of Digital Video Technology as Metaphor for Social Memory
Slow and Boring Videos Challenging Perception and Interrogating Stillness
Concluding Remarks
Bibliography
Index
Copyright
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