Slow Painting: Contemplation and Critique in the Digital Age

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