Expanded Painting: Ontological Aesthetics and the Essence of Colour

241 Pages·2017·7.26 MB·English

by  Mark Titmarsh

Expanded Painting
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Expanded Painting
Ontological Aesthetics
and the Essence of Colour
Mark Titmarsh
Bloomsbury Academic
An imprint of Bloomsbury Publishing Plc
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First published 2017
© Mark Titmarsh, 2017
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Contents
List of Figures viii
Acknowledgements xi
1 The Presence of Paint 1
2 Expanded Painting 13
3 Post Aesthetics 77
4 An Ontology of Colour 131
5 The Painting of Being 157
Notes 173
Bibliography 195
Index 213
List of Figures
1.1 Mark Titmarsh, Ecology of Art Diagram, 2016 3
2.1 Pablo Picasso, Guitar, 1912, paperboard, paper, string, wire
(restored), 65.1 × 33 × 19 cm 19
2.2 Vladimir Tatlin, Painting Relief, 1914 20
2.3 Vladimir Tatlin, Complex Corner Relief, 1915 21
2.4 Kazimir Malevich, Alpha Architecton, 1920 22
2.5 Kazimir Malevich, Suprematist Composition, 1916–1917 23
2.6 El Lissitzky, Prounenraum, 1923, reconstruction 1971. Collection
Van Abbe Museum, Eindhoven, The Netherlands 25
2.7 Pablo Picasso, Still Life with Chair Caning, 1912, oil on oil-cloth
over canvas edged with rope, 29 × 37 cm 27
2.8 Marcel Duchamp, Bicycle Wheel, 1913, reconstructed 1964,
painted wooden stool and bicycle wheel, overall 126.5 cm, stool
50.4 cm, wheel 64.8 diameter cm 27
2.9 Ian Burn (1939–1993), No Object Implies the Existence of Any
Other, synthetic polymer paint on wood, mirror, lettering,
64.5 × 64.5 × 3.0 cm frame 33
2.10 Ian Burn (1939–1993), Artists Think No. 2, 1993, oil on canvas
boards, painted frames, three parts, each 38.5 × 29.0 × 4.5 cm 35
2.11 Donald Judd, Untitled, 1963, light cadmium red oil on wood,
49.5 × 114.3 × 77.5 cm 36
2.12 Frank Stella, Polk City, 1963, zinc chromate on canvas,
207.33 × 232.09 × 7.94 cm 37
2.13 Robert Smithson, Corner Mirror with Coral, 1969,
91.5 × 91.5 × 91.5 cm 40
2.14 Robert Smithson, Mono Lake Nonsite, 1968 41
2.15 Robert Smithson, Yucatan Mirror Displacements (2), 1969 42
2.16 Robert Smithson, Asphalt Rundown, 1969 43
2.17 Robert Smithson, Glue Pour, 1969 43
List of Figures ix
2.18 Robert Smithson, Drawing of Concrete Pour, 1969, pencil, ink,
crayon and tape on paper, 20 × 25 cm 43
2.19 Hans Namuth, Jackson Pollock, 1950 47
2.20 Allan Kaprow (1927–2006), An Apple Shrine, environment
presented at the Judson Gallery, New York (1960) 48
2.21 Jeff Koons, New Hoover Deluxe Shampoo Polishers, New Shelton
Wet/Dry 10 Gallon Displaced, Tripledecker, 1981–1987, four
shampoo polishers, vacuum cleaner, acrylic, fluorescent lights,
231.1 × 137.2 × 71.1 cm 55
2.22 Ilya Kabakov, The Man Who Flew into Space from His Apartment,
1981–88, six poster panels with collage, mixed media, dimensions
variable. Installation view from the exhibition, Ilya Kabakov: Ten
Characters, Ronald Feldman Fine Art, New York, 30 April–4 June
1988. Photograph by D. James Dee 57
2.23 Jessica Stockholder, Growing Rock Candy Mountain Grasses in
Canned Sand, April 1992, 23 × 12 m piece of violet bathing suit
material, sandstone native to Munster, gaseous concrete building
blocks, plaster, basket material, electrical wiring, three very small
lights, newspaper glued to the wall, acrylic paint, metal cables and
Styrofoam, overall 29 × 9 m. Installation view at Westfalischer
Kunstverein, Munster, Germany 58
2.24 Rosalind Krauss, Diagram of Expanded Sculpture, 1979 60
2.25 Mark Titmarsh, Diagram of Family Resemblances of Expanded
Painting, 2016 63
2.26 Huseyin Sami, Spaghetti Ball #3, 2008, acrylic paint,
20 × 23 × 23 cm 64
2.27 Richard Dunn, Shadowzone, 2005, fluorescent lights, polyester,
wire rigging, loudspeakers, 1,500 × 1,500 × 350 cm, sound
component, ‘An Einem Ort – An Einem Andere Ort’, Marcus
Kaiser, Cello, 2004/05. Installation view Artspace, Sydney,
Australia 71
3.1 Jim Lambie, Zobop, 1999, remade on installation, presented
by Tate Members 2006, vinyl tape, overall display dimensions
variable 123