Likeness and presence; a precise complication
Likeness and presence; a precise complication
This is one of three essays in the catalogue for the exhibition A Sort of Night to the Mind; a Kind of Night for our Thoughts. The exhibition surveys the work of 23 established painters who engage with questions of the relationship between materiality and illusion. The essay, written from the perspective of an exhibitor in the show, explores these notions with reference to Stanley Cavell's writings on presence and Hal Foster's critique of the exhibition The Painting of Modern Life.
The research for this essay was conducted through practice over a number of series of paintings, utilising a method of applying graphite powder to produce illusive images with a very particular reflective quality; a changeable surface responsive to the viewer’s position. The text reflects upon the experience of a particular place, analyzing the depiction and viewing of it as a self-conscious act, evoking an experience of temporality that is ‘haptic’ and embodied. The essay, seen in relation to the exhibition, seeks to demonstrate the relevance of these issues in contemporary painting practice.
9780957057401
10-14
Harland, E.J.
eb6ae114-8c41-4c8b-bb6c-8d17e0dfc4de
2011
Harland, E.J.
eb6ae114-8c41-4c8b-bb6c-8d17e0dfc4de
Harland, E.J.
(2011)
Likeness and presence; a precise complication.
In,
A Sort of Night to the MInd; a Kind of Night for our Thoughts.
London, GB.
Arch 402 Gallery, .
Record type:
Book Section
Abstract
This is one of three essays in the catalogue for the exhibition A Sort of Night to the Mind; a Kind of Night for our Thoughts. The exhibition surveys the work of 23 established painters who engage with questions of the relationship between materiality and illusion. The essay, written from the perspective of an exhibitor in the show, explores these notions with reference to Stanley Cavell's writings on presence and Hal Foster's critique of the exhibition The Painting of Modern Life.
The research for this essay was conducted through practice over a number of series of paintings, utilising a method of applying graphite powder to produce illusive images with a very particular reflective quality; a changeable surface responsive to the viewer’s position. The text reflects upon the experience of a particular place, analyzing the depiction and viewing of it as a self-conscious act, evoking an experience of temporality that is ‘haptic’ and embodied. The essay, seen in relation to the exhibition, seeks to demonstrate the relevance of these issues in contemporary painting practice.
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Published date: 2011
Organisations:
Winchester School of Art
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Local EPrints ID: 300180
URI: http://eprints.soton.ac.uk/id/eprint/300180
ISBN: 9780957057401
PURE UUID: 8409d538-b6a8-4244-aa59-1add42bb0449
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Date deposited: 22 Feb 2012 09:55
Last modified: 10 Dec 2021 23:51
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Author:
E.J. Harland
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