EXIT #47 - Photo and Painting View larger

EXIT #47 - Photo and Painting

Producciones de Arte y Pensamiento, S.L.

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Foto y pintura

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EditorialProyectos Utópicos S.L
YearAugust / 2012
LanguageSpanish / English
PagesFrom 160 to 200
FormatRustic
ISSN1577-2721

9771577272008-47

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EXIT #47 - Photo and Painting

What sense is there in trying to draw, to faithfully paint blood when we can photograph it? Painting and photography, painting or photography: the difference between confrontation and alliance is what extricates their evolution and development from sudden death. The profound relationship between these two creative media goes beyond pure formalization, delving into linguistic concepts and narrative structures in a continuous back-and-forth movement from the gaze to the hand, and from the gaze to reality. The disjunction between the hand and the machine is no longer pertinent when discussing painting or photography. Photography is not the work of a machine anymore. It never was the work of the machine, but the eye, the quintessential artistic tool.

We know works of art through photography, not the real works, but photographs of them. The relationship of photography and painting is rather like that of a son's admiration for his father, the disciple's apprenticeship, relations that threaten to eliminate the father or the master. As an artistic and therefore symbolic language painting needed time to reaffirm and reinvent itself, whereas photography triumphed thanks to a clear image with references to the history of art in a quick thus necessarily superficial reading and by reviving formal realism. From its beginnings to its current situation photography has never been made by photographers but by artists, architects and theorists who have found in it the ideal tool to achieve some conceptual and formal objectives, above and beyond its relationship to painting. Photography has altered the unfolding of painting, which survives because it is transformed, of a way of telling that has changed since it has been reflected in the concave mirror of photography and has subsequently had to analyse and restructure itself through the moving picture. 

This issue encompasses a broad range of formats in order to provide a complete view of the relationship between painting and photography: José Manuel Ballester, Pablo Picasso, Peter Oetzmann, Hannah Sawtell, Nanna Hänninen, Mariah Robertson, Darío Villalba, Manuel Álvarez Bravo, Alex Dorfsman, Pere Formiguera, Andreas Gefeller, Idris Khan, Sigmar Polke, Juan Antonio Sánchez Rull, Shirana Shahbazi, Shahzia Sikander, Wolfgang Tillmans, André Villers, Joel-Peter Witkin... in whose works painting invades photography, and wherein photography escapes from painting only to return to it and confront it. Here, photography practices a criticism of the history of art, the idea of authorship and even that of genre. 

Editorial:
Symbols, Traditions and the History of Art. Rosa Olivares

Essay:
On Disjunctions, Conjunctions and Equivocalness. Laura González Flores

Interviews:
Ignasi Aballí. Carolina García
José Ramón Amondarain. Sergio Rubira

Portfolios: José Manuel Ballester, Nanna Hänninen, Peter Oetzmann, Pablo Picasso, Mariah Robertson, Hannah Sawtell and Darío Villalba

Artists: Manuel Álvarez Bravo, Alex Dorfsman, Pere Formiguera, Andreas Gefeller, Idris Khan, Sherrie Levine, Dora Maar, Gjon Mili, Hans Namuth, Sigmar Polke, Richard Prince, Arnulf Rainer, Juan Antonio Sánchez Rull, Shirana Shahbazi, Shahzia Sikander, Wolfgang Tillmans, André Villers, Jeff Wall and Joel-Peter Witkin.

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