{"id":{"repo_id":"arts-london","oai_identifier":"oai:ualresearchonline.arts.ac.uk:15026"},"canonical_url":"https://search.dev.ndltd.org/etd/arts-london/oai:ualresearchonline.arts.ac.uk:15026","repository":{"repo_id":"arts-london","name":"University of the Arts London","base_url":"https://ualresearchonline.arts.ac.uk/cgi/oai2"},"display":{"title":"Durational Painting: gifting, grafting, hosting, collaborating","abstract":"This thesis takes as its focus contemporary painting, and develops an understanding of painting as a time-based medium. My research project addresses the array of strategies artists employ to produce durational paintings, a term I have coined as a means of referring to paintings that destabilise the traditional idea of painting as a static object, hung on a wall. The medium of painting embraces other mediums, such as performance and installation, to yield durational paintings. These paintings engage people in their production: vitally, they are participatory and are produced through collaboration. Furthermore, these paintings employ materials imbued with particular properties, such as longevity or, conversely, ephemerality. In time-based media collections and in existing histories of participatory and relational practices painting is absent: these omissions are redressed by the present study. Now that painting is time-based, it is ‘live’.","abstract_html":"This thesis takes as its focus contemporary painting, and develops an understanding of painting as a time-based medium. My research project addresses the array of strategies artists employ to produce durational paintings, a term I have coined as a means of referring to paintings that destabilise the traditional idea of painting as a static object, hung on a wall. The medium of painting embraces other mediums, such as performance and installation, to yield durational paintings. These paintings engage people in their production: vitally, they are participatory and are produced through collaboration. Furthermore, these paintings employ materials imbued with particular properties, such as longevity or, conversely, ephemerality. In time-based media collections and in existing histories of participatory and relational practices painting is absent: these omissions are redressed by the present study. 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