Tuesday 19 — Wednesday 20 June 2018
Teaching Painting: Painting the New
The critical, theoretical and political landscape in which painting is made continues to shift and develop. Recent exhibitions such as Why Painting Now?, Painting 2.0: Expression in the Information Age, The Forever now: Contemporary Painting in an Atemporal World, and Painting Forever, signal both the strong re-emergence of interest in the medium and its remarkable resilience in these changing times. Conferences and publications including Painting Beyond Itself, Thinking through Painting and In Terms of Painting have explored the contexts and conditions in which contemporary painting is made, or re-evaluated the influence of painting in preceding decades. Building on the first Teaching Painting conference held at the Whitworth in Manchester in 2015 that asked how painting is being taught now, this conference will explore salient aspects of contemporary painting and its rich histories so that we might question how the teaching of painting can respond.
Majella Clancy, The Thinking I: Self, Materiality and Paint Practice. Tony Benn & Glenn Ward, Teaching Painting. Thomas Cardwell, Geraint Evans & Zoë Mendelson, Painting as Technology. Brendan Fletcher, Painting, Art School & Class Struggle. Mary Anne Francis, Starting over: Teaching painting without students. Dean Hughes, Painting, Paragogy and Heutagogy. Julian Kreimer, Group and Individual, a Perspective from the Americas. Christian Mieves, ‘When I am falling, I am doing all right’: the role of doubt in contemporary painting practice. Julia Morrisroe, The Case for A Pedagogy of Slippage. Michael Newall, Why crits are ruining painting in art schools, and what to do about it. Kit Poulson, Please excuse my Zombie appetite…Reframing Paintings narrative beyond the Vitality metaphor. Alison Shields, Painting as thinking, painting as conversation: A New Materialist examination of painting processes through studio visits with Canadian artists. Dominic Shepherd & Richard Waring, Head; Heart; Hand; Painting In A Post-Digital World. Craig Staff, Resurfacing the past: art-historical baggage, painting and pedagogy. Michael Stubbs, Digital Embodiment in Contemporary Painting; a Material/Making Approach in Relation to the Screen’. Ehryn Torrell, Open Casket: Teaching Image-based Painting Today. Sarah Kate Wilson, Painting: a collaborative medium.
The conference will take place at the Royal Academy of Arts, Piccadilly, London.
Conference fee £98.
Co-convened by University of Brighton, Glasgow School of Art, Manchester School of Art, The Royal Academy Schools and the Royal Academy of Arts.