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dc.contributor.advisorMarcus, Donna
dc.contributor.authorReichelt, Victoriaen_US
dc.date.accessioned2018-01-23T02:27:25Z
dc.date.available2018-01-23T02:27:25Z
dc.date.issued2005en_US
dc.identifier.urihttp://hdl.handle.net/10072/366187
dc.description.abstractThis thesis considers how the Twentieth Century 'death of painting' debate brought about a series of challenges and changes to painting that have ironically ensured its survival. This is illustrated in the practice of artists Gerhard Richter and Glenn Brown, whose investigations into painting's failures and limitations have paradoxically resulted in their works demonstrating the continued relevance and success of the medium. Specifically, this discussion analyses Richter's Annunciation After Titian (1973) series and Brown's series of works that appropriate Frank Auerbach paintings (1998 - 2000). These works illustrate the ways in which painting has developed in the last half of the Twentieth Century as a result of the 'death of painting' debate. The primary developments identified are that painting now draws from and references many other media; painting now embraces photography (instead of seeing it as a threat); the use of appropriation in painting is now seen as expansive rather than as representing depletion; there has been a return to romanticism and pleasure in painting; and women are now included in the broader discussion of painting. In considering the 'death of painting' debate, as well as the changes painting has experienced as a result of it, the primary point of departure is Yve-Alain Bois' pivotal essay 'Painting: The Task of Mourning' (1986) and his analysis of Hubert Damisch's 'theory of games'. The evolution of the 'death of painting' debate is also outlined via the writings of Douglas Crimp, Arthur C. Danto, Douglas Fogle, Michael Fried, Jeremy Gilbert-Rolfe and Georg Wilhelm Friedrich Hegel. This thesis also considers how the debate has impacted contemporary painters' practices, as well as how my own practice owes a debt not only to the response of artists like Brown and Richter, but also to the debate itself.en_US
dc.languageEnglishen_US
dc.publisherGriffith Universityen_US
dc.publisher.placeBrisbaneen_US
dc.rights.copyrightThe author owns the copyright in this thesis, unless stated otherwise.en_US
dc.subject.keywordsPainting (Fine art)en_US
dc.subject.keywordsartists in the 21st centuryen_US
dc.subject.keywordsart historyen_US
dc.titlePainting's Wrongful Death: The Revivalist Practices of Glenn Brown and Gerhard Richteren_US
dc.typeGriffith thesisen_US
gro.hasfulltextFull Text
dc.contributor.otheradvisorHawker, Rosemary
dc.rights.accessRightsPublicen_US
gro.identifier.gurtIDgu1316558492956en_US
gro.identifier.ADTnumberadt-QGU20060901.143140en_US
gro.source.ADTshelfnoADT0494en_US
gro.source.GURTshelfnoGURTen_US
gro.thesis.degreelevelThesis (Professional Doctorate)en_US
gro.thesis.degreeprogramDoctor of Visual Arts (DVA)en_US
gro.departmentQueensland College of Arten_US


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