Untitled, Or

‘however ‘lifelike’ we strive to make it (and this frenzy to be lifelike can only be our mythic denial of an apprehension of death)
it is a kind of primitive theatre
a kind of Tableau Vivant
a figuration of the motionless and made-up face
beneath which we see the dead’

Morgan Fisher
Self-portrait, 1994/2005. Acrylic on pavement 194.5 x 110.5 cm

Morgan Fisher
Colour Balance, 1980. Installation close-up 

Andrew Norman Wilson
Globalism with Space Station
2019, Ink on paper, 77 1/2h x 49w in

Andrew Norman Wilson
Map Making With Pinge
2019, Ink on paper, 77 1/2h x 59 1/2w in

‘Beyond the specific political and ecological narratives suggested by each work, these collages embody the loss of photography’s truth claims and informational value. Amidst this undoing, image-making has returned to something more like illustration or Western historical painting through the potential for infinite mutability in digital post-production and computer generated imagery’.

Untitled (Study for Parallel of Life and Art) 1952 Nigel Henderson and Sir Eduardo Paolozzi 1917-1985 http://www.tate.org.uk/art/work/T12444

What’s a new regime of the image?

Scanned ILFORD box, mixed media

1975 Digital Camera Prototype by Eastman Kodak engineer Steven Sasson

Harry Saunders, Human Resolution, 2013, Mute

THOMAS HIRSCHHORN
9 POINTS TO CLARIFY MY INTEREST IN PIXELATION AND WHY I AM INTERESTED IN WORKING WITH PIXELS. (2017)

Crowd creativity / New folk art / Art in the age of machine learning

https://www.e-flux.com/journal/49/60004/too-much-world-is-the-internet-dead/

Stills from ‘Industry und Fotografie’, 1979, Harun Farocki

‘It is a new development in history that work is not accessible anymore, it has disappeared behind walls like a private possession…  Since the start of big industry, work can no longer be viewed. It has become invisible, lost its concreteness. The names of the production factories rise above the walls… they are comprehended as words rather than as images.’