The starting point of this diploma thesis is the reflection on the relationship between the digital image and painting, which determines any transfer of image between the two mediums. The plurality of interpretations of the term digital requires the division of research into the technological and cultural component, which are mutually conditioned by contemporary painting practices. Their placement in the contemporary cultural and media landscape, saturated with nostalgic revivalism of past forms of digital visuality, represents the starting point for critical treatment through the prism of retrofetishism and hauntology. I aim to explain the media hybridization and dissemination of painting and digital image through the prism of post-media theory. Using the examples of artists Avery Singer and Julius Hofmann, my own creative practice, the concept of the extension of painting and post-internet theory, I also outline the terrain that lies beyond the conceptualizations of post-media painting.
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