Painting Beyond Itself: An Edit (Day 2, pt 1)

by Mark Dilks

Day Two (edit)

Welcome to the Second Day: Isabelle Graw
Welcome to the Second Day (edit)

outward rather
than inward time –
time, time

Painting Photography Painting: Timelines and Medium Specificities: Carol Armstrong
Timelines Medium, Specificities (edit)

definitions proposals concept, specificity,

intermediate intermediary intermediate agency, instrument, or channel; a means;
chiefly exchange tokens transactions trading medium … material or technique material or mode
activity channel Freq. media Any material for recording or reproducing
intervening substance
impressions’ vehicle pervading enveloping lives
cultured. Conditions of lives’ usual social setting.
Any liquid substance.

no by definition go-betweens
exist within a matrix of communication
not be a reductive but generative light
painting, prime prime materiality medium.
mediums are histories
histories thought inscribed etymologies “menstruum” alchemical “a nutritive matrix” “a liquid
used as a vehicle;”

Regarding questions or so in reverse
several argued,
a 2008 Ellen Gallagher, An Experiment of Unusual Opportunity, strange, barely visible
deep sea creature floating in the underwater biosphere
lapidary fashion exactly?
low relief gestures support binding (imagistic) barely distinguished post-medium toward

Moving backward The Computer Moves In
raster spill, manganese
ancient and modern pre-printed
deceased in 2010
umbrella institutional history, large, “material thought”
facture and techne somekind of hybridity province
cave paintings hover in the back in front of the rest
not binder

Flood (1967)
colored pigment suspended in a binder flows between chance and intention
process binds image abstraction figurative literal reference reflexivity metaphor metonymy visual verbal
as well

until death die hard
printed painted history changed is
White Male American
straight – or rather bent
obvious filiation endemic to teleological histories
only sibling instances arrayed over time

“cultural dominant”
did not mean another death
morphed liquidity
in a dance manu – facture
singular no longer led the march

Laszlo Moholy-Nagy
death exaggerated
put under the sign of the photograph appearing in a book photogram reproduction into one
slippery definitions
dominates (negative) facture physicality light shadow indexical shed pictorial embrace self-
reflexivity light sensitive surface graces cover dialectical Aufhebung
one is in the other
in a matrix

Only fifteen years of 1940
1890 remember surface covered
inserted American condon filiation French 1860s
literature 1860s premature
the late becoming present
its death rattle
air, water, earth and fire; blood, water, milk, light and gem; solid, liquid and gas; liquefaction,
combustibility, mineral bases, alchemical possibilities, often poisonous
out of the ground transmogrified incandescence shuttling between pure matter pure chroma brute materiality ethereal opticality

mummification beneath yellowing time

intense flaming glory blinding brilliance
fireworks of sleet dazzle
wounded by the darkness tried to release the dream

steal Nature azurite, chinese enamel, oxidized copper, lapis lazuli, royal water, mercuries sulfuric, carmine bloody, haemetite, amatito, sixteenth century, cardinal, Rome, peacock, diluvian pudding, velvet, arsenic copper, lizard feldspar, canary honeyed arsenic florins; pyritic copper, pink violet.
glass earth, sapphire, ruby, pearl, diamond.

end time rebeginning
chaos delivers
flood churned oily rainbow
bubble / spin form cycle
not endgames
Romantic splintering of subject, sign and medium,
(spiral) model

Lessing Greenberg
temporal spatial
not the photograph itself, but a photographic reproduction of

adduce de Piles’s 1673 dialogue coloring difference
Relational, cosmic, feminine
no timeline dualism
specificity as “difference”

Europa [1957] topos
Rape of Europa
Le chef-d’oeuvre inconnu
violation, smear unbound
Europa obliterative American move violence
by on through woman
bodied new beginning
raping the old

plural possibilities praxis heterodox, heterochronic end the logic of the endgame not one

First 2002 fifty years.
liquidity atmospherics allusiveness 2003, rasterized,
poured, abstract figural, gesture stand
decades irreverence, fundamental heterogeneity
her flourishing incipience topicality penmanship-paper grid
epitomized (and timeline) possibility.
These, then,
different times, at once singular, plural




Rehearsing in/with Media: Some Remarks on the Relationship between Dance, Film, and Painting: Sabeth Buchman
Rehearsing In / With Media (last two pages) (edit)

double being transmitting ongoing intermingled movement
along line
spatial no space
but movement formatting
reformatting the acoustic effect of rhythm time
intervals, movements a variation
movements (self-) movement
the rehearsal practices social order
lively “in the-making”
bodily double-edgedness
now ubiquitous


Mark Dilks, born in Philadelphia, lives and works there. Mark’s works move through paint, object, text and sound. Screens and Screening have been a research focus. Professors and Peers at Hampshire College, Pennsylvania Academy of the Fine Arts, and Maryland Institute College of Art informed his work and research. University of Pennsylvania gave him an Interdisciplinary Arts MFA in 2013. Grateful thanks to youse.