The role of the accident is significant within the history of art-making. It is the moment of the unexpected, where a supposed mistake or unintended mark causes a sort of epiphany within the creation of a work. This moment, wherein an artist discovers a new move by chance or coincidence, brings a freshness or life to the work that may have otherwise been missing. Taken together, these moments, often romanticized, can be significant for the artist and for the development of his or her work. In the age of digital media (or at a time when digital media are used in tandem with traditional media), such accidents can often happen as consequences of the media itself. The moments of static, misprinting, or silence afford the artist both formal compositional accidents, and open the role of accident to greater cultural scrutiny: a scrutiny, which examines the formal aspects of the technology, and via its deficiencies, on the significance of the medium in culture. The technologies’ shortcomings expose the belief and/or social dependency with which it is imbued in the 21st century. For the artist who engages such accidents, these become opportunities of both form and content; the method, which employs moments of technological imperfections, comments upon itself as a product of that imperfection (the antithetical idea of technology), and reflects upon the condition of art-making in the 21st century. This paper will examine the significance of such accidents in recent art history, and in my own work as a painter.
|Keywords:||Painting, Art Making, Process, Digital Media, Art Theory|
Assistant Professor, Interior Architecture, Ohio University, Athens, OH, USA
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