the evidence of the digital’s effect on our consciousness may be observed in the changing relationship between painting, photography, and film as each succumbs to, resists, or is annexed into the experiences and aesthetics engaged by digital media’s sphere…the differentiation between visual art and photography now exists only as an index of differing perspectives and contexts.1

The PaintingDigitalPhotography conference seeks to investigate how artists and theorists are currently engaged in critical discourses around the shifting relationships of painting, photography, and digital manipulation. How are these mediums being defined in their connection to one another as new hybrid forms are being created through their combination? What do these combinations tell us about these mediums and disciplines, their natures and practices, in the digital age?

Central to the debate will be the focus on the blurred boundaries, common threads, antagonisms, distinctions, and growing interrelationships between painting, photography, and ‘the digital’ in the development of new creative practices.

Abstracts and proposals for presentations at the Conference are now being invited along the lines of:

  • Painting and Photography
  • Photography and Painting
  • Painting and the digital
  • Photography and the digital
  • Painting, the digital, and Photography

We are particularly interested in research that investigates how digital imaging and manipulation is used to bring about interconnectivity between painting and photography. Please send Abstracts / Proposals (for a 30 minute presentation) of no more than 500 words to Carl Robinson: c.robinson at derby.ac.uk

  • 1. Saul Ostrow “Photography, Fine Art Photography, and the Visual Arts: 1900 – 2001” Focal Encyclopaedia of Photography 4th Edition. Michael R. Peres. Editor-in-chief.