Painting practices in 60thmade efforts to absorb lesson of art critiques or conceptual art , which thereby allowed themselves to become less problematic and revitalize themselves. there is a traditionally associated vitalized projection with painting, and painting now has become more and more well-equipped to trigger this sort of projection.
Brushstroke serve as an indicator of subjectivity in painting, display of suggestion of painterly effect. Painting reveal traces of activity to the eyes, that is actually able to evoke subjectivity-the subjectivity of painting therefore allows for projection of agency. This sort of notion that painting could act or speak can be called the vitalized projection, and painting is able to evoke this projection by its specific language – indexicality,
A sign is a physical form that refers to something which is not
In painting, there is one dominant sign, the indexical signs, indexical signs present the physical power. In painting the physical form of its signs seem to get constantly emphasized, regardless of the thing they refer to, something iconic or symbolic,
These signs will be experienced as a manifestation of the absence of author, which Physically reminds us of the authors intervention as well.
Paintings' indexicality differs from the indexicality of other art forms, the ghost-like presence of author is actually a kind of illusion nourished by painting, it is not actually happening.
The living label of artist heavily involved with the value of painting
Considering painting semiotically as a form of sign production has two advantages, one is
Photography can take up the representative and narrative stratgy
Product and person tend to overlap in artwork like performance, product being a person, not the authentic person of the artist of course, but a highly staged version of it, by contrast, painting serves to mediate the relationship between person and product through the canvas, talking about the product and person who made it , the product can not be reduced to the person of its maker, what prevents this reduction is the specific materiality. So that product and the maker signify one another in painting but not collapse into each other.
In another word, painting being saturated by the imagination of its producer can be reduced to this person.
the person of artist via his dream and thoughts seems to fantastimatically be presented in his work.
Painting's specific indexicality
There is a relation between the ghost-like presence of the absent author in painting to the way indexical signs operate. The class of signs response to the original objects point by point, this can be found in photography, nowadays many conceive photography recording life conditions as a trace or imprint, at is point photography is an indexical artform as it gives automatically inscription of object without presupposing an author. its index is usually regarded as an anti-subjective device that undermines authorship. On contrary there is a claim that the different indexicality for painting functions precisely in the opposite way, these indexical signs seem to establish a physical connection, the connection is not to object but to the one who has left her or his marks. The factual physical connects to its object highlighting the index's faculty for evoking or suggesting such physical connection to the one who made it. It evokes that doesn't really exist, the physical connection is something painting is able to evoke. This indexicality also exist in other artform, for instance The scratch or deliberately false exposure in experimental film are read as a kind of manifestations of the author as well. photography is characterized by its exceptional capacity to denote reality, painting by contrast tends to bring its author into effect.
Linking indexicality to painting in this way doesn't not imply the ignorance to the spilt that occurs between the artwork and what to be imagined the authentic. What we encounter in this indexical signs of painting is not at all the authentically revealed self of the painter, instead these signs are able to suggest the imaginary presence of the absent artist, painting is a highly differentiated language that consists of a number of techniques, methods that allow for the fabrication of the fantasy of the author's presence as an effect.
For these indexical effect to occur artists do not have to truly and physically attack the canvas, for example, the silk prints or digitally printed paintings are still able to conveying the sense of presence of artist By virtue of the imperfection and deliberately uncorrected, selected combination of colors or subsequent improvement. In this case, the indexical signs are able to capture our attention because they are affect by the power of the object, the personal of the artist. Painting signs as indexical so far can be read as the trace of artist which of course is an illusion to some degree, painting pumps the illusion and there for provide material bases for the illusion.