{"id":202,"date":"2023-06-21T15:43:34","date_gmt":"2023-06-21T15:43:34","guid":{"rendered":"https:\/\/wp.lancs.ac.uk\/temporalities\/?page_id=202"},"modified":"2024-02-04T16:53:19","modified_gmt":"2024-02-04T16:53:19","slug":"biography","status":"publish","type":"page","link":"https:\/\/wp.lancs.ac.uk\/temporalities\/james-quin\/biography\/","title":{"rendered":"JQ Biography"},"content":{"rendered":"

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James Quin is an artist and Lecturer in Fine Art (painting) at the Lancaster Institute for the Contemporary Arts \u2013 Lancaster University.<\/p>\n

In his essay, Painting in the Expanded Field, Gustavo Fares introduces \u2018no-movement\u2019 and not \u20183-D\u2019 as two characteristics that painting, \u2018understood in a classical way\u2019, lacks. Fares also develops, by way of conclusion, the ways in which an acknowledgement of the logical historical conditions of the medium (painting) results in \u201cembodied\u201d meanings. Quin\u2019s practice-based research, since 2017, explores the ways in which the temporal conditions of painting – as static images \u2013 or \u2018no movement\u2019 images, to follow Fares, are challenged and tested within a three- dimensional material field of images drawn from the history of painting in ways that ask a straightforward question. In relation to what, are paintings static?<\/p>\n

Quin\u2019s labyrinthine installations of paintings explore the ways in which painting can operate in an expanded field wherein materiality (paint), movement (embodied looking), and moment (painting\u2019s history) might be encountered simultaneously.<\/p>\n

Quin\u2019s painting s have been exhibited nationally and internationally, with his most recent installation of painting shown at Liverpool\u2019s Walker Art Gallery.<\/p>\n

https:\/\/www.liverpoolmuseums.org.uk\/refractivepool<\/a><\/p>\n

https:\/\/james-quin.blogspot.com\/<\/a><\/p>\n

https:\/\/theses.ncl.ac.uk\/jspui\/handle\/10443\/4692<\/a><\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

James Quin is an artist and Lecturer in Fine Art (painting) at the Lancaster Institute for the Contemporary Arts \u2013 Lancaster University. In his essay, Painting in the Expanded Field, Gustavo Fares introduces \u2018no-movement\u2019 and not \u20183-D\u2019 as two characteristics that painting, \u2018understood in a classical way\u2019, lacks. Fares also develops, by way of conclusion, […]<\/p>\n","protected":false},"author":1651,"featured_media":0,"parent":138,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-202","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/wp.lancs.ac.uk\/temporalities\/wp-json\/wp\/v2\/pages\/202","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wp.lancs.ac.uk\/temporalities\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/wp.lancs.ac.uk\/temporalities\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/wp.lancs.ac.uk\/temporalities\/wp-json\/wp\/v2\/users\/1651"}],"replies":[{"embeddable":true,"href":"https:\/\/wp.lancs.ac.uk\/temporalities\/wp-json\/wp\/v2\/comments?post=202"}],"version-history":[{"count":7,"href":"https:\/\/wp.lancs.ac.uk\/temporalities\/wp-json\/wp\/v2\/pages\/202\/revisions"}],"predecessor-version":[{"id":484,"href":"https:\/\/wp.lancs.ac.uk\/temporalities\/wp-json\/wp\/v2\/pages\/202\/revisions\/484"}],"up":[{"embeddable":true,"href":"https:\/\/wp.lancs.ac.uk\/temporalities\/wp-json\/wp\/v2\/pages\/138"}],"wp:attachment":[{"href":"https:\/\/wp.lancs.ac.uk\/temporalities\/wp-json\/wp\/v2\/media?parent=202"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}