'Touch Screen'

The essay takes as its starting point the assertion that the question of surface is inseparable from the question of the human body in respect of painting. Surface in painting exists as the interface between a possible virtual, projected space and the painting’s material skin – which, at least in principle, is accessible to bodily touch. The understanding and meaning of this point of interface undergoes complications and shifting formulations over painting’s history, however. The engagement of the paintings of David Reed with the transformed meaning of the painted surface via the mediation of the screen in contemporary culture, in particular that of the cinematic image, forms the main object of analysis of the essay which draws upon art historical analysis, film theory and phenomenology.

From the publisher's website:

"Painting: Critical and Primary Sources is a four-volume reference work that brings together seminal writings on the history, philosophy and practice of painting. The collected essays range across the domains of philosophy, history, aesthetics, literature, science, anthropology, critical theory, cultural studies and art practice.

Each volume is arranged thematically and separately introduced by the editors. Together the volumes trace a chronology of painting from the pre-Renaissance onwards, addressing notions and techniques of the artist and the artwork before setting out the key critical perspectives, problematics and approaches that frame modern painting practice from the nineteenth century through to the contemporary period.

With key essays from Michel Foucault, Gilles Deleuze, Roland Barthes, Michael Fried, Emile Zola, Marcel Proust, Hubert Damisch, John Berger, Arthur C Danto and many more, this set is an essential resource for all students and scholars of fine art."

(Source: http://www.bloomsbury.com/uk/painting-9781472558411/)