Where has painting gotten to these days? Has it dematerialized along with conceptual art and become a practice that only exists theoretically, hypothetically, as a thought experiment? Like most thought experiments, some kind of relationship with philosophy is implied, and here I ask what type of connection can painting have with philosophy? Is there a dominant gene in any admixture? Does painting precede philosophy as a first philosophy? If none of these, can painting ever work with philosophy, does philosophy necessarily try to overcome painting, or do painters have to pick up the power of the pen to become artists who write, artist philosophers, to demonstrate their know-how in both camps? I answer some of these questions through the ideas of Michael Corris and Peter Osborne, the conceptual art of Ian Burn and Support/Surfaces and the recent work of Hito Steyerl and Dawn Ng.
M Titmarsh (Wed,) studied this question.