This issue of SWIM is an exploration into how and why artists change mediums. From photographs by painters to paintings by musicians, it showcases work that signifies a shift in an artist’s practice. It also ventures deeper into the subject of the medium, investigating topics such as how mediums change over time, how one can be used to imitate and create another, and how the medium affects the message.
With many artists identifying as multi-media artists, and with an abundance of old and new methods and tools at their disposal, what sort of relationships are forged between their various disciplines? How does the way they paint affect the way they take a photograph? Does there exist a hierarchy within their practice? These are the sorts of questions this issue addresses.
Inside you will find essays that look at the history of the medium, the roles it can play and the boundaries it can transcend: Izabela Anna Moren examines the work of multidisciplinary research group Forensic Architecture, asking us to define its unique, many-sided approach to investigating human rights violations. Though it often exhibits its work at art institutions, can we ultimately define its output as art, and if so, as what medium? Meanwhile, Andrew Hunt speaks to visual artist Polly Apfelbaum about “opening painting up” to encompass sculpture, tapestry, fashion, publishing and handwriting. The artist draws parallels between these facets of her practice, explaining how and where they converge. Finally, Juliet Perry explores the influence of word-art through the position it can take in multiple mediums. Writing from the perspective of the text, as if it were sentient, Perry discusses its experience with its audience first-hand.232 pgs, 24 × 16.5 cm, Softcover