This essay sets out to explore a range of issues that arise from the notion of ‘bad painting’, wh... more This essay sets out to explore a range of issues that arise from the notion of ‘bad painting’, which was a term that came to have some currency within art practice and art criticism from the late seventies onwards. The term Bad Painting in this research was used to describe a certain category of painting from the late seventies onwards. This essay asks, does a reliance on category definition of good or bad in painting offer a meaningful discussion of our experience of painting? Through the use of aesthetic experience as outlined by Richard Shusterman in Pragmatist Aesthetics, Re-thinking Beauty, category definitions as a means of describing what is beautiful or good becomes more and more redundant. The potential use of conscious learned incompetence and gaucheness within the making of a bad painting might provide correctives to normal habits of aesthetic evaluation which are purist and disembodied have become orthodoxies within art practices and art criticism.
This essay sets out to explore a range of issues that arise from the notion of ‘bad painting’, wh... more This essay sets out to explore a range of issues that arise from the notion of ‘bad painting’, which was a term that came to have some currency within art practice and art criticism from the late seventies onwards. The term Bad Painting in this research was used to describe a certain category of painting from the late seventies onwards. This essay asks, does a reliance on category definition of good or bad in painting offer a meaningful discussion of our experience of painting? Through the use of aesthetic experience as outlined by Richard Shusterman in Pragmatist Aesthetics, Re-thinking Beauty, category definitions as a means of describing what is beautiful or good becomes more and more redundant. The potential use of conscious learned incompetence and gaucheness within the making of a bad painting might provide correctives to normal habits of aesthetic evaluation which are purist and disembodied have become orthodoxies within art practices and art criticism.
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