Hallucinating Art History
Kamini Vellodi2017, Art History
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Abstract
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The paper critiques Eric Alliez's "Brain-Eye: New Histories of Modern Painting," which challenges traditional narratives of modern painting by proposing a constructivist aesthetic. It argues that Alliez's framework, while innovative, tends to isolate aesthetic qualities from broader social contexts. The author suggests that deeper engagement with the socio-historical aspects of art is necessary for a more comprehensive understanding of modern painting, particularly through the works of artists like Manet, Seurat, Gauguin, and Cezanne.
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Journal of Contemporary Painting , 2019
While most of Hubert Damisch’s major books have been made available in English since the publication of Yve-Alain Bois’ review essay ‘Painting as model’, it nonetheless remains a shame that Fenêtre Jaune Cadmium (Damisch 1984) – the subject of Bois’ review – has not been translated. Although best known as a specialist in Renaissance art, the essays of Fenêtre show how Damisch’s distinct art-theoretical project emerges from his early writings on modernist and post-war painting, phenomenology and structuralism. This paper argues that Damisch’s writings and Bois’ essay serves as a crux for the October journal. October was at the forefront of the critique against painting during the early 1980s, but the publication of ‘Painting as model’ suggests a sea change in the journal. I shall examine how Damisch’s entwining of phenomenology and structuralism, as a model for October that helped revise its understanding of painting and for rethinking the relationship between art history and art criticism. Contents of issue here: https://www.ingentaconnect.com/content/intellect/jcp/2019/00000005/00000001
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