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Artmaking in the Age of Global CapitalismVisual Practices, Philosophy, Politics$
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Jan Bryant

Print publication date: 2019

Print ISBN-13: 9781474456944

Published to Edinburgh Scholarship Online: May 2020

DOI: 10.3366/edinburgh/9781474456944.001.0001

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The Politics of Painting: Cliché, Fashion, Mimesis

The Politics of Painting: Cliché, Fashion, Mimesis

Chapter:
(p.131) 10 The Politics of Painting: Cliché, Fashion, Mimesis
Source:
Artmaking in the Age of Global Capitalism
Author(s):

Jan Bryant

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9781474456944.003.0011

How might painting be understood in the 21st century? Working from the supposition that the painter confronts an over-loaded pictorial regime each time she begins to paint, this chapter considers three forces relevant to the contemporary context: (1) cliché and terror, concepts developed by Jean Paulhan in his text, Le Fleur de Tarbes; (2) the painterly defined in contradistinction to digital; and (3) the fashionable in its capacity to baffle the viewer as to whether a work ruptures or leaves undisturbed the prevailing apparatus or dispositif. Recent paintings by Angela Brennan are used to discuss how the political aesthetic operates in works that have no direct political claim but are nonetheless disruptive of certain existing notions, particularly around judgement. It critically asks through the immanent tradition of Deleuze, Nietzsche and Spinoza, on what criteria and on whose authority does one form judgements. This section includes Brennan’s interest in Piero della Francesca. [151]

Keywords:   Fashion, Cliché, Digital, The painterly, Jean Paulhan, Angela Brennan, Deleuze, Nietzsche, Spinoza, Judgement

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