Some Comments on the Claims Made For and Against Painting
DOI:
https://doi.org/10.11606/issn.2178-0447.ars.2022.196961Keywords:
Painting, Autonomous Art, Contemporary ArtAbstract
This work argues about painting’s pertinence or inappropriateness as a canonical art form before modernity’s social and political experiences. Departing from painting’s notorious attribution as a model of autonomous activity between subject and world in the midst of the Enlightenment culture, this analysis compiles artistic proposals from streams entitled “Bohemian-Duchampian” and “Constructivist-Soviet” that will result in concomitance and, sometimes, rivalry between painting and new art forms. Finally, the text indicates the striking historical traces of such debate by assimilating the paths of current artistic production.
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References
ADORNO, Theodor W. Teoria estética. Lisboa: Edições 70, 2008.
FRIED, Michael. Art and Objecthood. Chicago: The University of Chicago Press, 1998.
GREENBERG, Clement. Vanguarda e Kitsch. In Arte e cultura / trad. Otacílio Nunes. São Paulo: Cosac Naify, 2013, pp. 27-44.
HEIDEGGER, Martin. O ser e o tempo. São Paulo: Editora Vozes, 2015.
STENDHAL, H.-M. B. De l'amour. Paris: Gallimard, 1980.
STENDHAL, H.-M. B. Do amor. São Paulo: Martins Fontes, 1999.
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Copyright (c) 2022 Leonardo Nones; Jeff Wall
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