The discarded body – Concealing, art historical borrowing and the redundant gesture as strategies in contemporary painting.
CCW Graduate School
In recent years, there has been much research into feminism’s impact on contemporary painting.
Yet, it appears little has been done in relation to how specific painting processes are used and manipulated as a way of thinking through this impact, from the position of the contemporary practitioner.
The term discarded body in constructed as a problematising term to address this issue. Its conceptual understanding emerges from post 1960’s feminist critique of the nude in terms of how Kenneth Clark’s art historical definition of the nude, (1956), is broken down. This conceptualization of the discarded body is then considered in relation to post 1980’s narratives of painting’s decline.
This is in order to contemplate a current ahistorical moment in contemporary painting where the painted gesture, usually assigned to an expressive artist takes on a more ambivalent position.