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, 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 and have become orthodoxies within art practices and art criticism.
|Number of pages||15|
|Journal||Sztuka i Filozofia|
|Publication status||Published - 1 Jan 2009|