Abstract
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 it revise its understanding of painting and for rethinking the relationship between art history and art criticism.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.