Journal of Contemporary Painting 3.1&2 – now available

 Intellect is thrilled to announce that the new issue of the Journal of Contemporary Painting (3.1&2) is now available.

At the heart of of many of the articles and artworks in this special edition of JCP is the notion of freedom – and the need to challenge received ideas, form, content and ideologies.

For more information about this issue please click here or email  

Articles within this issue include (partial list):


Painting as commitment

Authors: Sunil Manghani

Page Start: 55


Jean-Paul Sartre opens What is Literature? with the comment, ‘No, we do not want to “commit” painting, sculpture, and music “too”, or at least not in the same way. And why would we want to?’ Sartre’s idea of the committed writer was a dominant and evocative account of intellectuals of the Left in the immediate postwar period, but was superseded with the arrival of ‘theory’ from Althusser onwards, and with post-structuralist notions fully decentring the subject. What might this mean for the painter? Taking an existential account of painting as its starting point, the article offers a reappraisal of the anti-aesthetic and postmodern debates of the 1980s, and suggests the need to re-situate painting as commitment in itself. Rather than simply the need to place painting within wider social networks, it is the inherent appeal to freedom that remains significant about the medium.

(Bad) faith in painting (?): Critically re-evaluating the significance of Yu Youhan’s political pop series

Authors: Paul Gladston

Page Start: 137


This article seeks to critically re-evaluate a series of so-called ‘Political Pop’ paintings by the Shanghai-based painter Yu Youhan in relation to existentialist conceptions of good and bad faith as well as recent ethically related reassertions of oppositional criticality within the international art world. It will be argued that any description of Yu’s Political Pop paintings as having been produced definitively in either good or bad faith overlooks a persistent and indeterminate enmeshing of cultural production with locally dominant discourses and practices within the People’s Republic of China (PRC) as well those prevailing internationally that plays deconstructively across the boundary between conscious acceptance and rejection of freedom of choice and, by extension, the supposed limits of oppositional criticality.


Painting is believing

Authors: Paul O’Kane

Page Start: 195

With help from seventeenth-century religious philosopher Blaise Pascal, art history, artists On Kawara and Lee Ufan, this article sets out a contemporary scenario before digging progressively deeper into questions of ‘painting and commitment’. The article attempts to make a case that painting and painters inform or extend our understanding of commitment per se while clarifying our understanding of relationships – casual and otherwise – between art, belief and commitment. The article asserts the idea that the very process of painting begets belief, commitment and faith, and ultimately suggests that painting, by means of its special affinity with images, might be the basis of our particularisation and organisation of knowledge, as well as being considered ur religion.

Posted by Katy Dalli at 09:56 (0) comments
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