Adamson knows this, but admirably proceeds to outline three areas of philosophy that are often overlooked in the hustle of
contemporary academic discourse: «Hellenistic philosophy» (the inheritance of Plato and Aristotle), «late antique philosophy among pagans, and ancient Christian philosophy.»
Not exact matches
On the contrary, ever since Jean Dubuffet established his collection of Art Brut in the 1940s and, later, Roger Cardinal coined the more inclusive category of Outsider Art in 1972, there has been a thriving market for — and
discourse around — work by untrained artists which has existed more or less separately from the parallel milieu of
contemporary,
academic art.
Since it's an academy that has been supported by both Andy Warhol and Prince Charles, and prides itself on both traditional methods, such as anatomy and indirect painting, and on
contemporary discourse, I thought it would be compelling to take the long view and explore how and why the classical
academic tradition has impacted the present state of figure - based art.»
In her work, Kilomba approaches «the colonial wound,» as she says, and intentionally creates a hybrid space between the
academic and the artistic languages, to explore new formats to decolonise knowledge and narrative, «bringing a new, experimental, and compelling voice into
contemporary art and
discourse.»