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Lookup NU author(s): Dr Kevin Lotery
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In 1978, Richard Hamilton mounted The artist's eye at the National Gallery, London, the second in the museum's series of artist-designed exhibitions. The result was a strange space in which Bosch and Velázquez commingled with an Eames recliner, an ironing board, and a working television. Five years later, Hamilton constructed Treatment Room (1983–84), in which painting's skillful gestures found themselves interrogated by Orwellian machineries of destruction and paranoia. This essay argues that Hamilton's remobilization of traditions of painterly imagination and skill held a critical spatial function: to equip spectators with cognitive tools for thinking through and imagining routes out of the traumatic “rooms” of a postmodern decade.
Author(s): Lotery K
Publication type: Article
Publication status: Published
Journal: October
Year: 2017
Volume: 159
Pages: 55-85
Print publication date: 01/12/2017
Online publication date: 06/03/2017
Acceptance date: 24/07/2016
ISSN (print): 0162-2870
ISSN (electronic): 1536-013X
Publisher: MIT Press
URL: https://doi.org/10.1162/OCTO_a_00282
DOI: 10.1162/OCTO_a_00282
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