This article’s aims are twofold: firstly, it argues that Prunella Clough’s engagement with consumer items in her paintings of the 1980s and 1990s constitute a sustained engagement with the fluctuating nature of the commodity form, moving beyond the established critical narrative whereby these works are understood as simply redeeming “everyday” materials. Secondly, in order to do this, it proposes new artistic frameworks for Clough’s work, moving away from her early association with Neo-Romanticism to foreground her relationship with Pop and Minimalism, and with Post-Conceptual painting. Clough’s late works, it finds, powerfully condense histories of industrial production and painting in Britain.
|British Art Studies
|Published - 30 Nov 2015