Dissertations / Theses: 'Art criticism'

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Schappelle, Laura Scott. "Art criticism through storytelling." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3587.

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Thesis (M.A.) -- University of Maryland, College Park, 2006.
Thesis research directed by: Dept. of Curriculum and Instruction. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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Sweet, David. "Michael Fried's art criticism." Thesis, University of Essex, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397731.

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Finch, James. "The art criticism of David Sylvester." Thesis, University of Kent, 2016. https://kar.kent.ac.uk/60419/.

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The English art critic and curator David Sylvester (1924-2001) played a significant role in the formation of taste in Britain during the second half of the twentieth century. Through his writing, curating and other work Sylvester did much to shape the reputations of, and discourse around, important twentieth century artists including Francis Bacon, Alberto Giacometti, Henry Moore and René Magritte. At the same time his career is of significant sociohistorical interest. On a personal level it shows how a schoolboy expelled at the age of fifteen with no qualifications went on to become a CBE, a Commandeur dans l'Ordre des Arts et des Lettres and the first critic to receive a Leone d'Oro at the Venice Biennale, assembling a personal collection of artworks worth millions of pounds in the process. In terms of the history of post-war art more broadly, meanwhile, Sylvester's criticism provides a way of understanding developments in British art and its relation to those in Paris and New York during the 1950s and 1960s. This thesis provides the first survey of Sylvester's entire output as an art critic across different media and genres, and makes a case for him as a commentator of comparable significance to Roger Fry, Herbert Read, and other British critics who have already received significant scholarly attention. I take a twofold approach, analysing both the quality of Sylvester's writing and criticism, and its function as a catalyst for furthering the careers of artists and instigating significant exhibitions. Common to all of these strands is Sylvester's distinctive critical sensibility, which placed an emphasis on his own aesthetic experiences and how they could be articulated through criticism.

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Charlesworth, J. J. "Art criticism : the mediation of art in Britain 1968-76." Thesis, Royal College of Art, 2016. http://researchonline.rca.ac.uk/1803/.

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This thesis studies the changes in the nature of critical writing on contemporary art, in the context of the British art world across a period from 1968 to around 1976. It examines the major shifts in the relationship between the artistic production of the period and the forms of writing that addressed it, through those publications that sought to articulate a public discourse on art in a period where divergent accounts regarding the criteria of artistic value, and the terms of critical discourse, came increasingly into conflict. This thesis takes as its main subject a number of publication venues for art-critical writing of the time, and their responses to the rapidly changing scene of artistic production. It examines the forms of writing that attended emerging artistic practice and the theoretical and critical assumptions on which that writing depended, highlighting those moments where critical discourse was provoked to reflect self-consciously of the relation between discourse and artistic practice. By tracing the repercussions of the cultural and political revolts of the late 1960s, it examines how the orthodoxies of art criticism came to be challenged, in the first instance, by the growing influence of radical artistic practices which incorporated a discursive function, and by leftist social critiques of art. It explores how, in the first half of the 1970s, radical and political artistic practice was promoted by a number of young critics, and sanctioned by its presentation in public art venues. Examining the history of magazines such as Studio International and a number of smaller specialist and non-specialist magazines such as the feminist Spare Rib and the left-wing independent press, it attends to how debates over the cultural and social agency of art began to draw on continental theoretical influences that put into greater question the role of subjective experience and the nature of the human subject. It examines how this shift in the relation between practice and discourse manifested itself in the editorial and critical attitudes of publications both from within the field of artistic culture, and from a wider context of publications embedded in the radical political and social currents of the early 1970s. It gives particular attention to the careers of a number of prominent critics, while situating the later reaction against alternative artistic practices in the context of the politically conservative turn of the end of the decade.

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Bowman, Matthew. "October and the expanded field of art and art criticism." Thesis, University of Essex, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.540093.

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Carpenter, Kenneth Erwin. "A veritable psychology : Walter Pater's art criticism." Thesis, Birkbeck (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323598.

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Jeppesen, Travis. "Towards a 21st century expressionist art criticism." Thesis, Royal College of Art, 2016. http://researchonline.rca.ac.uk/1812/.

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This thesis explores the following questions: What might a 21st century expressionist art criticism consist of? How does such a mode of “art writing” relate to oppositional strategies often employed by certain artists challenging the boundaries traditionally separating art from writing? What role does the body play in such a model of writing? What role might fiction play in an expressionist art criticism? The intended outcome is to render a new model of writing “in the expanded field,” to borrow Rosalind Krauss’s phrase. The essays and pieces of writing comprising this dissertation have been organized into four sections. The first part, “Bad Writing,” lays the groundwork for the three stylistic modes of expressionist art criticism that follow: the Expressionist Essay, Ficto-criticism, and Object-Oriented Writing. Prefaces before each section elaborate the conceptual thinking involved in arriving at each particular designation, as well as the positioning of each mode in the overall conception of a 21st century expressionist art criticism. This thesis begins with the argument that art criticism must first and foremost be understood as a literary art form. This is an issue of intentionality that must be asserted at the outset, one that resonates with John Dewey’s notion of criticism’s re-creative and imaginative aim. It is one of the essential qualities that distinguishes art criticism from the art historical endeavor. I contend that the practice of art criticism is an art form in and of itself, one that, following the poet-critic model (or, more aptly, anti-model) advanced by Baudelaire and Apollinaire, is essentially complementary to the art object. This complementarity is what the task of an expressionist art criticism hopes to achieve. Thus, this thesis should be considered as an example of an art writing practice in the context of a thesis-based dissertation.

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Puchyr, Donna Conklin. "The effectiveness of art criticism on pre-school children's art vocabulary." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1991. http://www.kutztown.edu/library/services/remote_access.asp.

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Thesis (M. Ed.)--Kutztown University of Pennsylvania, 1991.
Source: Masters Abstracts International, Volume: 45-06, page: 2751. Abstract precedes thesis as [3] preliminary leaves. Typescript. Includes bibliographical references (leaves 39-45).

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Clark, Toby. "Representations of Russian Art in American Art History and Criticism 1917-1939." Thesis, University of Sussex, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.522624.

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This dissertation examines the critical reception and historical construction of Russian art in the United States between 1917 and 1939. The study focuses on two main types of Russian art; that of the Russian avant-garde, and that of artists who emigrated to the United States and achieved a high level of critical visibility and commercial success there during the 1920s. The discussion of the Russian emigre artists concentrates on the treatment of their work in the American curatorial system and art market. It examines the critical strategies used to promote these artists, particularly in the writings of Christian Brinton, who formulated a new category termed 'Slavic art' which relied on theories of racial essentialism. The subsequent decline of the careers of the emigre artists can be explained partly by reference to the reorientation in American critical values after the early 1930s. Research on the interpretation of the Russian and Soviet avantgarde in the United States is focussed on two main Modernist institutions; the Societe Anonyme during the 1920s and the Museum of Modern Art in New York after 1929. The Societe Anonyme's management of its large collection of Russian avant-garde art is discussed in relation to the contrasting aesthetic perspectives and political alignments of Katherine Dreier and Louis Lozowick, and compared with alternative interpretations in western Europe. The study of the representation of the Russian avant-garde by the Museum of Modern Art is concentrated on the writings of Alfred Barr and his critical theory of Modernism. Barr's account of the history of Russian Constructivism and Soviet cultural policies in 1936 is seen to have performed an important function for establishing an ideological position for the ascending discourses of American Modernism in opposition to the competing positions of conservative anti-Modernism and left-wing aesthetics.

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Morozova, Ekaterina. "American art criticism and the crisis of art history writing : 1962-1967." Thesis, Open University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.413811.

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Estrada-Berg, Victoria. "Art Criticism and the Gendering of Lee Bontecou's Art, ca. 1959 - 1964." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc5587/.

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This thesis identifies and analyzes gendering in the art writing devoted to Lee Bontecou's metal and canvas sculptures made from the 1959 - 1964. Through a careful reading of reviews and articles written about Bontecou's constructions, this thesis reconstructs the context of the art world in the United States at mid-century and investigates how cultural expectations regarding gender directed the reception of Bontecou's art, beginning in 1959 and continuing through mid-1960s. Incorporating a description of the contemporaneous cultural context with description of the constructions and an analysis of examples of primary writing, the thesis chronologically follows the evolution of a tendency in art writing to associate gender-specific motivation and interpretation to one recurring feature of Bontecou's works.

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Johnston, Jerre Lynn. "ART CRITICISM: A "READING" OF THE VISUAL ARTS." Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/291319.

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Pérez-Rementería, Dinorah. "Osvaldo Sánchez's Art Criticism: An Aesthetics of Reconciliation." Scholarly Repository, 2010. http://scholarlyrepository.miami.edu/oa_theses/16.

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Aesthetic criticism very often has been overlooked and considered a lesser form. However, many interpretations, applications and discernments can be obtained from this kind of art writing. Using Osvaldo Sánchez's work as a case study, this thesis examines how writerly art criticism offers an active reading framework of the work of art by using philosophical, literary and poetic constructions. In this regard, I will see how the "writerly" condition has contributed compelling insights to the History of Aesthetics, highlighting the connections and disconnections between Sánchez and other writerly critics, which demonstrates the significance of developing a flexible, available and aesthetic learning model of art appreciation. I will analyze as well various models of experience, subjective and objective, that release certain "openness" as a premise for their existences. Here are included the Kantian sublime, Heidegger's ontological Being, the surrealist cultivation of chance, Kaprow's happenings, and the attitude of disinterest developed by the vanishing poets as defended by the scholar Rafael Hernández Rodríguez. I will show that, by choosing an accommodating approach to discover forms of knowledge, an assortment of valuable empirical content can be found. Finally, I investigate the writerly work of Cuban critic Osvaldo Sánchez that does not adopt a fixed critical pattern. Instead, Sánchez's art writing passes through fields, providing us with a heuristic methodology in which the aesthetic emerges not as a preconditioned set of principles/procedures, but as a true lived experience.

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Kennedy, Ann. "The language of colour in Baudelaire's art criticism." Thesis, University of Cambridge, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385437.

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Riding, Christopher John Livsey. "The art criticism and history of Michael Fried." Thesis, University of Leeds, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272737.

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Jones, Kimberley Morse. "The New Art Criticism in Britain 1890-95." Thesis, University of Reading, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.405477.

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Rogers, Dorienne B. "A Model for the Integration of Art Criticism into the Secondary Art Classroom." UNF Digital Commons, 1990. http://digitalcommons.unf.edu/etd/313.

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This study identifies, explains, and develops a practical model of teaching art criticism within a traditional secondary art curriculum. The approach to teaching art criticism uses the discipline-based art education format described in the Getty publication of 1985, a composite art critical format including B. Bloom, E. Feldman, K. Hamblen, and E. Kaelin, is accomplished through a process model curriculum developed by L. Stenhouse, and uses K. Gentle's curriculum design as the basis of the Curriculum Model Diagram. The project provides lessons that are intended to help junior high school, and senior high school art students develop the necessary skills to make informed judgements about art in the production, historic, aesthetic, and critical areas of the existing art curriculum. The methodology is presented in a lesson plan design, includes a Biographical Sketch, and a Six-Part Questioning Strategy. Three experienced artist/teachers were asked to review the curriculum and, using the Artist/Educator Questionnaire, evaluate it. Feedback from the three reviewers suggested several ways the curriculum could be tailored to individual teacher and program needs.

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Willis-Fisher, Linda Salome Richard A. "A survey of the inclusion of aesthetics, art criticism, art history, and art production in art teacher preparation programs." Normal, Ill. Illinois State University, 1991. http://wwwlib.umi.com/cr/ilstu/fullcit?p9203045.

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Thesis (Ed. D.)--Illinois State University, 1991.
Title from title page screen, viewed December 21, 2005. Dissertation Committee: Richard A. Salome (chair), Jack Hobbs, Noreen Michael, Marilyn P. Newby, Fred A. Taylor. Includes bibliographical references (leaves 112-115) and abstract. Also available in print.

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Jordan, Shirley Ann. "The art criticism of Francis Ponge : problems and solutions." Thesis, University of Hull, 1991. http://hydra.hull.ac.uk/resources/hull:7037.

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Bernier, Ronald R. "Depiction and criticism : aspects of Monet's art 1874-1895." Thesis, University of Essex, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.254513.

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Anderson, David James. "Theatre criticism : a minor art with a major problem /." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487591658173705.

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Millington, Jeremy. "An Ethics of Engaging with Art: From Criticism to Conversation." Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/415053.

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Philosophy
Ph.D.
The dissertation addresses the question, How should we engage with art? The thesis is that a practice of engaging with art ought to be sensitive with and to a work of art, and conversation better suits sensitivity than criticism. Conversation does not merely mean a conversation we may have about art. Instead, the project proposes that we treat artworks as conversational partners. The construction of the thesis involves three philosophical streams coming together. The first is a survey of prominent philosophical studies of criticism from the late 1930s to the 1960s—a watershed period for the philosophy of criticism—through to contemporary views that bear the legacy of that period, summarized and exemplified in Noël Carroll’s philosophy of criticism. Second, the project contrasts the orthodox view with competing accounts, including those of visual art criticism from the late 1980s and 90s, the critical theory of Terry Eagleton, and the “philosophical criticism” of Stanley Cavell. The third stream consists of testing criticism (and conversation) against the criterion of sensitivity. Taken together, this approach looks at engagement in a more general way than what studies on criticism or other familiar practices tend to countenance. Writers and works that exemplify conversation, such as Wendell Berry, The Philadelphia Story (Cukor 1940), and Mary Poppins (Stevenson 1964) help explicate and uncover limits to conversation as well as what procures it. The project culminates by circling back to the criterion of sensitivity, looking at conversation’s advantages in cultivating a suitably sensitive practice of engaging with art. The primary, substantive claim for conversation as the basis for an ethics of engaging with art is that conversation encourages a process of coming to an understanding with a work, where our prejudices and judgments are subject to the claims a work may make upon me at any given moment, without ceding to either the finality of judgment or the incompleteness of understanding provoked by over-familiarity, incessant talk, ‘talking at’ or ‘past,’ or silence. In the shift from criticism to conversation, we gain a clearer, more equitable understanding of what a work is doing. We curtail prejudice and evaluative bias; we respond more sensitively to the context for engaging with art; and, we ask more questions. Is this a setting where criticism is warranted or useful? Who are my interlocutors? What do they have to say?
Temple University--Theses

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Sprengelmeyer, Robert J. Hobbs Jack A. "Students' written art criticism as measured by a content analysis instrument." Normal, Ill. : Illinois State University, 1989. http://www.mlb.ilstu.edu/articles/dissertations/8918624.PDF.

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Thesis (Ed. D.)--Illinois State University, 19893.
Title from title page screen, viewed Oct. 13, 2004. Dissertation Committee: Jack A. Hobbs (chair), Marilyn P. Newby, Robert M. Steinman, Patricia H. Klass. Includes bibliographical references (leaves 72-73) and abstract. Also available in print.

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Fagan, Nicholas R. "TRANSFORMATION." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492025790423863.

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Nordby, Wernø Johanne. "Engaged encounters : fiction as art writing - a practical investigation of the borders of art criticism." Thesis, Konstfack, Institutionen för Interdisciplinära Studier (IS), 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-2859.

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The thesis project Engaged Encounters has been a multi-part investigation into art criticism. Its main components are one of practice and one of theory: a fiction text – Transatlantic Journeys – which I am publishing as a small book in an edition of 200 and exhibiting at Konstfack´s Spring Show, and the present reflective essay. In the essay, I identify the central elements of the current «crisis of art criticism» and ask what impact experimental writing modes can have on the practice and its alleged crisis. I give an account of fields of contemporary writing where the text is acting with or through, rather than being about, art. I find that a common view is that the crisis, real as it might be, can serve as a possibility to re-envision art writing. The fiction text, a two-part short story, is a critical response to my one month internship at Henie Onstad Art Centre. A character is extracted from a chosen artwork of the then current exhibition and "cast" in the narrative opposite the history of the art institution. In the fiction as well as in the essay, I treat the «engaged encounter», the face to face meeting with the other. This is the aspect of art criticism I at present find to be most pertinent: criticism as an encounter between work and viewer, a reciprocal addressing analogous to the risky business of face-to-face human relations. The Norwegian word henvendelsen (approximately approach, address) is the key term used to denote this relation. The insights of the linguist Benveniste and the philosopher Levinas are important references.
WIRE, Critical Writing and Curatorial Practice

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Lazarides, Marcus. "The writings of Walter Sickert and the 'new art criticism'." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285027.

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Міщенко, Ельвіра Віталіївна. "Perception of criticism in the field of art & design." Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/18254.

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Priest, Robert Charles. "Pre-Raphaelitism and the professional ideal : art, criticism, and sexuality." Thesis, Open University, 1995. http://oro.open.ac.uk/57562/.

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This dissertation examines the professional ideal in relation to the development and transformation of the Pre-Raphaelite Brotherhood between the late 1840s and the 1880s. The first chapter examines how one might relate the recent theoretical work on nineteenth-century professionalism by Harold Perkin to the distinctive art practice of the Pre-Raphaelites. In chapter two, the discussion focuses on how the professional ideal was shaped by the development of a frequently hostile periodical press that insisted on seeing the Pre-Raphaelites as a distinctive group. The third chapter considers how the Pre-Raphaelite Brotherhood developed professional identities that diverged from the careers of those artists sponsored by the Royal Academy. The chapter looks in particular at the innovative exhibiting strategies that the Pre-Raphaelites undertook to market their work. Chapter Four compares how differently John Everett Millais and Dante Gabriel Rossetti responded to attacks on Pre-Raphaelitism, and how they were ultimately drawn to contrasting aspects of professionalism. Their divergent careers reveal a major tension between entrepreneurial and professional ideals in the art market. The final chapter examines the 'fleshly school' controversy that surrounded Rossetti and the early Aesthetes of the 1870s. This concluding study reveals how Rossetti's contentious representation of sexual subject-matter played a crucial role in the consolidation of the professional ideal.

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McSorley, Julie A. F. "Primary school teachers' conceptions of the teaching of art criticism." Thesis, Queensland University of Technology, 1993. https://eprints.qut.edu.au/36691/1/36691_Digitised%20Thesis.pdf.

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Garbizza, Vera <1996&gt. "Art and Sustainability: Between criticism and participation in policy discourses." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21653.

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Over the last decades, policies concerning Sustainable Development have spread extensively at international, European, national and local level. Moreover, governments have started looking as Culture as catalyst for an ecological awareness. From considering the role that Culture play in revealing ecological problems such as biodiversity, waste and energy issues, to examining the way in which artists and artworks enrich our multidimensional understanding of sustainability. Despite that, some artistic discourses might have altered into a “mere” rhetoric, losing some of its intrinsic meaning. As some artists concerning sustainable development go on repeating themselves, being supported by big fossil companies and losing some of their radical critique of certain models. The risk is that of generating artistic practices which no longer involve the activities at the core of Sustainability, and are therefore unable to sustain its development. It is therefore intended to indicate the aims and results of this dynamic dialogue, which it is hoped will lead to a radical role of the arts into an interdisciplinary discourse of sustainability, which is able to cope with cultural diversity and new and ongoing environmental challenges.

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Schlenker, Sabine. "Mit dem "Talent der Augen": Der Kunstkritiker Emil Heilbut (1861-1921) : ein Streiter für die moderne Kunst im Deutschen Kaiserreich." Kromsdorf VDG Weimar, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2929791&prov=M&dokv̲ar=1&doke̲xt=htm.

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Yoshida, Hisayo. "A Cross Cultural Analysis of Japanese Art Critical Writings and American Art Critical Writings." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1408539349.

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Kelly, Shelly. "Not so/visual art." Thesis, Queensland University of Technology, 1999. https://eprints.qut.edu.au/35925/8/Shelly%20Kelly%20Thesis.pdf.

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Vision and language provide closure to a work and no reinstatement for the artwork's future. Vision and language make the investigative process seem replete; therefore other possibilities are not pursued. Subsequently, there is a need to investigate the perceptual and interpretative process as currently this is dominated by the visual and communicated through language. An examination of this, will show that a gap exists between our perception and our interpretation of an artwork. This gap is dependent on spatial and temporal conditions as the determining factors in our interpretative relationship with artwork. Examining and altering these conditions will lead to a fresh approach in our relationship with art. The qualities of these conditions are inseparable from the way we constitute space, in other words, what we know is inseparable from what we do. Therefore to change our directness in our application of perceiving will inevitably change what we know of an accepted process. Looking at ways of extending this gap between perception and interpretation will empower the space in this gap, and enable meaning to be dislocated and dispersed. This will be achieved by embracing a more experiential approach and allowing the artwork to sustain a more heterogeneous field. The aim of this thesis is to demonstrate alternative possibilities in approaching and interpreting a work of art by shifting conditional limitations.

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Hernandez, Velazquez Yaiza Maria. "Art criticism in the age of curating : from judgment to autonomy." Thesis, Kingston University, 2017. http://eprints.kingston.ac.uk/41970/.

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Since the turn of the century art criticism in the West has repeatedly declare itself "in crisis". This crisis had several iterations: the loss of stable formal criteria by which to criticise artworks in the wake of conceptual art and a related abdication of aesthetic judgement; the increasing dominance of the art market as the arbiter of artistic value; the functional replacement of art critics by curators, and the inadequacy of extant models of criticism in the face of contemporary practices that challenge traditional critical categories, practices that despite operating in the institutional field of art seem to dissolve into non-artistic activities. This work reads most of these positions as remaining too attached to a model of criticism grounded on aesthetic judgement, even when this is described as "aesthetic experience", "aesthetic framing", "affective intensity" or others. Against such an attachment, this work argues that it is artistic autonomy as the self-reflexion and autopoiesis of the artwork - as already advanced by the early German Romantics and developed by Walter Benjamin and Theodor Adorno - that remains crucial: art as critique rather than a critique of art. With this in mind, rather than understanding the rise of curating as a threat to criticism, this work proposed that in the aftermath of what Thierry de Duve has called "art in general", it is within the institutional forms that have started to emerge in the wake of this new understanding of curating, that artistic autonomy can continue to be developed in the context of a globalised artworld.

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Haddad, Ziyad Salem. "The Jordanian contemporary art criticism : a methodological analysis of critical practices /." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487588939088645.

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Goguadze, Tamar. "A critical study of modern Orthodox scholarly criticism of western art." Thesis, Durham University, 2016. http://etheses.dur.ac.uk/11557/.

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The present work seeks to explore the modern Orthodox Christian view of western art with a particular reference to western painting since the times of the Italian Renaissance to the present day. The fact that the phenomenon of western art is relatively new appears as a main challenge while attempting to examine the validity of modern views expressed in the name of the Orthodox tradition by references from patristic sources. Therefore the method of this thesis is to divide the concept of western art into its constituent components and find the patristic responses to each of them in the light of the Fathers’ appreciation of their contemporary art, literature and philosophy outside the church. As an interdisciplinary exploration of artistic creativity this work has its goal throughout to trace the positive aspects presented by the masterpieces of western art that can aid the Christian process of theosis as well as enhance the Orthodox theological contribution to the ecumenical dialogue between the East and West on the grounds of common aspects manifested in the phenomenon of human creativity. Drawing on categories of western aesthetics as well as Orthodox theology, this work is particularly interested in the nature of Orthodox arguments for and against artistic creativity per se and their relationship to the ‘Patristic mind’ of the Church rather than seeking the direct quotations of the Fathers over the subject in vain. The historical background of the modern disagreement over the issue will be taken into special consideration. Focusing on western art from an Orthodox perspective is fundamentally at odds with many conservative expectations of human creativity that are usually associated with iconography and liturgical art in Orthodox theology. Yet, the number and quality of works dedicated to explorations of iconography provides a sufficient material for enlightening both Orthodox and western readers on the mystical power of spiritual illumination generating from Orthodox icons as well as its artistic and historical analyses. The topic of this work – art outside the liturgical boundaries of the church –has been deliberately chosen. The central argument of this work is that human creativity in general has a divine origin since it has been inherited from the creative energy of God. The power of artistic influence cannot be doubted especially in a modern society that subconsciously seeks a liberation from the custody of the machinery of technical civilization. Therefore, the search for true and authentic goodness in sincere artistic manifestations of beauty and truth can find an important place in the Orthodox Christian consciousness without a need for its inclusion in worship. If taken seriously great masterpieces of western art offer an immense contribution to the theological study of spiritual senses and their relationship to the process of theosis.

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Schramel, Lori Ann. "Art criticism through multisensory instruction for visually impaired and blind students." Thesis, The University of Arizona, 2000. http://hdl.handle.net/10150/278739.

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This study was designed to compare the effects of a multisensory art criticism approach with a traditional (visual) art criticism approach in interpreting a work of art. Parade (1960) by Jacob Lawrence was the artwork chosen for the study. Two groups of visually impaired and blind high school participated in this study. Group 1 received the multisensory instruction, which included music, and tactile stimuli, and then the traditional instruction. Group 2 received the same exercises but in the opposite order. All students (N = 18) completed two assessments on their knowledge and interpretation of the work on Likert-type affective scales. Assessment 1 came after the first treatment for each group and assessment 2 came after the second treatment for each group. Results implied that there was an interaction between scores based on which method was presented first. The scores indicated that multisensory instruction is more effective after traditional instruction is presented.

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Vishnevsky, Nathania Anne. "Selected species: experiments in art and science." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1382710786.

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39

Daniels, Marilyn Christine Johanne. ""291" and cultural criticism : to see through closed eyes." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26804.

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Alfred Stieglitz and the members of '291' are most often remembered in the art historical literature for introducing modernism into America through the work of European artists and through the integration of current European formal experiments into the work of American artists. While some authors have referred to the fact that this modernism, as presented by 291, was intended to critique society, any analysis of that critique is conspicuously missing. Also absent is an analysis of what one contemporary critic referred to as the "queer symbolism lurking at the Post-Impressionist hypothesis." In this thesis the following questions are asked: what was 291's critique and why did they insist upon the expression of the 'irrational' states of the psyche — passion, intuition and imagination, in their art. By situating 291 within its particular set of contexts I attempt to explain what their position represented — to the members themselves and to their rivals.
Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate

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Fermor, Sharon Elizabeth. "Studies in the Depiction of the Moving Figure in Italian Renaissance Art, Art Criticism and Dance Theory." Thesis, University of London, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.492194.

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Paradise, JoAnne. "Gustave Geffroy and the criticism of painting." New York : Garland Pub, 1985. http://catalog.hathitrust.org/api/volumes/oclc/11866028.html.

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Lenehan, Daniel Timothy. "Fashioning taste Earl Shinn, art criticism, and national identity in gilded age America /." Diss., Connect to the thesis, 2005. http://hdl.handle.net/10066/668.

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Gabriel, Clara Gonzalez de Miranda. "Equipo Crónica : a case study on the art work as an "object of criticism"." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21211.

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This paper will look back on the work of Equipo Cronica, who worked between 1964--1980, to reveal a production of art that centered on issues of originality and value that were grounded in attempts at social activism and a redefinition of the role of art vis-a-vis society. To achieve their goals, I will argue and describe how the two man team of artists used serialism, objectivity, hybridity, appropriation of mass media iconography and techniques, and parody to produce something that was neither an art object nor an ordinary object, but an object of criticism. The historical relevancy of such an art lies in its claims of participating in a political critique of the culture industry controlled by the oppressive Franco regime, and its wary outlook on the rapid modernization of Spain into the neo-capitalist state it is today within the multinational world order.
The relevance of such an examination lies in how their intentions to create a new relationship between art and society is still pertinent today in modern Spain. Since the death of Franco in 1975 there has been a feeling in Spain that the eyes of the world have been on its new democracy, leading to a campaign, led until recently by the Socialist government, to prove Spain is a modern state that has recuperated from 40 years of isolation. It has tried to demonstrate that it is progressive, not only economically and technologically, but culturally. Over the last twenty years a veritable culture industry has boomed in Spain which has been generously backed by its federal and regional governments. As Spain zealously and rapidly finds its place in the globalized multinational world order, I will demonstrate that the issues of identity pertinent to Equipo Cronica, and the tactics they used to address it, can still contribute a critical position to present-day discussions.

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Garber, Elizabeth Jessie. "Feminist polyphony : a conceptual understanding of feminist art criticism in the 1980s /." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487671640055385.

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Bizzarro, Salvatore. "Il significato della pittura. Imaginative art e actual criticism in Roger Fry." Doctoral thesis, Universita degli studi di Salerno, 2015. http://hdl.handle.net/10556/2136.

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2013 - 2014
The present work traces on a chronological schedule the most important steps of Roger Fry’s critique, from the beginning as connoisseur in the end of the 19th Century, through the formalist season of the Twenties, till the formalism crisis and his thoughts on the method and the practice of art criticism in the latest years. This research moves around, from a critic point of view, not only on the rereading of the first contribution on Renaissance Art published by Fry, but also on some unreleased manuscripts, from which some quotes are submitted, that furnish a full documentary repertoire, not explored so far, through which we can build up the study of the ancient Renaissance Masters that for the young connoisseur Fry represents the first field test of his aesthetic sensibility... [edited by author]
XIII n.s.

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Lee, Sun-Young Won. "A metacriticaul analysis of contemporary ant critics' practices: Lawrence Alloway, Donald Kuspit and Robert Pincus-Witten for developing a unit for teaching art criticism." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1281642549.

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Coyne, Mary L. "Correcting perspectives| Jan Dibbets and an optical conceptualism." Thesis, California State University, Long Beach, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1523353.

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This thesis provides a revisionist history of Dutch artist Jan Dibbets's early practice. Jan Dibbets has not yet, been credited in art historical scholarship for his contributions in foregrounding visual experience within Conceptual practice. This thesis offers an additional narrative by suggesting a comparison between his early practice and the work being produced by European artists working in a tradition of visual perception. By studying the contemporary reception of Dibbets's work and Perceptual Abstraction, I argue how traditional art historical boundaries have obstructed a possible reading of this artist's practice.

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Repetto, Sarah Finer. ""These images may be in your city next"| Reception issues in the art of Kara Walker." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1526946.

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This thesis analyzes the reception of the work of contemporary artist Kara Walker and the critical debates it has engendered. Walker's work has received a mixed reception over the past twenty years: while she has won prestigious awards and received international acclaim, her work also enrages many African American artists and scholars who accuse her of perpetuating racist ideologies and insensitively mocking the history of suffering endured by slaves. I trace three major points within the critical reception of the artist's work: a letter writing campaign in 1997 initiated by the artist Betye Saar; the 2009 publication of the book, Kara Walker—No/Kara Walker—Yes/Kara Walker—?; and the veiling of Walker's work in 2012 in a New Jersey public library. I argue how Walker's strategy of employing "negative imagery" challenges the viewer to critically engage racist stereotypes on complex multifaceted levels.

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Walker, Nancy J. "The Fox in the Mirror| Bertha Lum and American Japonisme." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1570862.

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The introduction of Japanese art and culture to the Western world prompted a powerful response from an entire generation of artists, writers, and musicians, including a gifted American artist named Bertha Lum. Lum travelled to Japan in the early 1900s to train with Japanese masters in the design, cutting, and printing of woodblock prints. Lum was a passionate exponent of Japonisme, and a study of her work illuminates how this phenomenon manifested itself in American art and culture.

In cultural and artistic terms, Japonisme emerged as a selective interpretation of Asian culture, a conveniently constructed image that reinforced the ideals of many at the turn of the last century. For graphic artists like Lum, the example of Japanese art provided leverage against the weight of European classicism, championed the role of the decorative arts, exemplified exquisite handcraft, and epitomized an art of natural beauty and grace.

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Cross, Ian S. "The production and spectacle of meaning: concepts for language and art as elements of visual literacy." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1406712159.

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Dissertations / Theses on the topic 'Art criticism'

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