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Journal articles on the topic 'Art criticism'

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Published: 4 June 2021
Last updated: 30 July 2024

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1

McDonough, Tom, MaLin Wilson, Dave Hickey, and Jeremy Gilbert-Rolfe. "Art Criticism." Art Journal 55, no. 3 (1996): 97. http://dx.doi.org/10.2307/777775.

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2

Tuấn, Thái, and Claudine Ang. "Art Criticism." Southeast of Now: Directions in Contemporary and Modern Art in Asia 6, no. 2 (October 2022): 283–90. http://dx.doi.org/10.56159/sen.2022.a871504.

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3

Deepwell, Katy. "Art Criticism and the State of Feminist Art Criticism." Arts 9, no. 1 (February 25, 2020): 28. http://dx.doi.org/10.3390/arts9010028.

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This essay is in four parts. The first offers a critique of James Elkins and Michael Newman’s book The State of Art Criticism (Routledge, 2008) for what it tells us about art criticism in academia and journalism and feminism; the second considers how a gendered analysis measures the “state” of art and art criticism as a feminist intervention; and the third, how neo-liberal mis-readings of Linda Nochlin and Laura Mulvey in the art world represent feminism in ideas about “greatness” and the “gaze”, whilst avoiding feminist arguments about women artists or their work, particularly on “motherhood”. In the fourth part, against the limits of the first three, the state of feminist art criticism across the last fifty years is reconsidered by highlighting the plurality of feminisms in transnational, transgenerational and progressive alliances.
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4

CAN GÜRBÜZ, Gülsevim. "Araştırıcı Sanat Eleştirisi ve Bir Sanat Eleştirisi Örneği." Journal of Social Research and Behavioral Sciences 7, no. 14 (December 10, 2021): 150–64. http://dx.doi.org/10.52096/jsrbs.7.14.7.

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Art criticism can be described as an examination, determination, and mental activity that seeks the value of an art work. In an art criticism, different analysis strategies and methods can be chosen for the related artwork. Edmund Burke Feldman's “researching art criticism” criticism model, which is determined as a method in thearticle, is one of them. In th earticle, it is aimed to examine the method of “researching art criticism” in general, and in particular, to criticize Paula Rego’s artwork called “The Maids” with this method. For this criticism, “description, analysis, interpretation and judgment-evaluation” phases for the work were formed. Description and analysis subheadings are included in the “results section”. The other two subheadings, which include the relationship, interpretation and evaluation of the results section’s informations, are also considered as the “discussion section”. Keywords: Art criticism, Feldman model of criticism, Description, Analysis, İnterpretation, Judgment, Evaluation, Paula Rego, The Maids
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5

White, John Howell, T. Wolff, and G. Geahigan. "Art Criticism and Art Education." Studies in Art Education 42, no. 1 (2000): 92. http://dx.doi.org/10.2307/1320756.

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6

Carrier, David. "Philosophical Art Criticism." Leonardo 19, no. 2 (1986): 170. http://dx.doi.org/10.2307/1578285.

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7

Taylor, Pamela G., and B. Stephen Carpenter. "Hypermediated Art Criticism." Journal of Aesthetic Education 41, no. 3 (2007): 1–24. http://dx.doi.org/10.1353/jae.2007.0030.

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8

Frueh, Joanna, and Arlene Raven. "Feminist Art Criticism." Art Journal 50, no. 2 (June 1991): 6–10. http://dx.doi.org/10.1080/00043249.1991.10791436.

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9

Langer, Cassandra L. "Feminist Art Criticism." Art Journal 50, no. 2 (June 1991): 21–28. http://dx.doi.org/10.1080/00043249.1991.10791440.

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10

Taylor, Pamela G., and B. Stephen Carpenter. "Hypermediated Art Criticism." Journal of Aesthetic Education 41, no. 3 (October 1, 2007): 1–24. http://dx.doi.org/10.2307/25160235.

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11

Lee, Eunjeok. "Reflection of class criticism through art criticism." Korean Association For Learner-Centered Curriculum And Instruction 18, no. 11 (May 28, 2018): 899–921. http://dx.doi.org/10.22251/jlcci.2018.18.11.899.

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12

Roberts, John. "Art After Deskilling." Historical Materialism 18, no. 2 (May 20, 2010): 77–96. http://dx.doi.org/10.1163/156920610x512444.

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The absence of would-be palpable skills in contemporary and modern art has become a commonplace of both conservative and radical art-criticism. Indeed, these criticisms have tended to define where the critic stands in relation to the critique of authorship and the limits of ‘expression’ at the centre of the modernist experience. In this article, I am less interested in why these criticisms take the form they do – this is a matter for ideology-critique and the sociology of criticism and audiences – than in the analysis of the radical transformation of conceptions in artistic skill and craft in the modern period. This will necessitate a focus on modernism and the avant-garde, and after, as it comes into alignment with, and retreat from, the modern forces of production and means of reproduction. Much, of course, has been written within the histories of modernism, and the histories of art since, on this process of confrontation and exchange – that is, between modern art’s perceived hard-won autonomy and the increasing alienation of the artist, and the reification of art under the new social and technological conditions of advanced capitalist competition – little, however, has been written on the transformed conditions and understanding of labour in the artwork itself (with the partial exception of Adorno). This is because so little art-history and art-criticism – certainly since the 1960s – has been framed explicitly within a labour-theory of culture: in what ways do artists labour, and how are these forms of labour indexed to art’s relationship to the development of general social technique (the advanced level of technology and science as it expressed in the technical conditions of social reproducibility)? In this article, I look at the modern and contemporary dynamics of this question.
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13

DAUER, FRANCIS. "ART AND ART CRITICISM: A DEFINITION OF ART." Metaphilosophy 21, no. 1-2 (January 1990): 111–32. http://dx.doi.org/10.1111/j.1467-9973.1990.tb00835.x.

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14

Bowman, Matthew. "Art Criticism in the Contracted Field1." Journal of Aesthetics and Art Criticism 79, no. 2 (March 15, 2021): 200–212. http://dx.doi.org/10.1093/jaac/kpab003.

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Abstract Just over a decade-and-a-half ago, a roundtable discussion published in the pages of October worried that the periodic renewal of critical discourses had slowed to a standstill and that art criticism was faced with obsolescence. Such an obsolescence should be understood in a broadly Hegelian manner: the danger is not that art criticism would disappear from the cultural field, but that it will continue—although drained of its previous necessity. Such fears perhaps run the risk of exaggeration, yet this article shall suggest that there seems a sense in which the field of art criticism has contracted in recent years. Self-reflexivity in art and the popularization of “para-curatorial” approaches, for instance, often underpin the artwork discursively before the arrival of art criticism upon the scene. To be sure, such circumstances are viewable positively as interdisciplinary dialogical opportunities, but the negative flipside here is that art criticism’s potential contribution becomes increasingly minimized. From another angle, critics such as Isabelle Graw have contended that the economic-cultural regime of post-Fordism, with its attention on intellectual labor and knowledge production, might actually hold possibilities for the contemporary art critic—but even here, I argue, art criticism becomes contracted, albeit in the other meaning of the word.
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15

Lucy, Niall. "Art, Criticism & Philosophy." International Journal of the Arts in Society: Annual Review 4, no. 6 (2010): 183–92. http://dx.doi.org/10.18848/1833-1866/cgp/v04i06/35762.

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16

Deepwell, Katy. "New Feminist Art Criticism." Journal of Aesthetics and Art Criticism 55, no. 3 (1997): 344. http://dx.doi.org/10.2307/431815.

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17

Mokhtari, Sylvie, and Jean-Marc Poinsot. "Publishing and Art Criticism." Critique d’art, no. 50 (May 25, 2018): 11–14. http://dx.doi.org/10.4000/critiquedart.29354.

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18

Cosgrove, Mary Stinson. "Irishness and Art Criticism." Circa, no. 52 (1990): 14. http://dx.doi.org/10.2307/25557527.

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19

Sisson, Elaine, and Katy Deepwell. "New Feminist Art Criticism." Circa, no. 74 (1995): 69. http://dx.doi.org/10.2307/25562907.

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20

Brett, David. "Art Criticism: Carnal Knowledge." Circa, no. 76 (1996): 20. http://dx.doi.org/10.2307/25562961.

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21

Parse, Rosemarie Rizzo. "The Art of Criticism." Nursing Science Quarterly 11, no. 2 (April 1998): 43. http://dx.doi.org/10.1177/089431849801100201.

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22

Siegel, Katy. "Art, History, and Criticism." Art Journal 71, no. 1 (March 2012): 5–7. http://dx.doi.org/10.1080/00043249.2012.10791077.

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23

&NA;. "THE ART OF CRITICISM." Advances in Nursing Science 7, no. 4 (July 1985): 1. http://dx.doi.org/10.1097/00012272-198507000-00002.

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24

Coleman, Elizabeth Burns. "Art and Ethical Criticism." Australasian Journal of Philosophy 88, no. 2 (May 21, 2010): 375–76. http://dx.doi.org/10.1080/00048400902941364.

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25

Moore, Ronald, Theodore F. Wolff, and George Geahigan. "Art Criticism and Education." Journal of Aesthetic Education 34, no. 2 (2000): 107. http://dx.doi.org/10.2307/3333581.

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26

Zafrani, Avishag. "Criticism and Jewish Art." Critique d’art, no. 61 (December 1, 2023): 146–53. http://dx.doi.org/10.4000/critiquedart.109568.

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27

Geahigan, George. "Description in Art Criticism and Art Education." Studies in Art Education 40, no. 3 (1999): 213. http://dx.doi.org/10.2307/1320863.

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28

Risatti, Howard. "Art Criticism in Discipline-Based Art Education." Journal of Aesthetic Education 21, no. 2 (1987): 217. http://dx.doi.org/10.2307/3332751.

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29

Stinespring, John A. "Discipline-Based Art Education and Art Criticism." Journal of Aesthetic Education 26, no. 3 (1992): 106. http://dx.doi.org/10.2307/3333019.

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30

O’Toole, Sean William. "Uncommon criticism: Reading Ivan Vladislavić’s collected work as art criticism." Journal of Commonwealth Literature 52, no. 1 (March 2017): 11–26. http://dx.doi.org/10.1177/0021989416676865.

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Johannesburg author, essayist, and editor Ivan Vladislavić has a longstanding interest in art, an interest richly recorded in his literary corpus. Since publishing his debut work of fiction, Missing Persons (1989), Vladislavić has repeatedly dwelled on artworks in his fiction and non-fiction writing. His literary corpus is studded with descriptions of paintings, sculptures, photographs, ceremonial statues, murals, and other, more obscure pieces of urban flotsam given their own artistic agency in his fecund imagination. This article discusses his interest and entanglement in art from a threefold perspective: thematically, biographically, and theoretically. It argues that the art world has consistently functioned as a laboratory for the author to refine his thoughts, albeit as a literary writer, not an art critic. While Vladislavić does not identify as an art critic, this article argues that his writing on art and broader literary output represent a valuable critical resource and an important intervention in fervid and unresolved debates around the definition of art criticism. The article begins by identifying thematic constellations that recur throughout Vladislavić’s work, placing these in conversation with salient aspects of the author’s early professional biography. It concludes by proposing that Vladislavić’s oeuvre can be read as a historically mindful, crisis-orientated form of art criticism.
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31

Reznikova, Ksenia, and Maya Smolina. "ВЗАИМОДЕЙСТВИЕ АДРЕСАТА ХУДОЖЕСТВЕННОЙ КРИТИКИ И ПРОИЗВЕДЕНИЯ ИЗОБРАЗИТЕЛЬНОГО ИСКУССТВА." Social Anthropology of Siberia 2, no. 2 (June 30, 2021): 68–83. http://dx.doi.org/10.31804/2687-0606-2021-2-2-68-83.

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The object of this scientific research is art criticism, the subject is the interaction of the addressee of art criticism and a work of fine art. The aim is to study the relationship between the addressee of art criticism and a work of fine art. The conceptual analysis of the concept of "art criticism" is given, the features and structure of the text of art criticism are considered. The conceptual basis for the study was the key provisions of the theory of reflection by G.V.F. Hegel, the basic principles of the synthetic theory of the ideal D.V. Pivovarov and the concept of ideal formation, the main provisions of the theory of fine art by V.I. Zhukovsky and N.P. Koptseva. A peculiar result of scientific research is the fixation of the characteristics of various addressees of the text of art criticism ("viewer" and "artist") and the specifics of their relationship with a work of fine art through the study of the text of art criticism
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32

Gherasim, Gabriel C. "American Art Criticism between the Cultural and the Ideological (I)." American, British and Canadian Studies Journal 23, no. 1 (December 1, 2014): 93–107. http://dx.doi.org/10.1515/abcsj-2014-0029.

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Abstract Starting from the presupposition that art and art criticism in the United States of America are closely linked and that the very meanings and receptions of art works have been reflected by various writings in the field of art criticism, this first part of a comprehensive study on the topic attempts, on the one hand, to divide the historical evolution of American fine arts and art criticism into several distinct periods, and on the other, to evaluate the major directions of art criticism by considering its historical periods as being markedly ideological or cultural, as the case may be. Thus, considering the approximately 150 years of historical accomplishments of art criticism in the United States, I will argue that the starting point of American art criticism is visibly cultural, while the next two periods are characterised by ideological art criticism, noting that the ideological orientation differs in the two time frames. The fourth moment in the evolution of art criticism marks the revival of the cultural, so that, within the fifth, the postmodern art criticism could no longer grasp a clear distinction between the cultural and the ideological. The present article will focus on the first two important orientations in art criticism in the United States, 1865-1900 and 1908-1940, respectively; a future study will consider the remaining three periods, following this historicist approach of art criticism in the United States.
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33

Marshall, W. "The(f)art of criticism." Journal of Cell Science 114, no. 6 (March 15, 2001): 1038. http://dx.doi.org/10.1242/jcs.114.6.1038.

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34

Carrier, David. "Part II: Postmodernist Art Criticism." Leonardo 18, no. 2 (1985): 108. http://dx.doi.org/10.2307/1577880.

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35

Joosik Min. "Arthur Danto's Contemporary Art Criticism." Misulsahakbo(Reviews on the Art History) ll, no. 32 (June 2009): 59–88. http://dx.doi.org/10.15819/rah.2009..32.59.

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36

Barrett, Terry. "Description in Professional Art Criticism." Studies in Art Education 32, no. 2 (1991): 83. http://dx.doi.org/10.2307/1320280.

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37

Collier. "Dakar and Contemporary Art Criticism." Africa Today 65, no. 4 (2019): 211. http://dx.doi.org/10.2979/africatoday.65.4.16.

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38

Anderson, Tom. "The Content of Art Criticism." Art Education 44, no. 1 (January 1991): 16. http://dx.doi.org/10.2307/3193263.

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39

Brett, David, Fionna Barber, and Jo Allen. "Art Criticism: Body of Work." Circa, no. 79 (1997): 18. http://dx.doi.org/10.2307/25563092.

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40

FITZPATRICK, Paul. "Narrative Art and Narrative Criticism." Louvain Studies 33, no. 3 (December 31, 2008): 255–72. http://dx.doi.org/10.2143/ls.33.3.2045800.

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41

Deepwell, Katy. ""Art Criticism and Africa" Conference." African Arts 29, no. 4 (1996): 14. http://dx.doi.org/10.2307/3337390.

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42

Danto, Arthur C. "From Philosophy to Art Criticism." American Art 16, no. 1 (April 2002): 14–17. http://dx.doi.org/10.1086/444655.

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43

Barão, Ana Luísa. "Who's afraid of art criticism?" Revista Estudos do Século XX, no. 9 (2009): 283–304. http://dx.doi.org/10.14195/1647-8622_9_16.

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44

Cross, Anthony. "Art Criticism as Practical Reasoning." British Journal of Aesthetics 57, no. 3 (July 2017): 299–317. http://dx.doi.org/10.1093/aesthj/ayx016.

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45

Friend, Miles Edward, Doug Blandy, Kristin G. Congdon, and Terry Barrett. "Pluralistic Approaches to Art Criticism." Journal of Aesthetic Education 28, no. 4 (1994): 102. http://dx.doi.org/10.2307/3333369.

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46

Kassman‐Tod, Joseph. "The Task of Art Criticism." Curator: The Museum Journal 62, no. 1 (January 2019): 71–80. http://dx.doi.org/10.1111/cura.12289.

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47

Oka Prasiasa, Dewa Putu. "Mural Art as a Media for Social Criticism: Perspective Structuralist-Constructivism." Mudra Jurnal Seni Budaya 37, no. 2 (May 9, 2022): 203–11. http://dx.doi.org/10.31091/mudra.v37i2.1985.

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The phenomenon of delivering messages through mural art occurs in the social life of the Indonesian people, and is used as a medium for social criticism in the public sphere. The purpose of this study is to find the meaning of social criticism that is carried out through the media of mural art and to find the shift in values that occurs in mural art. Based on the research objectives, this research is a qualitative research with a structuralist-constructivism approach from Pierre Bourdieu. Data were collected through observation and in-depth interviews with mural artists community. The theories used to understand, criticize, find meaning and find shifts in the value of mural art are the Habitus Theory and the Cultural Production Theory. This study found that social criticism conveyed through the media of mural art has an economic meaning, a meaning of community popularity, and a meaning of freedom. While the shift that occurred, this study found that mural art, which was originally an artist's expression as a monumental work, shifted to a commodified and contemporary work.
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48

Nekhaeva, Iraida N. "THE TERRITORY OF CONTEMPORARY ART: ART CRITICISM VERSUS ART PRACTICE." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 38 (2020): 99–106. http://dx.doi.org/10.17223/22220836/38/10.

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49

Osborne, Peter. "ART BEYOND AESTHETICS: PHILOSOPHICAL CRITICISM, ART HISTORY AND CONTEMPORARY ART." Art History 27, no. 4 (September 2004): 651–70. http://dx.doi.org/10.1111/j.0141-6790.2004.00442.x.

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50

Osborne, Peter. "Art beyond aesthetics: philosophical criticism, art history and contemporary art." Art History 27, no. 4 (September 2004): 695. http://dx.doi.org/10.1111/j.0141-6790.2004.444_9_9.x.

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