Artykuły w czasopismach: „Art critics”

1

Goodwin, C. D. "The Economics of Art through Art Critics' Eyes". History of Political Economy 31, Supplement (1.01.1999): 157–84. http://dx.doi.org/10.1215/00182702-31-supplement-157.

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HAUSKELLER, MICHAEL. "The Art of Misunderstanding Critics". Cambridge Quarterly of Healthcare Ethics 25, nr 1 (styczeń 2016): 153–61. http://dx.doi.org/10.1017/s0963180115000407.

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Greeniaus, Elizabeth. "Vernon Lee: Art Lover". ELH 91, nr 1 (marzec 2024): 123–48. http://dx.doi.org/10.1353/elh.2024.a922011.

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Abstract: Victorian art critic and historian Vernon Lee is best known for her theory of empathy, which attributes art viewers' consciously held aesthetic preferences to unconsciously felt physiological responses to visual stimuli. Scholars have been especially interested in the ways empathy anticipates modernist and New Critical emphases on objectivity and empiricism, often treating empathy as the culmination of Lee's career. This article turns to lesser-known texts by Lee to show that she went on to have serious misgivings not only about her own physiological theory of aesthetics but about other critics' pursuits of objectivity and empiricism as well.

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Siegesmund, Richard. "Art education and art world". Visual Inquiry 10, nr 2 (1.08.2021): 253–55. http://dx.doi.org/10.1386/vi_00049_1.

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For your purposes as an art educator, how do you define ‘art’ and ‘artist’? Some critics argue that, in today’s art world, the ‘institutional’ definition of art reigns. What other definitions of art seem credible and useful to you as an art educator?

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Levy, Emanuel. "Art Critics and Art Publics: A Study in the Sociology and Politics of Taste". Empirical Studies of the Arts 6, nr 2 (lipiec 1988): 127–48. http://dx.doi.org/10.2190/9cw3-kxhe-g921-yapw.

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This article examines theoretically and empirically a central question in the sociology of art: the role of art critics and their influence on artists, art works, and art publics. The study compares two taste subcultures: the artistic tastes of professional theater critics and the lay public. It is based on empirical research on critics' and publics' assessments and reactions to theatrical productions in Israel over a period of half a century, from 1918 to 1968. These differential reactions are described and explained in terms of three variables: the type of publication in which the plays were reviewed (mass versus elite publications), the historical time-period (the pre-statehood versus the post-statehood era), and the type of play presented (specifically Jewish versus non-Jewish plays). Patterns of agreement and disagreement among the critics, and between the critics and the larger public are described and analyzed. The article concludes with a discussion of the changes in the roles of critics and in the functions of the theatrical institution, which are examined in relation to Israel's changing political, demographic, and social settings from 1918 to 1968.

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Widyaevan, Dea Aulia. "Kajian Kritik Seni Instalasi Tisna Sanjaya - “32 Tahun Berpikir dengan Dengkul”". JURNAL RUPA 2, nr 1 (10.01.2018): 13. http://dx.doi.org/10.25124/rupa.v2i1.752.

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Art critics has become a way to reveal and appreciate content lies behind its appearences. Thus signified an important role on reading an art work by analyze the reasoning behind the artworks, through the artist statement, intention and the translation on relating medium. The process of reasoning require several steps which enhance the art critic's methods. On this case , a method of Feldman' art critics has been applied to anaylize an installation work of Tisna Sanjaya – “32 Tahun Berpikir dengan Dengkul”. Feldman theory divide art critics method into four steps: description, formal analysis, interpretation and evaluation. This analysis require contextual reading due the impact of this art works into social, politic relation outside the artworld itself. Tisna's work has become one pioneer on installation artwork in Bandung, which also has a significance role of enggaging public reaction which create a paradoxes. Further more, provoke the government security (Satpol PP) to burn this artwork in Babakan Siliwangi as well as his other works "Doa untuk yang Mati”.

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Curtin, Brian. "Critical Mess: Art Critics on the State of Their Practice". Circa, nr 122 (2007): 108. http://dx.doi.org/10.2307/25564881.

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Barrett, Terry. "Art is". Visual Inquiry 10, nr 2 (1.08.2021): 233–35. http://dx.doi.org/10.1386/vi_00032_1.

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For your purposes as an art educator, how do you define ‘art’ and ‘artist’? Some critics argue that, in today’s art world, the ‘institutional’ definition of art reigns. What other definitions of art seem credible and useful to you as an art educator?

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Fendt, Gene. "Camus and Aristotle on the Art Community and its Errors". Labyrinth 22, nr 2 (17.02.2021): 40. http://dx.doi.org/10.25180/lj.v22i2.236.

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The purpose of this paper is to show the agreement of Camus and Aristotle on the cultural function of the art community (the community of artist and audience), in particular their criticism of what should be called barbarian or nihilistic practices of art. Camus' art and criticism have been frequent targets of modern critics, but his point is and would be that such critics have the wrong idea of the purpose of art. His answer to such critics and the parallelism of his ideas with Aristotle's criticism of barbarian culture, show that the real issue between Camus and his critics is cultural.

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Frost, Charlotte. "Digital Critics: The Early History of Online Art Criticism". Leonardo 52, nr 1 (luty 2019): 37–43. http://dx.doi.org/10.1162/leon_a_01379.

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Art critic Jerry Saltz is regarded as a pioneer of online art criticism by the mainstream press, yet the Internet has been used as a platform for art discussion for over 30 years. There have been studies of independent print-based arts publishing, online art production and electronic literature, but there have been no histories of online art criticism. In this article, the author provides an account of the first wave of online art criticism (1980–1995) to document this history and prepare the way for thorough evaluations of the changing form of art criticism after the Internet.

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Markov, Alexander V. "THE PSYCHOLOGY OF ART AS AN ART HISTORY DISCIPLINE". Articult, nr 4 (2022): 80–101. http://dx.doi.org/10.28995/2227-6165-2022-4-80-101.

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The article deals with the general educational and special function of the discipline “Psychology of Art” in the system of training art historians. It is proved that this discipline is a part of critical theories, propaedeutic for producing a critical attitude to both aesthetic experience and the usual forms of expression of this experience. Thus, the discipline compensates for shortcomings in the philosophical education of art critics and introduces the principles of constructing a theoretical system as a multiple introduction of new forms of reflection. The historical approach to reading the discipline never contradicts these projects of systematization. The study of the discipline allows students to form the experience of independent research, the fitness to find a theoretical productivity in prominent works on the theory and history of art, and finally, to formulate the problem not as a result of aesthetic experience or individual procedures of knowledge, but as an effect of accepting art as a dynamic system for evaluating and qualifying objects, processes, and actions.

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Lynch, Andrew. "A Tale of 'Simple' Malory and the Critics". Arthuriana 16, nr 2 (2006): 10–15. http://dx.doi.org/10.1353/art.2006.0065.

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Quinn, Michael. "Concepts of Theatricality in Contemporary Art History". Theatre Research International 20, nr 2 (1995): 106–13. http://dx.doi.org/10.1017/s0307883300008324.

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Theatre historians often turn to art history, not only for information about source images that can help with the speculative reconstruction of lost performances, but also for lessons in historiographic method. Historians from both disciplines have long shared the difficulties of ‘ekphrasis’, i.e. the translation of nondiscursive images into descriptions, and vice versa, as well as other vexing problems of general history like periodization, documentation of events, and so on. Unlike theatre history, art history has a recognized pantheon of interpreters, which has been subjected to overview studies like Michael Podro'sThe Critical Historians of Artas well as specific treatments of major critics and their influence, like Michael Ann Holly's work on Panofsky. Theoretical concerns about historiography, sometimes assumed by literary critics of ‘master narratives’ to be synonymous with postmodernism, developed somewhat earlier in art historical writing, which would appear to be an advantage.

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Kozhokaru, Tatiana I. "ANALYTICAL SCHEME IN FILM CRITICS’ WORK. EVGENY GUSYATINSKY". Articult, nr 2 (28.06.2023): 75–89. http://dx.doi.org/10.28995/2227-6165-2023-2-75-89.

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The article is devoted to identifying the analytical scheme used by film critic Yevgeny Gusyatinsky in reviews for the printed version of Cinema Art Journal. The review of domestic publications, which are focused on various aspects of the film review genre, is followed by a constructive analysis of the texts by E. Gusyatinsky, carried out in accordance with the methodology developed by S.Yu. Schtein. The film critic's reviews of feature films published in Cinema Art Journal are successively analyzed, and each text's key principles of construction are formulated. The systematization of the analytical models used allows us not only to conclude that there is a more or less unified scheme for analyzing the film used by the author but also to continue the study on a larger scale, identifying the schemes used by other film critics and comparing them.

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Keshmiri, Fahimeh, i Shahla Sorkhabi Darzikola. "Modernity in Two Great American Writers’ Vision: Ernest Miller Hemingway and Scott Fitzgerald". English Language Teaching 9, nr 3 (13.02.2016): 96. http://dx.doi.org/10.5539/elt.v9n3p96.

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<p>Scott Fitzgerald and Ernest Hemingway, American memorable novelists have had philosophic ideas about modernity. In fact their idea about existential interests of American, and the effects of American system on society, is mirrored in their creative works. All through his early works, Fitzgerald echoes the existential center of his era. Obviously, we recognize Hemingway’s vision of modernity in formation of his own philosophies of life, death, and art in what is known as Hemingway’s characteristic philosophy, Code, and Code Heroes. In this article, among the numerous characteristics illuminating these two writer’s vision of America, the main themes of their foremost works have been analyzed with regard to some Critic’s viewpoints regarding these two, literary masters. Critics see Fitzgerald both as a chronicler, and a perceptive social critic who is totaling the “dilemmas of philosophy” in his art. Indeed, what in American critics’ view is a fatalistic philosophy, with the darker side of life, existentialist critics consider as a prophetic optimism and an absurdist vision that places Hemingway in the ranks of a “guide “prophet of those who are without faith”.</p>

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Ștefănescu, Mirela. "7. The Relevance of Art Criticism in Aesthetic Reception of Artworks". Review of Artistic Education 1, nr 24 (1.04.2022): 222–29. http://dx.doi.org/10.2478/rae-2022-0027.

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Abstract One of the most important tests through which the cultural vitality of an artistic community can be examined is art criticism. Art criticism has the role of analysis, interpretation and evaluation of artworks, having important responsibilities to the public interested in the visual artistic phenomenon and also to the evolution of artistic taste. The comments of art critics have managed to provoke public debates on art-related issues or have effectively contributed to the reception and promotion of artworks. The art critic creates a connection between the artworks exhibited in galleries or museums and the public who appreciate the aesthetic value of the works, in terms of explaining the context and the artistic phenomenon, so as to outline the communication between artists, critics and viewers, from the perspective of dynamics of new structures and forms of visual expression. In this context, the public formed through the visual education can be prepared and opened in receiving the aesthetic message of artworks.

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Coyle, Damien. "Visual Arts: North: Is Eating Art Critics Wrong?" Circa, nr 67 (1994): 5. http://dx.doi.org/10.2307/25557885.

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Dávila, Arlene. "Critics and the Slippery Terrain of Latinx Art". Latin American and Latinx Visual Culture 1, nr 3 (lipiec 2019): 96–100. http://dx.doi.org/10.1525/lavc.2019.130006f.

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Tolhurst, Fiona. "Geoffrey of Monmouth's Historia regum Britannie and the Critics". Arthuriana 8, nr 4 (1998): 3–11. http://dx.doi.org/10.1353/art.1988.0007.

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Morris, Christine Ballengee. "Literacy and art education". Visual Inquiry 10, nr 2 (1.08.2021): 245–48. http://dx.doi.org/10.1386/vi_00043_1.

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For your purposes as an art educator, how do you define ‘art’ and ‘artist’? Some critics argue that, in today’s art world, the ‘institutional’ definition of art reigns. What other definitions of art seem credible and useful to you as an art educator?

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Carrier, David. "Introduction: Danto and His Critics: After the End of Art and Art History". History and Theory 37, nr 4 (grudzień 1998): 1–16. http://dx.doi.org/10.1111/0018-2656.641998064.

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Delille, Damien F. "Symbolist Androgyny: On the Origins of a Proto-Queer Vision". Arts 13, nr 3 (20.05.2024): 90. http://dx.doi.org/10.3390/arts13030090.

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This article focuses on artistic and aesthetic practices within the idealist and symbolist movements of the late 19th century in France. It investigates how artists and art critics embraced androgynous imaginaries derived from Greco-Roman antiquity and the Platonic myth, transforming them into tools for social and sexual emancipation and giving rise to a proto-queer vision. An analysis of the art of Alexandre Séon, Odilon Redon, Jeanne Jacquemin, and Léonard Sarluis, in conjunction with the symbolist theories of Joséphin Péladan, Gabriel-Albert Aurier, and Émile Verhaeren, reveals an idealistic pursuit grounded in the union of the masculine and the feminine through the act of creation. Through the examination of artworks, contemporary critical discourse, and the personal correspondence of these art figures, this study posits that the androgyne serves as a heuristic model for a queer art history. The ideal androgyne, as theorized in Freud’s psychoanalytic writings, can function as a methodological paradigm in art studies as a tool for visualizing and conceptualizing homosexuality in art.

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Prosser, David. "1 The Education of the Audience". Canadian Theatre Review 57 (grudzień 1988): 17–21. http://dx.doi.org/10.3138/ctr.57.003.

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A recent issue of Toronto’s T.O. magazine (the one with the photo of film critic Jay Scott nude on the cover) devoted its feature space to reviews, by various hands, of the city’s reviewers. Scott was deemed “world-class” and “ sexy” by his reviewer, while food critic Joanne Kates was called “a star” by hers; art critic John Bentley Mays was granted to be “brilliant” if “often dead wrong.” And the theatre critics? Well, the theatre critics didn’t fare so well.

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Pangeran Paita Yunus, Siti Asmaulul Izmi i Faidhul Inayah. "EVALUASI BUKU KRITIK SENI UNTUK MAHASISWA PADA PROGRAM STUDI PENDIDIKAN SENI RUPA FAKULTAS SENI DAN DESAIN UNIVERSITAS NEGERI MAKASSAR". SEMINAR NASIONAL DIES NATALIS 62 1 (31.07.2023): 556–62. http://dx.doi.org/10.59562/semnasdies.v1i1.1090.

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Forming the character of a student who has a critical nature towards various issues of art and how to understand, respond and provide comments on the works of art they encounter, can be started through Art Criticism courses taught at universities. Basically, the knowledge about art criticism obtained by students can be used as a bridge between artists as creators of works of art and critics as reviewers, so that a dialogue occurs between works of art created by artists and observers (appreciators). The Art Criticism course not only provides a theoretical basis for the concept of Art Criticism but shapes a student's attitudes, behavior and mindset. This is a capital investment to prepare students to start activities in their lives after studying at university. Through the integration of the experience, skills and knowledge they have acquired, students can develop themselves to become art observers or art critics. This research aims to evaluate the suitability of the Art Criticism textbook with the criteria for a good textbook prepared by the Ministry of Education and Culture. The product evaluated in this research is teaching material in the form of an Art Criticism textbook. The Art Criticism course is one of the mandatory courses for students of the Fine Arts Education study program, FSD Fine Arts Education study program, Makassar State University. This research evaluates the teaching materials of the Art Criticism textbook and then measures the appropriateness of the content, appropriateness of presentation, language and source material.

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Cooper, Yichien. "Lobbying for art education as a civic engagement for change". Visual Inquiry 10, nr 2 (1.08.2021): 237–39. http://dx.doi.org/10.1386/vi_00036_1.

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For your purposes as an art educator, how do you define ‘art’ and ‘artist’? Some critics argue that, in today’s art world, the ‘institutional’ definition of art reigns. What other definitions of art seem credible and useful to you as an art educator?

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Kamhi, Michelle Marder. "The lamentable consequences of blurring the boundaries". Visual Inquiry 10, nr 2 (1.08.2021): 241–44. http://dx.doi.org/10.1386/vi_00038_1.

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For your purposes as an art educator, how do you define ‘art’ and ‘artist’? Some critics argue that, in today’s art world, the ‘institutional’ definition of art reigns. What other definitions of art seem credible and useful to you as an art educator?

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Rolling Jr, James Haywood. "Rethinking artistic method". Visual Inquiry 10, nr 2 (1.08.2021): 249–51. http://dx.doi.org/10.1386/vi_00045_1.

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For your purposes as an art educator, how do you define ‘art’ and ‘artist’? Some critics argue that, in today’s art world, the ‘institutional’ definition of art reigns. What other definitions of art seem credible and useful to you as an art educator?

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Sinner, Anita, i Rita L. Irwin. "Activating a/r/tographic propositions: Walking with art education". Visual Inquiry 10, nr 2 (1.08.2021): 257–60. http://dx.doi.org/10.1386/vi_00050_1.

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For your purposes as an art educator, how do you define ‘art’ and ‘artist’? Some critics argue that, in today’s art world, the ‘institutional’ definition of art reigns. What other definitions of art seem credible and useful to you as an art educator?

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Anderson, Katherine. "The Art Of Comparison: How Novels And Critics Compare". George Eliot - George Henry Lewes Studies 62-63, nr 1 (1.09.2012): 124–26. http://dx.doi.org/10.2307/42827910.

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Anderson, Katherine. "The Art Of Comparison: How Novels And Critics Compare". George Eliot - George Henry Lewes Studies 62-63, nr 1 (1.09.2012): 124–26. http://dx.doi.org/10.2307/georelioghlstud.62-63-1.0124.

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Eisner, Elliot W. "Discipline-Based Art Education: Its Criticisms and Its Critics". Art Education 41, nr 6 (listopad 1988): 7. http://dx.doi.org/10.2307/3193084.

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Parsons, Michael J. "Assumptions about Art and Artworld: A Response to Critics". Journal of Aesthetic Education 22, nr 4 (1988): 107. http://dx.doi.org/10.2307/3332987.

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Wang, Peggy. "Art Critics as Middlemen: Navigating State and Market in Contemporary Chinese Art, 1980s–1990s". Art Journal 72, nr 1 (marzec 2013): 6–19. http://dx.doi.org/10.1080/00043249.2013.10791018.

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Gordon, Peter E. "Social Suffering and the Autonomy of Art". New German Critique 48, nr 2 (1.08.2021): 125–46. http://dx.doi.org/10.1215/0094033x-8989288.

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Abstract This article seeks to reconstruct a central claim of Theodor W. Adorno’s Aesthetic Theory, namely, that art is simultaneously autonomous and socially conditioned. The thesis of art’s “double character” is often misunderstood, especially by critics who wish to fault Adorno for his retreat into socially indifferent aestheticism. But his actual view was that art can remain art only if it is responsive to human suffering. For Adorno, it is only by virtue of its relative autonomy that art can address social suffering and sustain a critical posture toward the world.

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Purves, Alan C. "The Need for Critics". Research in the Teaching of English 28, nr 4 (1.12.1994): 358–61. http://dx.doi.org/10.58680/rte199415363.

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Yes, education is a national issue, but it is also a danger. When I look all these books about how to teach, I have the impression that children are being used as fodder for testing, that the aim is not to educate them, but to bring them up as if they were frogs or guinea pigs for psychologists. This is dreadful. Poor young people! What they have to go through because of these books! They are trained like performing animals. (Unamuno, 1993, p.42) There are two things I cannot stand: pedagogy and sociology. The former must be replaced by art and the latter by history. (Unamuno, 1993, p. 42)

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Kelly, Emma. "Mainmast Speaks: The paintings of Pauline Thompson". Back Story Journal of New Zealand Art, Media & Design History, nr 8 (1.12.2020): 49–68. http://dx.doi.org/10.24135/backstory.vi8.57.

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This paper explores the work of Pauline Thompson (1942-2012), an Auckland based artist who painted throughout her adult life. Although she received local critical acclaim for her work in a ‘Pop Art Idiom’ in the 1960s, as Pauline’s work shifted to a more ‘metaphysical’ style she arguably became less fashionable. This paper considers the reception of her work by art critics, the context in which she was creating her work, and the general discourse of art critics in Aotearoa over the period of her career. Pauline’s own writings and discourse on her practice are interpolated into the discussion. This paper was first presented at the conference of PHANZA (Professional Historians Aotearoa New Zealand Association) in 2019, and following feedback, has been developed into this article. The author knew Pauline Thompson personally, and interweaves informal discussions she had with the painter into this narrative.

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Bowman, Matthew. "Art Criticism in the Contracted Field1". Journal of Aesthetics and Art Criticism 79, nr 2 (15.03.2021): 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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Joselit, David. "Conceptual Art of the Press Release, or Art History without Art". October 158 (październik 2016): 167–68. http://dx.doi.org/10.1162/octo_a_00276.

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As in neoliberal market theory, where maximal information is said to make markets more efficient, what Joselit calls “Conceptual art of the press release” (in which the artwork is “translated” into text as a proposition about its meaning) makes even difficult art easy to consume. The once radical proposal of Conceptual art—that objects exist in a transactional relation with text (and prosaic photographic documents)—has now become business as usual. But this is not merely the result of the now-standard practice of training artists in MFA programs, where learning consists of verbally justifying one's artworks before a cohort of peers and artist-instructors, nor the demands of a global and increasingly virtual art market. It is also a condition of today's academic practice in which art history is little more than the weaving together of primary and secondary sources that “historicize” and “theorize” objects without attending to them specifically. The current challenge for artists and critics is not to forego engaging with information, but rather to resist the allure of its transparency in favor of tracking its plasticity—in other words, the shapes of social governance and aesthetic speculation that its myriad overlapping channels assume.

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Montgomery, Harper. "Introduction to Carlos Mérida's “The True Meaning of the Work of Saturnino Herrán”". ARTMargins 7, nr 1 (luty 2018): 115–27. http://dx.doi.org/10.1162/artm_a_00203.

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The introductory essay places “The True Meaning of the Work of Saturnino Herrán: The False Critics” (1920), a piece of early criticism written by the Guatemalan artist Carlos Mérida during the first year he lived in Mexico City, within the contexts of the cosmopolitan milieu of post-Revolutionary Mexico and the artist's own trajectory. It suggests that the text both demonstrates intellectuals’ interest in questions of form and national art and Mérida's desire to provide a critical framework for his own paintings of indigenous Guatemalan and Mexican women. In “The True Meaning of the Work of Saturnino Herrán: The False Critics,” Mérida lashed out at Mexican critics for praising Herrán as the best and most Mexican painter of the time, arguing, instead that the realism and sentimentalism of Herrán's paintings dishonored national themes by presenting them as picturesque stereotypes. Published in the widely-read magazine El Universal Ilustrado, the text attacks Herrán's paintings and the critics who praise them while also arguing that the predominance of the artist is symptomatic of the predominant problem of the literary nature of Mexican artists’ engagement with autochthonous art and culture.

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Mérida, Carlos. "The True Meaning of the Work of Saturnino Herrán: The False Critics". ARTMargins 7, nr 1 (luty 2018): 128–30. http://dx.doi.org/10.1162/artm_a_00204.

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The introductory essay places “The True Meaning of the Work of Saturnino Herrán: The False Critics” (1920), a piece of early criticism written by the Guatemalan artist Carlos Mérida during the first year he lived in Mexico City, within the contexts of the cosmopolitan milieu of post-Revolutionary Mexico and the artist's own trajectory. It suggests that the text both demonstrates intellectuals’ interest in questions of form and national art and Mérida's desire to provide a critical framework for his own paintings of indigenous Guatemalan and Mexican women. In “The True Meaning of the Work of Saturnino Herrán: The False Critics,” Mérida lashed out at Mexican critics for praising Herrán as the best and most Mexican painter of the time, arguing, instead that the realism and sentimentalism of Herrán's paintings dishonored national themes by presenting them as picturesque stereotypes. Published in the widely-read magazine El Universal Ilustrado, the text attacks Herrán's paintings and the critics who praise them while also arguing that the predominance of the artist is symptomatic of the predominant problem of the literary nature of Mexican artists’ engagement with autochthonous art and culture.

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Saito, Tatsuya. "Critical Reactions to the 1890 Japanese Print Exhibition in Paris". Journal of Japonisme 2, nr 1 (18.01.2017): 38–72. http://dx.doi.org/10.1163/24054992-00021p02.

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The great Japanese pictorial arts retrospective held in Paris in 1890 drew considerable attention from critics. By examining press reviews, this article aims to clarify how the critics responded to the exhibition and Japanese prints. Many reviewers expressed favorable opinions of the exhibition, describing the characteristics of Japanese art and notable painters such as Hokusai, Hiroshige, and Utamaro as well as the so-called “primitive artists.” However, there was also harsh criticism of Japonisme and Japanese art, which is discussed here as well. Writers such as Teodor de Wyzewa, Edmond Pottier, and Jacques Tasset published original studies on the Japanese pictorial arts. Their writings will likewise be analyzed in order to present the wide variety of reactions in the critical sphere.

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Tavinor, Marie. "The Reception of British Painting at the Venice Biennali, 1895–1914". International Journal for History, Culture and Modernity 4, nr 1 (28.03.2016): 73–91. http://dx.doi.org/10.18352/hcm.502.

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The opening of the Venice Biennale in 1895 provided an unprecedented occasion to bring international art to the Italian public. It thus enabled intellectuals, art critics and the wider public to see and judge national productions side by side. This paper proposes to look at the way biases developed along with the Biennale – in relation to the peculiar political situation in Europe. By looking at articles written by leading Italian art critics on newspapers and magazines such as Emporium, Fanfulla della Domenica, Il Marzocco or Illustrazione italiana, the paper will show that art often served as a pretext for a political analysis which ultimately pointed to the rising conflict between the Triple Alliance and the Triple Entente.

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Pokrivčák, Anton. "Teaching with New Critics". CLEaR 4, nr 2 (1.09.2017): 34–40. http://dx.doi.org/10.1515/clear-2017-0010.

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Abstract Anglo-American New Criticism was one of the most important movements in the twentieth century literary theories. It stressed the objectivity of a literary work of art and claimed that literary critics as well as teachers should concentrate, primarily, on the text, its linguistic structures and the ambiguities of meaning resulting from them, and only secondarily on the text´s extraliterary relationships. After the New Critics´ popularity in the early decades of the last century, in its second part they were refused as pure formalists, supposedly unable to see the real nature of a literary work in its social circumstances. The article attempts to reassess New Criticism as a movement which contributed significantly to the reading and teaching literature and claims that their importance has not diminished even in the twenty-first century.

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Hammersley, Martyn. "Research, Art, or Politics". International Review of Qualitative Research 3, nr 1 (maj 2010): 5–9. http://dx.doi.org/10.1525/irqr.2010.3.1.5.

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In a recently published “one-act play,” Norman Denzin alleges that I and others have misinterpreted the kind of qualitative inquiry he promotes and are insufficiently open-minded. In response, I argue that he positions his critics via a modernist notion of resisting progress that is rhetorically illegitimate, and obscures and misrepresents their arguments, partly through use of the play format. I insist that research is a distinct form of activity, different in character from both art and politics, and that pursuing one under the auspices of another is unethical.

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Proshchenko, Anastasia. "F. M. Dostoevsky in the Biased Opinions of the Feuilletonist and Critic V. P. Burenin". Неизвестный Достоевский 8, nr 3 (wrzesień 2021): 107–35. http://dx.doi.org/10.15393/j10.art.2021.5561.

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The influence of the critic V. P. Burenin on the public life of the 1860s — 1880s is great: his popularity was comparable to that of V. G. Belinsky in the 1840s. According to B. B. Glinsky, everyone has secretly read Burenin's feuilletons, even those who despised the newspaper Novoe Vremya (New Time) and personally hated its critical columnist for the sharpness and rudeness of his polemical style. The article examines the evolution of the critic's views of F. M. Dostoevsky’s work and his role in Russian journalism and literature. In the initial period of his activity, V. P. Burenin tended to adhere to common moods and assessments, and scolded Dostoevsky. Gradually, he realized the scale of Dostoevsky's writing gift. Already a famous and influential author of the Novoe Vremya (New Time), V. P. Burenin became a great admirer, friend and defender of the writer. He was one of the few critics who appreciated the Writer's Diary. After Dostoevsky's death, Burenin maintained good communication with the writer's widow. Their correspondence makes it clear that A. G. Dostoevskaya considered Burenin her colleague in preserving the legacy of her late husband. The letters contain previously unknown information, namely, that the correspondence of the Novoe Vremya (New Time) about the fire in Staraya Russa were penned by A. G. Dostoevskaya herself, as well as some other information about Dostoevsky and the fate of his legacy.

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W. Mohd Apandi, Wan Nurhasyimah, i Ahmad Rashdi Yan Ibrahim. "Metaphors in Contemporary Art". Idealogy Journal 3, nr 2 (7.09.2018): 235–40. http://dx.doi.org/10.24191/idealogy.v3i2.69.

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The use of metaphors in producing contemporary works of art is often used by artists to convey current ideas and issues in the era of contemporary visual art. The metaphor used is as a symbol for the meaning of a work in conveying the ideas and narrative of the story more creatively. In addition, the use of metaphors should be in line with the selection of subjects and meanings to be used and conveyed more accurately and effectively in the production of works to be seen and studied by art critics.

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Al yahyai, Fakhriya Khalafan. "Art Criticism, the Reality and Difficulties Sultanate of Oman as a Model". Journal of Arts and Social Sciences [JASS] 3, nr 1 (1.01.2012): 27. http://dx.doi.org/10.24200/jass.vol3iss1pp27-43.

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This research aims to address the context of Art Criticism in the Sultanate of Oman by investigating and analyzing written criticism. The significance of the current research is that it summarizes the reasons behind the absence of a critical movement in the area of Fine Arts in Oman. This research tries to gather and review the writings in art criticism in order to propose improvement and project a future vision of the field. This research uses historical methods to trace the writings on art criticism, and descriptive analytical methods to describe and analyze the forms and contents of the critical writings that guided the fine art movement in Oman. This research proposes some recommendations such as the importance of promoting the culture of art criticism in Oman. Particularly, the study suggests that a group be formed to promote and disseminate the culture of the Visual Arts. It is also recommended that general and impressionistic writings on fine arts be avoided and replaced by more systematic and academically rigorous writings. The study recommended that both the researcher and the critic should be given more attention and that the media should play a role in promoting fine arts criticism by broadcasting specialized programs in this area. These programs should be presented by expert art critics. The study also recommends that fine art criticism be emphasized in fine art classes in schools in order to create a generation that is capable of appreciating and critiquing art.

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Al yahyai, Fakhriya Khalafan. "Art Criticism, the Reality and Difficulties Sultanate of Oman as a Model". Journal of Arts and Social Sciences [JASS] 3, nr 1 (1.01.2012): 27–43. http://dx.doi.org/10.53542/jass.v3i1.1040.

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This research aims to address the context of Art Criticism in the Sultanate of Oman by investigating and analyzing written criticism. The significance of the current research is that it summarizes the reasons behind the absence of a critical movement in the area of Fine Arts in Oman. This research tries to gather and review the writings in art criticism in order to propose improvement and project a future vision of the field. This research uses historical methods to trace the writings on art criticism, and descriptive analytical methods to describe and analyze the forms and contents of the critical writings that guided the fine art movement in Oman. This research proposes some recommendations such as the importance of promoting the culture of art criticism in Oman. Particularly, the study suggests that a group be formed to promote and disseminate the culture of the Visual Arts. It is also recommended that general and impressionistic writings on fine arts be avoided and replaced by more systematic and academically rigorous writings. The study recommended that both the researcher and the critic should be given more attention and that the media should play a role in promoting fine arts criticism by broadcasting specialized programs in this area. These programs should be presented by expert art critics. The study also recommends that fine art criticism be emphasized in fine art classes in schools in order to create a generation that is capable of appreciating and critiquing art.

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WON, Eunyoung. "SOCIAL CONDITIONS OF FILM CRITICS IN SOUTH KOREA FROM 2000 TO 2020". International Journal of Korean Humanities and Social Sciences 7 (27.12.2021): 83–99. http://dx.doi.org/10.14746/kr.2021.07.04.

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This paper empirically analyzes the social status of film critics in the Korean film industry. Film critics contribute to the creation of films as producers of specific values in film art by producing cinematographic discourse. Then how does one become a film critic? How does the film critic space operate – which can be understood as structured based on the development of the market for film magazines in the 1990s? The result of quantitative and qualitative analysis of the social recruitment of film critics from 2000 to 2020 shows that those who attained the legitimate status of film critic by winning awards in contests possess a high level of academic capital. It was also found that the location of higher education among these laureates was mainly concentrated in Seoul. Although film critics are not fully institutionalized and have an artistic mission to some extent, to access the profession of film criticism, they need to be controlled by established film critics who share similar cultural and symbolic capital each other. This suggests that symbolic power exists in the world of film criticism and that the structure can be reproduced through gatekeeping by the owners of symbolic power.

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Zakharov, Vladimir. "The Brilliance of The Double: Why Don’t Critics Understand Dostoevsky?" Неизвестный Достоевский 7, nr 3 (wrzesień 2020): 31–53. http://dx.doi.org/10.15393/j10.art.2020.4941.

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In the euphoria of the success of Poor Folk Dostoevsky wrote an inventive work — a fantastical novel with an absurd plot, in which two completely similar characters act: two Yakov, two Petroviches, two Golyadkins, two titular councilors serving in the same department. Their similarity is not explained in any way. According to the author, this is “a completely inexplicable incident,” however, critics keep trying to explain the appearance of the double. The range of interpretations is extensive — from the rationalistic and empirical rejection of fantastika to numerous psychopathological, ethical, social and other concepts of it. They have the same status: they are all nontextual readings of the work. Critics do not read Dostoevsky, rather, they compose their own version of The Double. It all started with Belinsky, who made factual errors in the analysis of The Double. Dobrolyubov frankly admitted that his explanation of the double was formed “while thumbing through” the story. All subsequent interpretations are variations of their explanations of fantastika. Dostoevsky was sensitive to the misunderstanding of readers and critics. In 1862 and 1864, he created drafts with the aim of revising The Double. Unable to carry out this plan, in September 1866 Dostoevsky cut down the magazine’s editorial staff and made other changes that polemically opposed the interpretations of Belinsky and Dobrolyubov. The analysis of the two editions of The Double and the materials in the 1862-1864 notebooks (Russian State Library. F. 93.I.2.6 and 93.I.2.7) demonstrate that Dostoevsky did not think of The Double as a ghost, hallucination, or the delirium of a madman, but, rather, considered him a real character in the story. Denying the similarity and protesting against the immorality of the younger Golyadkin, the elder proclaims: man is unique. This idea was a development of the anthropological principle that Dostoevsky discovered in Poor Folk and later vividly expressed in Notes from the Underground.

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