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1
Mulvihill, James. "“True portrait and true history”: William Hazlitt's art criticism." Prose Studies 21, no. 3 (December 1998): 32–50. http://dx.doi.org/10.1080/01440359808586652.
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Miller, Michael, and Meredith L. Clausen. "Frantz Jourdain and the Samaritaine: Art Nouveau Theory and Criticism." American Historical Review 93, no. 5 (December 1988): 1344. http://dx.doi.org/10.2307/1873621.
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Corbett, David Peters. "Ekphrasis, history and value: Charles Ricketts's art criticism." Word & Image 15, no. 2 (April 1999): 128–40. http://dx.doi.org/10.1080/02666286.1999.10443980.
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Hatton, Brian. "Exploring architecture as a critical act, questioning relations between design, criticism, history and theory." Architectural Research Quarterly 8, no. 2 (June 2004): 105–8. http://dx.doi.org/10.1017/s1359135504000132.
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This conference, which took place 25–27 November 2004, was held by the Bartlett School of Architecture in association with the Architectural Humanities Research Association (AHRA). Its stated aim was to examine the relationship between critical practice in architecture and architectural criticism, intending to place architecture in an interdisciplinary context with reference to modes of criticism in other disciplines, specifically art criticism, and to explore modes of critical practice in architecture: buildings, drawings and texts. Brian Hatton attended the second day of the conference; his comments on the first day are based on discussions with colleagues and reading of transcripts.
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Green, Alison. "‘A Supreme Fiction’: Michael Fried and Art Criticism." Journal of Visual Culture 16, no. 1 (April 2017): 89–102. http://dx.doi.org/10.1177/1470412917700931.
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One of the striking aspects of the trenchant legacy of Michael Fried’s ‘Art and Objecthood’ is its status as a piece of art criticism. Widely perceived as difficult and personal, philosophical and explicatory, doxa or sermon, the essay stands out. To explore its singularity, this article compares Fried’s conception of the period criticism of 18th-century French painting in his book Absorption and Theatricality: Painting and Beholder in the Age of Diderot (1980) and the method of criticism enacted in ‘Art and Objecthood’ (1967) which he saw as connected. The author pursues this and other crossings between Fried’s art historical writings and art criticism, tracking it to an extended endnote in Fried’s Menzel’s Realism: Art and Embodiment in Nineteenth-Century Berlin (2002). ‘Art and Objecthood’ is a key essay in this story aimed at Fried’s thinking about criticism, its history, theory and practice. Doing this matters because it puts the critic in a particular relation to art and to Fried’s idea of an ‘ontologically prior relationship between painting and the beholder’.
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Campbell, Erin J. "The Art of Aging Gracefully: The Elderly Artist as Courtier in Early Modern Art Theory and Criticism." Sixteenth Century Journal 33, no. 2 (2002): 321. http://dx.doi.org/10.2307/4143910.
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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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Piechucka, Alicja. "Art (and) Criticism: Hart Crane and David Siqueiros." Text Matters, no. 8 (October 24, 2018): 229–43. http://dx.doi.org/10.1515/texmat-2018-0014.
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The article focuses on an analysis of Hart Crane’s essay “Note on the Paintings of David Siqueiros.” One of Crane’s few art-historical texts, the critical piece in question is first of all a tribute to the American poet’s friend, the Mexican painter David Siqueiros. The author of a portrait of Crane, Siqueiros is a major artist, one of the leading figures that marked the history of Mexican painting in the first half of the twentieth century. While it is interesting to delve into the way Crane approaches painting in general and Siqueiros’ oeuvre in particular, an analysis of the essay with which the present article is concerned is also worthwhile for another reason. Like many examples of art criticism—and literary criticism, for that matter—“Note on the Paintings of David Siqueiros” reveals a lot not only about the artist it revolves around, but also about its author, an artist in his own right. In a text written in the last year of his life, Hart Crane therefore voices concerns which have preoccupied him as a poet and which, more importantly, are central to modernist art and literature.
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Berryman, Jim. "Art as document: on conceptual art and documentation." Journal of Documentation 74, no. 6 (October 8, 2018): 1149–61. http://dx.doi.org/10.1108/jd-01-2018-0010.
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Purpose The purpose of this paper is to bring the work of Seth Siegelaub (1941–2013) to the attention of document studies. Siegelaub was a pioneer of the conceptual art movement in New York in the 1960s, active as an Art Dealer, Curator and Publisher. He is remembered by art history for his exhibition catalogues, which provided a material base for intangible works of art. Design/methodology/approach This paper uses a comparative approach to examine the documents of conceptual art, especially the exhibition catalogues produced by Siegelaub between 1968 and 1972. Drawing on literature from document theory and art history and criticism, it examines several of Siegelaub’s key exhibition catalogues and books. Findings Siegelaub’s theories of information have much in common with the documentalist tradition. Siegelaub’s work is important, not just for its potential to contribute to the literature of document theory. It also provides a point of dialogue between art history and information studies. Originality/value To date, the common ground between art and documentation has been explored almost exclusively from the perspective of art history. This paper is among the first to examine conceptual art from the perspective of document theory. It demonstrates potential for cross-disciplinary collaboration.
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Bentley, Nancy. "Slow Criticism: American Literary Studies as a World." American Literary History 34, no. 1 (February 1, 2022): 387–93. http://dx.doi.org/10.1093/alh/ajab096.
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Abstract The authority of art in US society has declined even as cultural criticism has expanded and diversified, spreading to many sectors of society. While these conditions have affected American literary studies, scholars in the field produce criticism that can be distinguished from the criticism in other sectors by its commitment to historicist thought and by disciplinary standards for what it means to produce a “new reading.”
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Sohm, Philip. "Gendered Style in Italian Art Criticism from Michelangelo to Malvasia*." Renaissance Quarterly 48, no. 4 (1995): 759–808. http://dx.doi.org/10.2307/2863424.
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Did the concept of style have gender? Were the styles of particular Renaissance painters considered to have gendered qualities by contemporary critics? Because gender permeated the rhetorical and philological foundations of art criticism, it can provide a useful interpretive lens to examine the critical arsenal of writers on art, their attitudes toward style and the subterranean bias of their language. Feminist art history has grappled with gender more in terms of iconography, biography, or patronage following a social agenda to analyze a misogynist past and to remedy the marginalization of women in modern art historiography. An exceptional study by Elizabeth Cropper in 1976 broached the question of gender in aesthetics by reconstituting a complex history of love and beauty that converged in treatises on beautiful women.
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Lah, Nataša. "Medijacijska funkcija umjetničke kritike između povijesti i suvremenosti." Ars Adriatica, no. 2 (January 1, 2012): 269. http://dx.doi.org/10.15291/ars.455.
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The importance of questioning the mediatory role of art criticism was established by theory in the 1960s, when it began to erode the boundary between works of art and objects which are not art but which have been institutionalized as legitimate artworks by theoreticians, critics, museums, art galleries and a narrow but well-versed public audience. The postmodern period has further exacerbated this crisis by annulling the meaning and significance of all dominant theoretical tendencies. Such circumstances have shown that art criticism, by losing a firm theoretical and axiological stronghold, has neglected its fundamental function of initiating and articulating, theoretically interpreting and mediating current artistic practices and the contemporary life of the art world. Curatorial practices in these new circumstances have imposed thematic and evaluative orientation points on art criticism while institutional art theories have conversely encouraged the paradigm shift which has caused art criticism to lose its original purpose. Operating mostly in the sphere of the mass media, and in harmony with its function, art criticism has focused on documenting and bringing into the public arena those works which have already been evaluated in advance by conceptual curatorial practice. Given that such projects addressed mostly narrow professional circles and the activities of the relevant institutions, the wider cultural context of following and evaluating current artistic production was lost. Art criticism found itself in an unfavourable position, squeezed between the demands of its mother discipline (history of art) for a normative and established scholarly apparatus, and the counter-demands of the media within which it operates. Therefore, its mediatory role was neutralized.Recent professional activities across the world, including two large international conferences - What is Critique? held in New York in 2010, and the Art and Reality organized at Saint Petersburg in 2011 and focusing on aspects and trends in twentieth-century art criticism point to a re-awakening of interest in the revitalization of the purpose and meaning of art criticism.Our contribution to this subject orientates itself methodologically according to the postulates of the relativistic and moderately-analytical Anglo-Saxon aesthetics of Nelson Goodman, which argue for the influence of culture on reception. By adjusting to the (culturally conditioned) shift away from investigating the purpose, value and significance of a work of art towards the purpose, significance and value of the representation itself, the mediatory function of art criticism includes the reception of the cultural paradigm a work of art is presenting. The demand for a mediatory function for art criticism is also based on the consequences of the turbulent events of nineteenth-century art, when provocation against good taste as such caused a sudden expansion of mutually exclusive theoretical paradigms. In this sense, mediation also implies that art criticism is rooted in the history of the discipline. One of the pre-requisites for the understanding of such a suggestion is found in works such as Lionello Venturi’s History of Art Criticism and Oskar Bätschmann’s Einführung in die kunstgeschichtliche Hermeneutik: Die Auslegung von Bildern (Introduction to Art Historical Hermeneutics). In the case of Venturi we highlight in particular the tendency to link the art historical discipline and art criticism in such a way as to return art criticism to historical problems (understanding of the origin of a work of art), and history of art to forming judgements (the critical evaluation of a work of art). In the case of Bätschmann, we underline his analysis of the iconoclastic relationship of culture towards those types of artistic imagination for which no conditions for understanding are available. Both suggestions demonstrate the significance of art criticism’s mediatory role, on the one hand between history and contemporaneity, and on the other between art and audience.Such a role includes the question of competency in mediation, for which a static reception from the position of only one theoretical paradigm or one system of cultural values is not enough. Competency in mediation, apart from implying insight into the pluralism of social values in all their antinomies, and the pluralism of opinions and beliefs (in which ideologies always have a tendency to mobilize all interpretations directed to them), it also implies a critic’s ability to adjust to different methodologies. This does not support acting without a disciplinary focus but the possibility of adapting to a number of different central points within the discipline which may multiply or expire. In this case, competency in mediation is preceded by the detection of an artistic and cultural paradigm, but also by an authoritative application of theoretical and conceptual strongholds, varying from case to case, always recurring and always authentic.
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Al-Radaideh, Bassam, Raed Al-Share, and Asem Obidat. "Re-conceptualizing the Jordanian Art Education Curricula: Suggested Entries for Teaching Discipline-Based Art Education Theory." Asian Culture and History 11, no. 2 (April 6, 2019): 26. http://dx.doi.org/10.5539/ach.v11n2p26.
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The curricula of art education in the elementary and secondary schools of Jordan is limited to teaching technical skills for making art, and students did not receive tangibleeducation about history of art, aesthetic, and critical aspects of art. This study identified the theory of Discipline-Based Art Education (DBAE) and its significance in teaching art, and it provided suggestions for teaching history of art, criticism, aesthetic and artistic production. Furthermore, the study justified the possibility of implementing the DBAE approach in Jordan art education curricula. The research revealed that DBAE theory improved and elevated art education to a new level because the four disciplinary content area played a significant role in the development of essential knowledge and skills in the art such as developing the creativity, appreciation, understanding and learning about the role and function of art in human civilization. The study recommends to include the components of DBAE to art education instruction in Jordanian curricula.
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GEORGI, KAREN L. "James Jackson Jarves's Art Criticism: Aesthetic Classifications and Historiographic Consequences." Journal of American Studies 42, no. 2 (August 2008): 215–35. http://dx.doi.org/10.1017/s0021875808004660.
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Looking at the methodological principles and rhetorical forms that structure James Jackson Jarves's often-cited 1864 book The Art-Idea, this essay reconsiders Jarves's role in the historiography of American art. Jarves has long been associated with post-Civil War shifts toward international aesthetic trends, which eroded the native bias in favor of verisimilitude and anecdote. He is thought to mark a turning point. His texts, however, only partially corroborate the reputation. Here, firstly, I reread Jarves's art theory to suggest what were the aesthetic preferences he hoped to foster among Americans, and why. Secondly, I propose that the reputed Jarves fulfills an apparently unrecognized need in the subdiscipline of American art history – a fundamental understanding of American art as automatically, necessarily, indexical. It is primarily a manifestation of American culture, and more specifically American culture as defined by change, growth, disruption, reintegration.
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Миньяр-Белоручева and A. Minyar-Belorucheva. "Cognitive Aspect of the Art History Terms Study." Modern Communication Studies 6, no. 3 (May 15, 2017): 30–35. http://dx.doi.org/10.12737/article_58fdaa3b1c1d38.63756629.
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The language of Art History and the change of worldviews have always intertwined and determine each other. Art History is the entity unity of art theory, history and criticism. Art History as any academic discipline has its
own subject, object and terminology. The terms of Art History, contributing to the creation of a coherent pattern of art development, have three stages in their study. The stages of the analysis of the subject-specific Art History terms coincide with the paradigm shift that requires the creation of modern research techniques. However, with its introduction the new paradigm does not change the subject of the study, but the facets of the analysis putting in the focus of academic interests new aspects that have previously been beyond the purview of scholars. The terms of Art History are either composed deliberately or develop from the lexical units of natural languages. A cognitive approach to the study of subject-specific Art History terms gives the possibility to take them as signs through which occurs the verbalization of academic concepts and creation a conceptual model of the world of art.
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Agratina, Elena E. "THE EMERGENCE OF ART CRITICISM IN FRANCE IN THE SECOND HALF OF THE 17TH AND THE FIRST HALF OF THE 18TH CENTURY." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 3 (2022): 146–64. http://dx.doi.org/10.28995/2073-6401-2022-3-146-164.
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The topic of the emergence of art criticism in France in the second half of the 17th and the first half of the 18th century, being rather widely covered in foreign academic literature, is still underdeveloped in Russian art history. Nevertheless, that issue is extremely important for understanding the processes that took place in the French and more widely in the European artistic milieu. The article aims to highlight the process of the criticism formation not only as a literary genre but primarily as a phenomenon of cultural life. Based on original written sources and foreign academic literature, the author traces how the appearance of fine art in the light of publicity was prepared in the Parisian artistic milieu. The author addresses the important questions that arose during the formative and legitimizing phase of criticism, such as its distinction from pre-existing art theory, as well as the distinction between the critic and the theorist or fine art historian. The artwork must now satisfy not only the master and the customer and a small circle of connoisseurs, society also becomes an active participant in artistic life, and the viewer enshrines the right to judge the art. The author shows how criticism is gradually becoming more diverse and polyphonic. Works written on behalf of a wide variety of characters are appearing, writers are adapting various literary genres that already exist: epistolary, diary, plays, poems, dialogues. For many years, criticism becomes an active channel of communication linking all participants in artistic life.
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DAVIES MITCHELL, M. "Review. Apollinaire, Visual Poetry, and Art Criticism. Bohn, Willard." French Studies 48, no. 3 (July 1, 1994): 353. http://dx.doi.org/10.1093/fs/48.3.353.
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Zuk, Patrick. "Words for music perhaps? Irishness, criticism and the art tradition." Irish Studies Review 12, no. 1 (April 2004): 11–29. http://dx.doi.org/10.1080/0967088042000192086.
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Richards, Christine. "Gender, Race and the ‘Art’ of Fiction: Henry James's Criticism and Harriet Beecher Stowe." Literature & History 9, no. 1 (May 2000): 43–55. http://dx.doi.org/10.7227/lh.9.1.3.
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Dąbrowska, Judyta. "Czy to już koniec krytyki? Wstęp do metakrytyki Mieczysława Porębskiego." Przegląd Kulturoznawczy, no. 1 (51) (March 2022): 160–75. http://dx.doi.org/10.4467/20843860pk.22.011.15756.
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The article discusses the key text of Mieczysław Porębski(1921-2012), an outstanding Polish art historian and art critic, which is vital for understanding his proposed idea of creating a metacritical language that would allow description of the contemporary art world − Introduction to Metacriticism (first edition around 1966, second 1983). All Porębski's publications on this subject are mentioned in the article to obtain a full picture of this concept in the researcher's writings. The importance of creating it for critical-artistic methods is emphasized. The sources of inspiration for the idea of metacriticism (including bibliographic ones) and the implementation of its assumptions in the text itself are shown, taking into account the approximate mid-twentieth century historical context of methodologies developed on the basis of structuralist reflection, especially the influence of information theory and game theory. The ways in which Porębskicame to formulate the assumptions of metacriticism are presented, also through analysis of the language itself. The idea of metacriticism is placed in the wider context of the researcher's scientific work too, linking it with his proposal to divide the history of art criticism into the so-called criticism of poets and criticism of experts, as well as the idea of the iconosphere postulated by him, which proves to be a pioneering one for contemporary research on visual culture. Finally, the paper suggests that the idea of metacriticism can be the beginning of the present-day style of writing about art.
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Willis, Alfred. "Review: Frantz Jourdain and the Samaritaine: Art Nouveau Theory and Criticism by Meredith L. Clausen." Journal of the Society of Architectural Historians 48, no. 1 (March 1, 1989): 86–88. http://dx.doi.org/10.2307/990413.
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Mihaylova, Stefka. "Whose Performance Is It Anyway? Performed Criticism as Feminist Strategy." New Theatre Quarterly 25, no. 3 (August 2009): 255–73. http://dx.doi.org/10.1017/s0266464x09000438.
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By the 1990s, the feminist contention that gender norms inform the production and reception of art had become widely accepted in academia. Many theatre journalists, however, continued to insist on the possibility of writing about performance from an apolitical, gender-neutral position. This article examines the gendered history of this insistence from the early 1700s to the present, its effects on the production and reception of plays by women, and its implications for theatre scholarship. Focusing on Carolee Schneemann's critique of a masculine bias in art criticism in her performance Interior Scroll and the Guerrilla Girls' actions against gender discrimination in the art world, this article examines strategies adopted by female and feminist journalists in Britain and the US to counter women's inequitable status in art journalism and playwriting. By engaging with the gendered binaries mind–body and text–performance, Schneemann and the Guerrilla Girls help clarify how reviewing practices have informed critical thinking about femininity and performance. In doing so, these artists anticipate poststructuralist feminist critiques of visibility and the performing body. Stefka Mihaylova holds a PhD in Theatre Studies from Northwestern University. Her research focuses on performance theory, especially gender and racial aspects of spectatorship in contemporary American and British feminist and radical theatre and performance art.
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Epp, Eldon Jay. "New Testament Textual Criticism Past, Present, and Future: Reflections on the Alands' Text of the New Testament." Harvard Theological Review 82, no. 2 (April 1989): 213–30. http://dx.doi.org/10.1017/s0017816000016138.
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History, theory, and practice are interwoven in most realms of human knowledge, yet students approaching a field often care little about its history; they are more concerned with its application and how the discipline is practiced. This may be illustrated from the physical and biological sciences, where it is common not only for novices but even experts to take an interest only very late—if at all—in the history of science, and more so among physicians, to whom the history of medicine is usually a curiosity at best. Students first grappling with NT textual criticism are not likely to be different—they want to know the “jargon,” the “rules,” and the basic methods that will permit them to practice the art and (as they are more likely to view it) the science of textual criticism. In this particular subfield of NT studies, however, the history and the practice of the discipline cannot easily be separated. After all, the canons of criticism—the so-called “rules” in textual criticism—are anything but objective standards that can be applied in a rigid, mechanical fashion.
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Khrenov, Nicolai A. "Modern art history as a human science in a situation of cultural turn." Journal of Flm Arts and Film Studies 11, no. 1 (March 15, 2019): 82–98. http://dx.doi.org/10.17816/vgik11182-98.
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Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology.
However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism.
The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.
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Khrenov, Nicolai A. "Modern art history as a human science in a situation of cultural turn." Journal of Flm Arts and Film Studies 11, no. 2 (June 15, 2019): 102–15. http://dx.doi.org/10.17816/vgik112102-115.
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Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology.
However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism.
The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.
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Khrenov, Nikolai A. "Modern art history as a human science in a situation of cultural turn." Journal of Flm Arts and Film Studies 11, no. 3 (November 13, 2019): 94–106. http://dx.doi.org/10.17816/vgik11394-106.
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Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology.
However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism.
The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.
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Khrenov, Nikolay. "Modern Art History As a Human Science in a Situation of Cultural Turn." Journal of Flm Arts and Film Studies 11, no. 4 (December 30, 2019): 98–113. http://dx.doi.org/10.17816/vgik11498-113.
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Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts selfprotection against deviations from the established methodology.
However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requiresa deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism.
The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.
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Tomashevsky, Boris, Gina Fisch, and Oleg Gelikman. "The New School of Literary History in Russia." PMLA/Publications of the Modern Language Association of America 119, no. 1 (January 2004): 120–32. http://dx.doi.org/10.1632/003081204x23818.
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Anthologies of literary theory, the backbone of courses on literary criticism, rely on viktor Shklovsky's “Art as a Device” or Boris Eikhenbaum's “The Theory of the ‘Formal Method‘” to broach the subject of Russian formalism. The canonical status of these essays is well deserved. Written when the author was merely twenty-four, Shklovsky's 1917 essay bristles with a polemical fervor, wit, and knack for example that announce him as a critical prodigy. Marked by the mixture of embittered pride, rigor, and self-conscious malaise typical of later formalism, Eikhenbaum's dense history of the formal school is remarkable for its titanic effort to marry historical considerations to a systematic analysis of the evolution of key formalist doctrines.
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COLLIER, P. J. "Review. The Art Criticism of Francis Ponge. Jordan, Shirley Ann." French Studies 50, no. 3 (July 1, 1996): 357. http://dx.doi.org/10.1093/fs/50.3.357.
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Wagstaff, E. "'Des matieres, non des images': Bernard Noel's Creative Art Criticism." French Studies 64, no. 3 (June 28, 2010): 290–301. http://dx.doi.org/10.1093/fs/knq034.
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Sellar, Tom. "Discussion, Dream, Art, People." Theater 50, no. 1 (February 1, 2020): 1–11. http://dx.doi.org/10.1215/01610775-8123826.
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In this article, Tom Sellar, the editor of Theater for sixteen years, reflects on the five-decade legacy of the magazine. Sellar’s personal retrospective looks both backward and forward, from Theater’s polemical beginnings in the late 1960s and his own encounters with the magazine as a student in the 1980s to the political exigencies of the present day and the demands this moment makes on the future of theater and criticism. As Sellar writes, Theater’s early radical spirit has not left the magazine’s mission: “Part muse, part archive, part mirror, Theater has held tightly to … its permanent stance that the theater can provide a vessel for transformation, bringing altered consciousness and maybe a better society.” Tracing this history, Sellar illuminates how Theater, as a journal and a reflection of its object of inquiry, has responded to the evolving idea of a public — a sphere that has narrowed and expanded, fractured and recombined over the past half century.
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Hamilton, Judy. "Influencing the Modern in Brisbane: Gertrude Langer and the Role of Newspaper Art Criticism." Queensland Review 20, no. 2 (October 30, 2013): 203–14. http://dx.doi.org/10.1017/qre.2013.21.
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Dr Gertrude Langer arrived quite by chance in Brisbane in 1939 as a refugee from Hitler's Europe. She was a young, elegant Austrian refugee with a PhD in art history from the University of Vienna. After arriving in Australia, Gertrude and her husband, Dr Karl Langer, had hoped to settle in Sydney, but Karl's work as an architect moved them on to Brisbane. Gertrude Langer would become an important figure in Brisbane's post-war art scene through her salon-style lectures, art criticism and work with the Australia Council. She strongly believed that the arts were an important part of a community, and for this reason became a champion for the cause of contemporary art in Brisbane.
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Sertic, Petra. "Who Was Mrs. Benway?" Internationales Archiv für Sozialgeschichte der deutschen Literatur 45, no. 2 (November 9, 2020): 471–88. http://dx.doi.org/10.1515/iasl-2020-0028.
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AbstractFrom 1985 to 1991, the artist Jutta Koether contributed a column titled Mrs. Benway to the pop cultural magazine Spex, for which she developed a form of art criticism that would appeal to a mostly music interested readership. In the process, Koether advanced a form of critique as a practice with the ability to actively determine the conditions for one’s own life, connecting to contemporaneous evaluations of models of critique for their ability to initiate change. Spex not only provided a platform for evaluation and judgment, but functioned as a launch pad where the habit of responding and taking position to current events was routinely exercised in step with the magazine’s monthly publication rhythm and Cologne’s dynamic art calendar.
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Buszek, Maria Elena. "Mirror, Mirror: Joanna Frueh as Fairy Stepmother." TDR/The Drama Review 55, no. 2 (June 2011): 104–13. http://dx.doi.org/10.1162/dram_a_00073.
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For over 20 years, scholar and performance artist Joanna Frueh has been a pioneering force in feminist art and criticism. In homage to Frueh's “erotic scholarship,” Frueh's own writing and performances concerning relationships between women are interwoven with a biographical history of the author and the artist's own student/teacher relationship.
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Mathews, Patricia, and Mark A. Cheetham. "The Rhetoric of Purity. Essentialist Theory and the Advent of Abstract Painting (New Art History and Criticism Series)." Art Bulletin 75, no. 2 (June 1993): 332. http://dx.doi.org/10.2307/3045955.
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Brenner, Rachel Feldhay. "Between Identity and Anonymity: Art and History in Aharon Megged's Foiglman." AJS Review 20, no. 2 (November 1995): 359–77. http://dx.doi.org/10.1017/s036400940000698x.
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In a recent article, “Israeli Literature Over Time,”Aharon Megged describes his work as “unremittingly concerned with burning national issues,” mainly with the issue of Israel′s relationship to the Diaspora.1 Megged′s intense preoccupation with the Zionist ideology of the negation of the Diaspora emerged in his 1955 story “Yad va-shem” (“The Name”). The story presents a scathing criticism of Israel′s dissociation from the history of the Diaspora and especially from the catastrophe of the Holocaust. “Yad va-shem” was followed by an article entitled “Tarbutenu ha-yeshana ve-ha-hadasha” (“Our Old and New Culture”) in which Megged deplored Israel′s severance of its Diaspora roots and urged a reexamination of the negative attitude toward the destroyed European Jewish culture.In 1984, Megged published Massa ha-yeladim el ha-aretz ha-muvtachat (“The Children's Journey”), a novel based on a true story about a group of young survivors of the Holocaust on their way to Palestine.3 This work, as Dan Laor notes in his review, “offers a perspective of the Diaspora in the Holocaust which differs from [the typical Israeli attitude of] contempt infused with pity” toward the Diaspora Jew.
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Yurieva, Ol’ga. "When the Unknown Becomes Known: Textual Criticism, Biography, Criticism (Review of Books Published by the RFBR Competition “Sources and Methods in the Study of the Legacy of F. M. Dostoevsky in Russian and World Culture”)." Неизвестный Достоевский 9, no. 1 (March 2022): 124–55. http://dx.doi.org/10.15393/j10.art.2022.5981.
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Russian Academy of Sciences presents a number of books published by the Russian Foundation for Basic Research competition “Sources and Methods in the Study of the Legacy of F. M. Dostoevsky in Russian and World Culture.” They are Viktorovich V. A., Zakharova O. V. “F. M. Dostoevsky in Russian Criticism. 1845–1881”; “Dostoevsky’s Darovoe. Materials and Research” (edited by A. S. Bessonova); “Unknown and Little-Known Sources of the Biography of F. M. Dostoevsky in the Collection of the State Museum of the History of Russian Literature Named After V. I. Dahl: A Collective Monograph” (P. E. Fokin, A. V. Petrova, E. M. Varentsova and others); “New Archival and Printed Sources of the Scientific Biography of F. M. Dostoevsky. Collective Monograph” (edited by B. N. Tikhomirov); and “The Handwritten Legacy of F. M. Dostoevsky” (edited by I. S. Andrianova). The review presents the main topics and problems raised by the researchers, indicates the new archival documents and sources used by the researchers, the significance of the research undertaken by the authors for studying the biography and creative work of F. M. Dostoevsky and creating his new scientific biography.
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Mathur, Saloni. "Ends and Means: A Conversation with Geeta Kapur." October 171 (March 2020): 115–38. http://dx.doi.org/10.1162/octo_a_00380.
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This interview with New Delhi–based critic and curator Geeta Kapur was conducted by Saloni Mathur, a professor of art history at UCLA. In their dialogue, Kapur reflects on her five-decade long career and speaks on a wide range of topics, including the rise of authoritarianism in India and around the world, the status of “third-world” and postcolonial criticism, the internationalism of Okwui Enwezor, and the challenges to the Euro-American canon presented by critical engagements with modern and contemporary art.
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Balbekova, Irina Mikhailovna. "The phenomenon of the chess game in the art of the XX century." Философия и культура, no. 5 (May 2022): 1–11. http://dx.doi.org/10.7256/2454-0757.2022.5.37881.
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This article examines the history of the creation of game theory as a phenomenon of culture and art. Contribution of theorists and artists of the twentieth century in the formation of game theory, its place in modern art criticism and philosophy. The significance and influence of the personality of Marcel Duchamp, surrealist artists in creating a modern understanding of the game in art and in life. The subject of the research in this article is such concepts as the game and its place in art criticism in general, and the role and significance of the chess game in particular, using the example of the creativity and activity of Marcel Duchamp. The author's view on understanding the problem of the mutual influence of the chess game and artistic creativity is proposed. An attempt is made to explain the motivation for choosing a game as an artistic principle and method. How important is the use of the game in creating an artistic image, the creative image of the artist is also significant. The methodology of the study is based on the basic principles of the game theory of Roger Caillois and Johan Huising in relation to the chess strategy of Marcel Duchamp. The novelty of this work lies in drawing attention to the role and significance of the chess game on creativity, the influence on the aesthetic, artistic and philosophical views of the artist.
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Simpson, Juliet. "Plenitude, Potential and Provence: Zola, Art Criticism and Le Sémaphore de Marseille." Australian Journal of French Studies 46, no. 1-2 (January 2009): 111–25. http://dx.doi.org/10.3828/ajfs.46.1-2.111.
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ROBB, G. "Review. A Poetics of Art Criticism: The Case of Baudelaire. Raser, Timothy." French Studies 45, no. 3 (July 1, 1991): 336. http://dx.doi.org/10.1093/fs/45.3.336.
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Brown, Kathryn. "Collage as Form and Idea in the Art Criticism of Tristan Tzara." French Studies 73, no. 4 (July 21, 2019): 544–60. http://dx.doi.org/10.1093/fs/knz180.
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Kamil, Sukron. "Balagah sebagai Teori Kritik Sastra Arab Formalis: Obyek Bahasan, Praktik, dan Plus- Minusnya." Buletin Al-Turas 17, no. 1 (January 23, 2018): 1–24. http://dx.doi.org/10.15408/bat.v17i1.4285.
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The theory of modern litery criticism in the West begins with the birth of the theory of formalism in Russia between 1915-1930 developed by Jacobson, shklovsky, Eichenbaum and others. This theory is the foundation stone of modern literary science that formally consider literary work as art of language and sparate the literary works from other social sciences such as psychology, history, and culture. From this formalism theory then was born the theory of structuralism and its various manifold (post-structuralism), such as semiotics, geneticstructuralism, and others. Based on the formalism theory, literary works as autonomous works must be researched in terms of the work itself (intrinsic elemennts), not from outside ( extrinsic elements), because theory more emphasizes on the beauty of literary works. Therefore, what, is needed in criticizing a literary works is close reading, a microscopic reading of literary works as art of language.
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Beveridge, Patrick. "Color Perception and the Art of James Turrell." Leonardo 33, no. 4 (August 2000): 305–13. http://dx.doi.org/10.1162/002409400552694.
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The author discusses James Turrell's artworks in relation to contemporary disputes about the nature of color. The idea of Turrell's pieces as “pure chromatic sensations” is implausible to per-ceptual psychologists who have adopted the ecological approach of J.J. Gibson. Such psychologists view visual sensations as mere symptoms of the stimulation of the photoreceptors in our retinae. Their idea goes against the tradi-tional theory of color. The ten-dency of philosophers throughout history has been to take colors to be the exemplary instances of simple, unanalyzable qualities. However, the difficulties of prov-ing that these qualities can be traced back to a set of material properties suggest that there is no coherent view on their ontologi-cal status. The author considers current efforts to address this problem, along with the relevance of these attempts to criticism of Turrell's artworks.
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Logan, Peter Melville. "PRIMITIVE CRITICISM AND THE NOVEL: G. H. LEWES AND HIPPOLYTE TAINE ON DICKENS." Victorian Literature and Culture 46, no. 1 (March 2018): 125–42. http://dx.doi.org/10.1017/s1060150317000353.
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In a controversial article onthe life and fiction of Charles Dickens, George H. Lewes ponders the inexplicable preference of readers for the novelist's too-simplistic characters over the more complex characters of other writers. He finds an answer in the primitive reaction to fine art: “To a savage there is so little suggestion of a human face and form in a painted portrait that it is not even recognized as the representation of a man” (“Dickens” 150). The implication, it would seem, is that readers turn to Dickens because they are similarly incapable of appreciating more refined modes of art. Today the remark reads as gratuitous and insulting to readers, to Dickens, and to the other cultures Lewes stereotypes as savage. At the same time, the casual nature of the passage also suggests that it reflects commonly held beliefs about primitive life, beliefs we do not have but that Lewes and his readers took for granted. He was clearly safe in assuming such a body of common knowledge, for many other articles in theFortnightly Review(in which Lewes's article appeared in 1872) had similar references to primitivism. Reading through the journal issues of the time, the extent to which anthropological concepts had escaped the covers of books on primitive society and taken up residence in the pages of review essays on contemporary issues – from history, to life in the colonies, to life in Britain itself – is striking. In its print context, the comment about savages and art is less isolated and inexplicable than it is representative of a broad turn to the topic of primitivism in social commentary and analysis during the 1870s.
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M, Kavitha. "Nachinarkiniyar History and Textual Ability." International Research Journal of Tamil 4, S-8 (July 21, 2022): 233–38. http://dx.doi.org/10.34256/irjt22s834.
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Tamil language and literature have flourished with speeches composed by speechwriters. Are greatly aiding researchers who think innovatively. Texts serve as a bridge between linguistic research and e-literary criticism. The texts convey how the Tamil language has changed over time, as well as the living conditions, political changes and customs of the Tamil people. This article explores the history and textual ability of Nachinarkiniyar. Nachinarkiniyar was a knowledgeable and knowledgeable man of various arts, writing semantics for songs, and also possessing the art of religious ideas, music, drama, etc., which are included in the book. He is well versed in grammar, literature, dictionary, epic and puranam in Tamil. He is well versed in astrology, medicine, architecture, and crops. Nachinarkiniyar, who has written for Tamil grammar books, is well versed in the Vedic and phylogenetic theory of Sanskrit and is a university-oriented scholar of Tamil, Sanskrit scholarship, religious knowledge, land book knowledge, life and biology. This article explores the history and textual ability of Nachinarkiniyar.
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Baugh, Albert C. "1952: Justification by Works." PMLA/Publications of the Modern Language Association of America 115, no. 7 (December 2000): 1855. http://dx.doi.org/10.2307/463584.
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Some of the writers whose remarks I have quoted may belong to the school often referred to as the New Critics. At any rate, if we can trust their frequently expressed disapproval of current scholarship, the New Critics would not disagree with those remarks. I do not wish to be intolerant of those whose intolerance I deprecate. There is more than one fruitful approach to a work of literature, and while some of the New Criticism seems to me to be quite sterile I am ready to welcome any method of interpretation which leads to the fuller understanding and enjoyment of a work of literature. What I am not willing to admit is that the New Criticism is the only true source of illumination. Behind the poem is the poet, and whatever in his own life or in the life of his time helps us to understand the man helps us to understand his work. Literary history is a frame which enhances the work of art, or, if I may change the figure, a means of displaying it, a setting which permits us to view it in proper perspective. Without it we should be like the historian who would interpret Magna Carta or the Declaration of Independence without reference to the conditions which called these documents into being. Besides this, literary history as a part of the history of man is as legitimate an object of interest and as worthy of study as political or economic history, or the history of science or art. And the history of literature has been made possible only by the patient labors of scholars who have quarried and shaped the stone out of which the edifice has been built. We need criticism and we need the historical perspective which investigation makes possible. Let us seek for a fruitful union of the two without disparaging the share which each contributes to the common end.
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Hampton, Timothy. "Records of a Confident Man." American Literary History 34, no. 4 (November 18, 2022): 1503–12. http://dx.doi.org/10.1093/alh/ajac153.
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Abstract Bob Dylan’s prodigious creativity and transformation of popular song into literature raise new problems for writing about art. Neither traditional “poetry” criticism (which ignores sound and musical structure) nor traditional musicology (often indifferent to literary history) is adequate to the challenges posed by his work. Critics struggle to find a point of view from which to engage Dylan’s achievement. Through a critical account of four recent books, this essay points up both the limits and the resources of different approaches to this most mercurial of artists.
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Kokhan, Tymofii. ""Episode — series — series products" as structural components of modern culture." Culturology Ideas, no. 22 (2'2022) (2022): 38–45. http://dx.doi.org/10.37627/2311-9489-22-2022-2.38-45.
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It is argued that from decade to decade Ukrainian humanities are actively expanding the research space, discovering new, theoretically important "problem areas", the understanding of which may have prospects by using the potential of cultural analysis, including factors such as "interdisciplinarity", "personalization" and "dialogue". These include a range of issues related to the specifics of the "series". It is noted that due to the involvement of the concept of "paradigm" in the analysis of the situation in the field of art, the facts of partial or complete change, especially patterns of thinking in motion from film to TV series and from cinema to television. It is stated that the interest in television in general and the "television series" in particular intensified during the '70s and '90s. This was due to a number of reasons, including the rapid entry into the space of humanitarian knowledge of cultural studies. As a unity of history and theory of culture, it prompted a revision of the research orientation of the traditional humanities. It is noted that the ability to record the transformation of "film — series" encourages the use of art history dimension of culturology — a science that represents a combination of three components: theory, history and art criticism. At the same time, the history of art is seen as a procedural phenomenon, as it accumulated gradually: art forms were formed not simultaneously but over the centuries, entrenched in the dynamic movement of artistic development of reality.
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Schweninger, L. "Art as Performance, Story as Criticism: Reflections on Native Literary Aesthetics; We Will Dance Our Truth: Yaqui History in Yoeme Performances." American Literature 82, no. 3 (January 1, 2010): 654–56. http://dx.doi.org/10.1215/00029831-2010-035.
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