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Journal articles on the topic 'Art critique'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Robinson, Camille. "Sonic Art as Critique of the Listening Act." Leonardo Music Journal 26 (December 2016): 39–43. http://dx.doi.org/10.1162/lmj_a_00968.

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In this article, the author describes an approach to structuring sonic art as a critique of listening and as stimulus for critical reflection on listening, which was devised for the project Listening Art: Making Sonic Artworks that Critique Listening. Presented are an overview of the project’s methodology—integrating schema theory, immanent critique and heuristic research methods into the creative process—and discussion of two artworks and findings.

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Heinich, Nathalie. "Art et compulsion critique." Noesis, no. 11 (March 15, 2007): 91–101. http://dx.doi.org/10.4000/noesis.813.

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Žukauskienė, Odeta. "Muziejų kultūra: kintantys diskursai ir institucinė kritika." Lietuvos kultūros tyrimai 2 (2012): 14–31. https://doi.org/10.53630/lkt.2012_1.1.

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Critical museum discourse seeks to urge fundamental changes in the institutional norms and policies. Therefore, the paper examines the questions raised by the new museology and institutional critique covering a wide range of issues related to the museum normative practices, power relations, canonical ways of representations, art-world narratives, curatorial practices and other issues. The article also discusses the theory of museums and the development of institutional critique in Lithuania. Aspects of Lithuanian art institutions critically evaluated in theory and practice are discussed, anti-

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Grimaldi, Nicolás. "Esperanza y desesperanza de la razón en Kant." Anuario Filosófico 26, no. 1 (2018): 79–94. http://dx.doi.org/10.15581/009.26.29935.

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The author seeks to establish the strict validity of the composition of the Critique of Judgement and how the analysis of the aesthetic judgement pre-pares for the understanding of the teleological judgement. He shows how the Critique of Judgement, specially the statutes on art, resolves the opposition between nature and the spirit, the need of liberty, mechanical causality and finality that the first two Critiques had left unsolved.

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Harlan, Brian. "Art Critique as Social Pedagogy." International Journal of Arts Education 15, no. 1 (2020): 1–10. http://dx.doi.org/10.18848/2326-9944/cgp/v15i01/1-10.

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6

Soep, Elisabeth. "Critique: Where Art Meets Assessment." Phi Delta Kappan 87, no. 1 (2005): 38–63. http://dx.doi.org/10.1177/003172170508700109.

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Foster, Roxie L. "The Fine Art of Critique." Journal for Specialists in Pediatric Nursing 7, no. 2 (2002): 47–48. http://dx.doi.org/10.1111/j.1744-6155.2002.tb00149.x.

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Apostolopoulou, Georgia. "Panayotis Michelis’ Critique of Dialectics." WISDOM 2, no. 5 (2015): 41. http://dx.doi.org/10.24234/wisdom.v2i5.34.

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Panayotis Michelis focuses on Plato’s and on Hegel’s dialectics, because these philosophers put the question of art on the highest level of truth. He, however, argues that they pose a ‛outside dialectics’ on art, because they consider truth as metaphysical truth and then they maintain art fails more or less to manifest this truth. Michelis develops a dialectics of synthesis as a ‛dialectics in art’ and vindicates the place of his aesthetics between philosophy of art and history of art.

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Callahan, Sara, Anna-Maria Hällgren, and Charlotta Krispinsson. "A Farewell to Critique? Reconsidering Critique as Art Historical Method." Konsthistorisk tidskrift/Journal of Art History 89, no. 2 (2020): 61–65. http://dx.doi.org/10.1080/00233609.2020.1786159.

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10

Mäcklin, Harri. "A Heideggerian Critique of Immersive Art." Gatherings: The Heidegger Circle Annual 11 (2021): 64–92. http://dx.doi.org/10.5840/gatherings2021116.

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Immersive art has been one of biggest trends in the artworld for the past few years. Yet, so far there has been little philosophical discussion on the nature and value of this immersive trend. In this article, I show how Heidegger’s meditations on art can provide a robust assessment of immersive art. On the one hand, immersive art can be taken to culminate in Heidegger’s views on the “machinational” character of modern art, where artworks turn into calculative experience machines, geared to provide “lived experiences” rather than experiences of truth. On the other hand, Heidegger’s thought al

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11

Leroy, Claire. "Les Archives de la critique d’art et le site Internet Critica." Art Libraries Journal 23, no. 3 (1998): 23–25. http://dx.doi.org/10.1017/s0307472200011093.

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Les Archives de la critique d’art sont une bibliothèque et un centre de recherche spécialisés en art contemporain et en critique et théorie de l’art. Elles se sont donné pour but de réunir les documents et les publications de tous ceux qui écrivent sur l’art contemporain.Unique en son genre, cette institution créée en 1989 a une envergure internationale aussi bien par son fonds (écrits et archives) que par ses actions: développement de bases de données et d’un site Internet, organisation de conférences et de colloques. Son originalité consiste dans l’implication des critiques d’art dans son fo

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Luste Boulbina, Seloua. "Polyphonies décoloniales (art, littérature, pensée critique)." Présence Africaine N°197, no. 1 (2018): 43. http://dx.doi.org/10.3917/presa.197.0043.

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13

Gouma-Peterson, Thalia, and Patricia Mathews. "The Feminist Critique of Art History." Art Bulletin 69, no. 3 (1987): 326. http://dx.doi.org/10.2307/3051059.

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Gouma-Peterson, Thalia, and Patricia Mathews. "The Feminist Critique of Art History." Art Bulletin 69, no. 3 (1987): 326–57. http://dx.doi.org/10.1080/00043079.1987.10788437.

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15

Roberts, John. "After Adorno: Art, Autonomy, and Critique." Historical Materialism 7, no. 1 (2000): 221–39. http://dx.doi.org/10.1163/156920600794750829.

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AbstractIn conversation with two artist friends recently, both declared that Adorno was a far more serious and productive guide to their practices than any other philosopher or aesthetician. Given their work and histories as artists – one had lived through the period of conceptual art and had been won over briefly to its arguments, the other had emerged out of its ruins — this was a surprise. Like many artists in the late 1970s and early 1980s, both had fallen under the sway of Walter Benjamin, and were convinced, in their respective ways, that the dissolution of the category of Art into the f

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Poremba, Cindy. "Discourse Engines for Art Mods." Eludamos: Journal for Computer Game Culture 4, no. 1 (2010): 41–56. http://dx.doi.org/10.7557/23.6113.

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This paper presents a genealogy of "art mod" (artistic videogame modification) definitions and frameworks. Such frameworks serve, either intentionally or unintentionally, to establish modding within a tradition of analysis and critique: whether participatory design, alternative media, folk art, and/or fine art. By situating the definition and history of art mods within a particular discourse, researchers construct the ground from which to make arguments towards organizing the reception and critique of these works. Such arguments include whether mods in general (and art mods in particular) are

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Tamošaitis, Mantas. "Augustine’s critique of representation in arts: Confessions." Literatūra 61, no. 3 (2019): 75–85. http://dx.doi.org/10.15388/litera.2019.3.6.

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This article is concerned with the critique of representation in art found in Augustine’s Confessions. The aim of the author is not only to reveal the fundamental influence of Plato and Aristotle on Augustine’s criticism, but to show the unique aspects of Augustine’s thought. The article considers Augustine’s critique of art in the Confessions to be three-fold: the ontological critique, the ethical (psychological) critique of intention and the critique of pagan ethos in art. The article considers the ontological critique as based on the neoplatonic dualism of body and soul as well as the plato

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Bae-Dimitriadis, Michelle. "Land-Based Art Criticism: (Un)learning Land Through Art." Visual Arts Research 47, no. 2 (2021): 102–14. http://dx.doi.org/10.5406/visuartsrese.47.2.0102.

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Abstract This article provides an overview of how land-based settler colonial critique can reorient art criticism and art education to expand the scope of art and art practice to critical considerations of land politics and social justice, particularly in terms of the repatriation of Indigenous lands. In particular, land-based perspectives can help to rethink place/land by offering decolonizing methods for critiquing Western works of art that address place. Art educators’ ability to understand and critique settler colonialism in art has been hindered by Eurocentric art criticism. This article

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Fazal Rahim, Naseem Farhana, Irfan Ullah, et al. "Exploring the Art of Critique: A Narrative Review Approach to Dissecting Health care Literature." Journal of Health and Rehabilitation Research 4, no. 2 (2024): 783–89. http://dx.doi.org/10.61919/jhrr.v4i2.916.

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Background: A research critique or review of an article is the critical analysis of the strengths and weaknesses of a research paper through evidence-based practice, emphasizing the distinction between critique and criticism which helping post graduate students to defended their thesis. The literature review explores the advantages and disadvantages of methodological and statistical balancing in articles. Objective: This narrative review article aims to dissolve the challenges faced by healthcare professionals while critiquing a quantitative research paper, thesis, or dissertation for the purp

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20

Đorđević, Marko. "Mel Ramsden’s Theoretical Critique of Institutions: A Close Reading of “On Practice”." AM Journal of Art and Media Studies, no. 7 (April 15, 2015): 49–56. http://dx.doi.org/10.25038/am.v0i7.88.

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The work offers a detailed reading of Mel Ramsden’s “On Practice”. The introductory paragraphs bring insight into contemporary discussions concerning definitions of the term “institutional critique” and exhibit different approaches to the historization of these practices. The main thesis is that Marxism was present in the critical practices of the New York-based conceptual artists associated with institutional critique, while the expanded thesis is that their Marxism was a form of interpretation/intervention in the institution of art. The central part comprises a reading of Ramsden’s text. The

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21

AHN, Jiyoun. "Purpose and Method of Discussion·Debate in Art Curriculum: Proposal to Introduce the Concept and Method of Studio Critique." Society for Art Education of Korea 89 (March 1, 2024): 211–38. http://dx.doi.org/10.25297/aer.2024.89.211.

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This study explores the significance and implementation of discussion·debate in the art curriculum. To this end, it was reviewed and classified as the national curriculum of the other subjects and the past art subjects. Studio critique was proposed in consideration of the current curriculum's emphasis and the char-acteristics of art. Subsequently, a lecture focused on studio critique was conducted and an analysis was conducted to understand the aspects and effects through reflection notes. As a result, the early studio cri-tique involved taking turns to speak, finding the correct answer, and f

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22

Lemos, André. "The critique of essentialist critique of cyberculture." Matrizes 9, no. 1 (2015): 29. http://dx.doi.org/10.11606/issn.1982-8160.v9i1p29-51.

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The objective of this paper is to analyze the critical perspective of cyberculture from the discussion on the essence of technology. The article revisits the classic discussion about the essence of technology and updates it from the visions of the new critics of digital culture. The central argument is that traditional critical perspective (fundamentalist or pessimistic) fails to address the phenomena of digital culture by essentialist bias. It proposes an analysis of cyberculture by Actor-Network Theory (ART) since a focused view, stucked to the constituent networks of technical phenomenon, a

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23

González-Valerio, María Antonia. "El Sócrates de Nietzsche." Theoría. Revista del Colegio de Filosofía, no. 14-15 (October 1, 2003): 185–90. http://dx.doi.org/10.22201/ffyl.16656415p.2003.14-15.313.

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The main object of this paper is an analysis of the critique against Socrates brought about by Nietzsche in Die Geburt der Tragödie. It claims that the central issue of this critique is the way in which Socrates and Plato considered the work of art. Hence it analyzes some of the consequences of the Socratic-platonic conception of art on the history of philosophy. Finally, the paper concludes that the Socrates created by Nietzsche as the result of his critique is actually a symbolization of the opposition between art and truth that philosophy has historically made.

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Berleant, Arnold. "Does Art have a Spectator?" Journal of Aesthetics and Art Criticism XLV, no. 4 (1987): 411–12. https://doi.org/10.17613/M6Z576.

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25

Jørgensen, Anna Vestergaard. "Kunstkritik og institutionskritik i x-rummet." Periskop – Forum for kunsthistorisk debat, no. 21 (May 22, 2019): 70–87. http://dx.doi.org/10.7146/periskop.v2019i21.121797.

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In 2013, the SMK – National Gallery of Denmark initiated a series of exhibitions that was supposed to deal with the role of the museum in the 21st century. This article focuses on the two first exhibitions in this series: Haim Steinbach’s The Window and Henrik Olesen’s Abandon the Parents. The article claims that these exhibitions can be seen as working within the tradition of institutional critique, but also after it; through curating some of the museum’s own works and mimicking, respectively, the modernist “white cube” aesthetics and the Wunderkammer aesth

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26

Blagojević, Bojan. "Marx o potrebi za umjetnošću: umjetnost između političke ekonomije i samoodređenja." Život umjetnosti, no. 104 (July 2019): 100–113. http://dx.doi.org/10.31664/zu.2019.104.06.

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If we take political economy to be concerned with the way a society satisfies its needs, we would expect that an account of Marx’s critique of political economy of art should begin with a critique of the way a need for art is perceived within capitalistic production relations. We will try to provide a sketch of such a critique in this paper, taking various accounts of the place and role of art within a system of human needs as a context in which art works and artistic creation are connected with categories of commodity, production, labour, market etc. Then we will turn to an account of human n

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27

Manne, Sharon L., and Alex J. Zautra. "Coping with arthritis: Current status and critique." Arthritis & Rheumatism 35, no. 11 (1992): 1273–80. http://dx.doi.org/10.1002/art.1780351106.

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28

Arnault, Benjamin. "L’exercice de la critique en art écologique." Nouvelle revue d’esthétique 27, no. 1 (2021): 67–75. http://dx.doi.org/10.3917/nre.027.0067.

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29

Fourmentraux, Jean-Paul. "Net art : Autoproduction artistique et critique numérique." Les Enjeux de l'information et de la communication N° 16/3B, S2 (2016): 57–68. http://dx.doi.org/10.3917/enic.hs2.0057.

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30

Mirón, Louis F. "Cognitive Transfer and Art Education: A Critique." Arts Education Policy Review 104, no. 3 (2003): 29–31. http://dx.doi.org/10.1080/10632910309600046.

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31

Anim-Addo, Joan. "Travelling with Imoinda: Art, Authorship, and Critique." Callaloo 38, no. 3 (2015): 570–81. http://dx.doi.org/10.1353/cal.2015.0100.

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32

Staten, H. "Lethe: The Art and Critique of Forgetting." Modern Language Quarterly 66, no. 3 (2005): 391–93. http://dx.doi.org/10.1215/00267929-66-3-391.

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33

Sprott, Julien Clinton. "Can a Computer Produce and Critique Art?" Leonardo 34, no. 4 (2001): 369. http://dx.doi.org/10.1162/00240940152549384.

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Fokt, Simon. "A Critique of Functionalist Definitions of Art." Kultura-Społeczeństwo-Edukacja 8, no. 2 (2015): 27. http://dx.doi.org/10.14746/kse.2015.2.2.

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Rolfe, Gary. "Nursing and the art of radical critique." Nurse Education Today 28, no. 1 (2008): 1–7. http://dx.doi.org/10.1016/j.nedt.2007.02.008.

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36

Novakovic, Marko. "Art and the critique of the enlightenment." Filozofija i drustvo 21, no. 3 (2010): 119–44. http://dx.doi.org/10.2298/fid1003119n.

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Summary The aim of this paper is to provide an examination of the concept of aesthetic rationality in the philosophy of art of Theodor W. Adorno, related to his celebrated critique of the enlightenment in The Dialectic of the Enlightenment written with Max Horkheimer. Our main purpose is to show how Adorno?s conception of art responds to a problem posed in the former study, namely that of a dialectical self-enchantment and alienation of subjective reason. In the first two sections is shown how self-preservation of subjective reason leads to its fall into the realm of myth. This turn was dialec

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Todorovic, Tanja. "Marcuse's critique of contemporary culture and art." Kultura, no. 153 (2016): 114–29. http://dx.doi.org/10.5937/kultura1653114t.

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38

Bednarik, Robert G. "The Dating of Rock Art: a Critique." Journal of Archaeological Science 29, no. 11 (2002): 1213–33. http://dx.doi.org/10.1006/jasc.2001.0711.

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Tsitsovits, Ioannis. "Neoliberalism’s “official crap art”?" English Text Construction 13, no. 2 (2020): 109–31. http://dx.doi.org/10.1075/etc.00037.tsi.

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Abstract British writer Tom McCarthy has repeatedly taken aim at what he calls a “sentimental humanism” and the contemporary cult of the “authentic self”. This article investigates his work through the lens of that critique. Extrapolating from McCarthy’s public statements, I endeavour to delineate sentimental humanism as a mode of cultural production and flesh out his linking of it to a neoliberal political economy. I show how his antagonism manifests itself in his work, particularly his debut novel, Remainder. By contrast, his latest novel, Satin Island, marks a turning point in that trajecto

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Mikhail, Thomas. "Über die Kunst des Unterscheidens." Vierteljahrsschrift für wissenschaftliche Pädagogik 100, no. 3 (2024): 287–302. http://dx.doi.org/10.30965/25890581-10003002.

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Abstract On the Art of Differentiation. A Systematic Approach to Forms of Critique in Educational Sciences Based on three differentiation schemes, this article creates a system of seven forms of pedagogical critique. ›Critique‹ is understood as a specific form of pedagogical theorizing. These forms of critique can help to understand what educational scientists do when they criticize.

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Allakhverdiev, Timur K. "PARAINSTITUTIONS AS A LATENT STRATEGY OF INSTITUTIONAL CRITIQUE IN CONTEMPORARY RUSSIAN ART." Articult, no. 1 (March 2025): 35–49. https://doi.org/10.28995/2227-6165-2025-1-35-49.

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The article is devoted to the Russian realization of a conceptual art movement known as institutional critique. In many countries of the Western world and in some others the tradition of institutional critique is an important component of the local context. At the same time, institutional critique as a global phenomenon had a decisive influence on art in the last quarter of the 20th century, but it has never been systematically studied in Russia. Two strategies of Russian institutional critique – manifest and latent – are distinguished by the author. The latent strategy is implemented through

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Płucienniczak, Piotr P. "Examining the Boundaries of Contemporary Art: An Exploratory Study of Institutional Critique in Poland 1990–2015." Colloquia Humanistica, no. 8 (November 27, 2019): 187–202. http://dx.doi.org/10.11649/ch.2019.012.

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Examining the Boundaries of Contemporary Art: An Exploratory Study of Institutional Critique in Poland 1990–2015The article explores the practices of institutional critique in Polish contemporary art. A quantitative survey of cases of institutional critique reveals major problems faced by artists and their perceptions of the autonomy of the visual arts. Badanie granic sztuki współczesnej: Eksploracyjne studium krytyki instytucjonalnej w Polsce 1990-2015Artykuł prezentuje wyniki eksploracyjnych badań nad praktykami krytyki instytucjonalnej w polskiej sztuce współczesnej. Ilościowa analiza epizo

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Ribeiro, Daniel Melo. "Art and cartography as a critique of borders." Proceedings of the ICA 1 (May 16, 2018): 1–6. http://dx.doi.org/10.5194/ica-proc-1-95-2018.

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This study focuses on the relationship between art and cartography. The main objective is to analyze how contemporary art uses maps to criticize borders. Inspired by the arguments raised by the Critical Cartography against the false neutrality of maps, we emphasize the potential of artworks to communicate different insights about how we experience and live the contemporary space. In that sense, art plays an important role not only to discuss the articulation of power and knowledge in cartography, but also to propose other categories of thought. Considering that borders are one of the most rele

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Hegnsvad, Kristoffer. "Et forsvar for populærkulturen – En præcisering af det populærkulturelle begreb og en kritisk læsning af Adornos syn på populærkulturen." Slagmark - Tidsskrift for idéhistorie, no. 58 (March 9, 2018): 113–27. http://dx.doi.org/10.7146/sl.v0i58.104715.

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This article explores the concept of popular culture and popular art. When Michael Moore’s Fahrenheit 9/11 received the Golden Palm in Cannes in 2004, the French press and director Jean-Luc Godard joined in a critique of the jury’s choice. The press discussed the possibility of the festival loosing its status as the most prestigious festival of art cinema after giving the prize to an American political documentary. Godard criticized Michael Moore for being to direct and not communicating through more subtle aesthetics. Between the lines of both critiques one find a devaluation of popular art o

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Christine Ferlampin-Acher. "Perceforest, première partie. Edition critique (review)." Arthuriana 20, no. 1 (2010): 109. http://dx.doi.org/10.1353/art.0.0099.

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Wallace, Daniel J. "A critique of the NIH lupus nephritis survey." Arthritis & Rheumatism 35, no. 5 (1992): 605. http://dx.doi.org/10.1002/art.1780350520.

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Kamanzi, Ntakirutimana G. "The Role of Art in Addressing Health Inequities." RESEARCH INVENTION JOURNAL OF RESEARCH IN EDUCATION 4, no. 2 (2024): 39–42. http://dx.doi.org/10.59298/rijre/2024/423942.

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This paper examines the intersection of art and public health, focusing on the role of art in addressing health inequities driven by social determinants of health. Health disparities—disproportionate health outcomes influenced by socioeconomic, racial, geographic, and other systemic factors—are pervasive in many communities. Art, as both a therapeutic tool and a platform for social critique, holds unique potential to bridge these gaps. Through case studies of art initiatives, this paper investigates how collaborative art projects can foster community engagement, raise awareness, and influence

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48

Siegert, Folker. "«Expliquer l’Écriture par elle-même» : origine et vicissitudes d’une maxime «protestante»." Études théologiques et religieuses 71, no. 2 (1996): 219–44. http://dx.doi.org/10.3406/ether.1996.3408.

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La maxime en question a été proposée et mise en pratique par la philologie critique alexandrine. Longtemps, le judaïsme et le christianisme ont été réticents à l’égard de cet art. Après une annonce faite par Luther, suivie d’un retour vers des principes non critiques, le savoir-faire des alexandrins est reçu depuis le XVIIIe siècle. Folker Siegert écrit ici un chapitre de la longue et douloureuse histoire des rapports entre foi et raison.

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49

Poinsot, Jean-Marc. "Les Archives de la critique d’art." Art Libraries Journal 15, no. 2 (1990): 37–38. http://dx.doi.org/10.1017/s0307472200006763.

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Material amassed by art critics in pursuance of their work, and according to criteria different from those of museums and academic institutions, can have its own archival value but is seldom preserved. The Archives de la critique d’art, newly established at the University of Rennes with support from AICA and FRAC-Bretagne, aims to remedy this situation, initially for France and ultimately for Europe as a whole, by collecting and preserving material of this kind, and by creating a database of information on art criticism worldwide.

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Patriota, Raquel. "Estética depois de Adorno: entre progresso e autonomia." Cadernos de Filosofia Alemã: Crítica e Modernidade 30, no. 1 (2025): 147–62. https://doi.org/10.11606/issn.2318-9800.v30i1p147-162.

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This article seeks to critically evaluate the reception of Theodor Adorno's aesthetics, considering two fundamental concepts: autonomy and progress. We will analyze how Adorno's work was associated with a one-sided perspective of modernism, insofar as his conception of autonomous art was supposedly based on technical progress. Our hypothesis is that this reception lost sight of the critique of progress sustained by Adorno's aesthetics. We therefore propose a different reading, recovering Adorno's critique of progress in order to articulate a notion of the autonomy of art that can contribute to

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