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Author: Patricia Bickers
Publisher:
ISBN: 9781848224322
Category : Art criticism
Languages : en
Pages : 0
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Book Description
Author: Patricia Bickers
Publisher:
ISBN: 9781848224322
Category : Art criticism
Languages : en
Pages : 0
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Book Description
Author: Julia Voss
Publisher: Hatje Cantz Verlag
ISBN: 3775750924
Category : Art
Languages : en
Pages : 724
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Book Description
How is art criticism to be understood within an expanding artistic field? A look at its history and its manifestations within globalized conditions shows the variety of the genre, of the criteria and of the styles of writing. This reader is an attempt to bring a diverse range of art-critical voices and perspectives into conversation with each other, with texts from the 18th century to the present. The editors Beate Söntgen and Julia Voss have invited colleagues from various geographical and intellectual backgrounds to present and discuss the art critics of their choice, choosing one example from their respective bodies of work to comment upon. How have these writers approached art criticism? Which styles do they employ? What makes them extraordinary? What can we learn from their writings today, and why is it important in its contemporary context? BEATE SÖNTGEN (*1963) is professor of art history at Leuphana University Lüneburg. She studied art history, philosophy, and modern German literature in Marburg and Berlin. She is director of the DFG Research Training Group "Cultures of Critique: Forms, Media, Effects" and co-director of the program "PriMus - Doctoral Studies in Museums." JULIA VOSS (*1974) is an honorary professor at Leuphana University Lüneburg. She studied art history, modern German literature, and philosophy in Berlin and London. She is herself an art critic and journalist and was deputy head of the arts section of the Frankfurter Allgemeine Zeitung.
Author: James Elkins
Publisher: Prickly Paradigm
ISBN: 9780972819633
Category : Art
Languages : en
Pages : 87
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Book Description
Art criticism was once passionate, polemical and judgmental: now critics are more often interested in ambiguity, neutrality, and nuanced description. And while art criticism is ubiquitous in newspapers, magazines, and exhibition brochures, it is also virtually absent from academic writing. Here, James Elkins surveys the last fifty years of art criticism, proposing some interesting explanations for these startling changes.
Author: Kerr Houston
Publisher:
ISBN: 9780205835942
Category : Art criticism
Languages : en
Pages : 0
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Book Description
'An introduction to art criticism' offers a thorough overview of art criticism as it has been practiced since the 1700s. The text is built around excerpts from the work of hundreds of historical and contemporary critics, including a substantial history of art criticism and chapters on the fundamental aspects of criticism and the formation of an individual voice.
Author: Edmund Burke Feldman
Publisher: Pearson
ISBN:
Category : Art
Languages : en
Pages : 100
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Book Description
Unique features: criticism as a sequential process; forming an interpretation; separating interpretation from judging; critical errors; the critics ethics; criteria for judging greatness.
Author: Hal Foster
Publisher: Verso Books
ISBN: 1784781460
Category : Art
Languages : en
Pages : 208
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Book Description
One of the world’s leading art theorists dissects a quarter century of artistic practice Bad New Days examines the evolution of art and criticism in Western Europe and North America over the last twenty-five years, exploring their dynamic relation to the general condition of emergency instilled by neoliberalism and the war on terror. Considering the work of artists such as Thomas Hirschhorn, Tacita Dean, and Isa Genzken, and the writing of thinkers like Jacques Rancière, Bruno Latour, and Giorgio Agamben, Hal Foster shows the ways in which art has anticipated this condition, at times resisting the collapse of the social contract or gesturing toward its repair; at other times burlesquing it. Against the claim that art making has become so heterogeneous as to defy historical analysis, Foster argues that the critic must still articulate a clear account of the contemporary in all its complexity. To that end, he offers several paradigms for the art of recent years, which he terms “abject,” “archival,” “mimetic,” and “precarious.”
Author: Jarrett Earnest
Publisher: David Zwirner Books
ISBN: 1941701892
Category : Art
Languages : en
Pages : 560
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Book Description
The most comprehensive portrait of art criticism ever assembled, as told by the leading writers of our time. In the last fifty years, art criticism has flourished as never before. Moving from niche to mainstream, it is now widely taught at universities, practiced in newspapers, magazines, and online, and has become the subject of debate by readers, writers, and artists worldwide. Equal parts oral history and analysis of craft, What It Means to Write About Art offers an unprecedented overview of American art writing. These thirty in-depth conversations chart the role of the critic as it has evolved from the 1960s to today, providing an invaluable resource for aspiring artists and writers alike. John Ashbery recalls finding Rimbaud’s poetry through his first gay crush at sixteen; Rosalind Krauss remembers stealing the design of October from Massimo Vignelli; Paul Chaat Smith details his early days with Jimmy Durham in the American Indian Movement; Dave Hickey talks about writing country songs with Waylon Jennings; Michele Wallace relives her late-night and early-morning interviews with James Baldwin; Lucy Lippard describes confronting Clement Greenberg at a lecture; Eileen Myles asserts her belief that her negative review incited the Women’s Action Coalition; and Fred Moten recounts falling in love with Renoir while at Harvard. Jarrett Earnest’s wide-ranging conversations with critics, historians, journalists, novelists, poets, and theorists—each of whom approach the subject from unique positions—illustrate different ways of writing, thinking, and looking at art. Interviews with Hilton Als, John Ashbery, Bill Berkson, Yve-Alain Bois, Huey Copeland, Holland Cotter, Douglas Crimp, Darby English, Hal Foster, Michael Fried, Thyrza Nichols Goodeve, Dave Hickey, Siri Hustvedt, Kellie Jones, Chris Kraus, Rosalind Krauss, Lucy Lippard, Fred Moten, Eileen Myles, Molly Nesbit, Jed Perl, Barbara Rose, Jerry Saltz, Peter Schjeldahl, Barry Schwabsky, Paul Chaat Smith, Roberta Smith, Lynne Tillman, Michele Wallace, and John Yau.
Author: Robert Hughes
Publisher: Knopf
ISBN: 0307809595
Category : Art
Languages : en
Pages : 624
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Book Description
From Holbein to Hockney, from Norman Rockwell to Pablo Picasso, from sixteenth-century Rome to 1980s SoHo, Robert Hughes looks with love, loathing, warmth, wit and authority at a wide range of art and artists, good, bad, past and present. As art critic for Time magazine, internationally acclaimed for his study of modern art, The Shock of the New, he is perhaps America’s most widely read and admired writer on art. In this book: nearly a hundred of his finest essays on the subject. For the realism of Thomas Eakins to the Soviet satirists Komar and Melamid, from Watteau to Willem de Kooning to Susan Rothenberg, here is Hughes—astute, vivid and uninhibited—on dozens of famous and not-so-famous artists. He observes that Caravaggio was “one of the hinges of art history; there was art before him and art after him, and they were not the same”; he remarks that Julian Schnabel’s “work is to painting what Stallone’s is to acting”; he calls John Constable’s Wivenhoe Park “almost the last word on Eden-as-Property”; he notes how “distorted traces of [Jackson] Pollock lie like genes in art-world careers that, one might have thought, had nothing to do with his.” He knows how Norman Rockwell made a chicken stand still long enough to be painted, and what Degas said about success (some kinds are indistinguishable from panic). Phrasemaker par excellence, Hughes is at the same time an incisive and profound critic, not only of particular artists, but also of the social context in which art exists and is traded. His fresh perceptions of such figures as Andy Warhol and the French writer Jean Baudrillard are matched in brilliance by his pungent discussions of the art market—its inflated prices and reputations, its damage to the public domain of culture. There is a superb essay on Bernard Berenson, and another on the strange, tangled case of the Mark Rothko estate. And as a finale, Hughes gives us “The SoHoiad,” the mock-epic satire that so amused and annoyed the art world in the mid-1980s. A meteor of a book that enlightens, startles, stimulates and entertains.
Author: Stephen Moonie
Publisher: Routledge
ISBN: 1000554317
Category : Art
Languages : en
Pages : 205
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Book Description
This study is an analysis of 'high' and 'late' modernist criticism in New York during the 1960s and early 1970s. Through a close reading of a selection of key critics of the period—which will expand the remit beyond the canonical texts—the book examines the ways that modernist criticism’s discourse remains of especial disciplinary interest. Despite its alleged narrowness and exclusion, the debates of the 1960s raised fundamental questions concerning the nature of art writing. Those include arguments around the nature of value and judgement; the relationship between art criticism and art history; and the related problem of what we mean by the ‘contemporary.’ Stephen Moonie argues that within those often-fractious debates, there exists a shared discourse. And further, contrary to the current consensus that modernists were elitist, dogmatic, and irrelevant to contemporary debates on art, the study shows that there is much that we can learn from reconsidering their writings. The book will be of interest to scholars working in art history, modern art, art criticism, and literary studies.
Author: Katy Deepwell
Publisher: Universitat de València
ISBN: 9788437616322
Category : Social Science
Languages : en
Pages : 348
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Book Description
The artist, the critic and the academic: feminism's problematic relationship with 'Theory'/ Janet Wolff -- Preaching to the converted? Feminist art publishing in the 1980s / Frances Borzello -- The sphinx contemplating Napoleon : black women artists in Britain / Gilane Tawadros -- Reading between the lines: the imprinted spaces of Sutapa Biswas / Moira Roth -- Modernism, art education and sexual difference /Pen Dalton -- Eyewitnesses, not spectators/activists, not academics: feminist pedagogy and women's creativity / Val A. Walsh -- Exhibiting strategies / Debbie Duffin -- The situation of women curators / Elizabeth A. MacGregor -- Afterthoughts on curating 'The subversive stitch' / Pennina Barnett -- The cult of the individual / Fran Cottell -- On women dealers in the art world / Maureen Paley -- Where do we draw the line? An investigation into the censorship of art / Anna Douglas --Women's movements: feminism, censorship and performance art / Sally Dawson -- Why have there been no great women pornagraphers? / Naomi Salaman -- Just jamming: Irigaray, painting and psychoanalysis / Christine Battersby -- Border crossing: womanliness, body, repre-sentation / Hilary Robinson -- (P)age 49: on the subject of history / Mary Kelly -- Models of painting practice: too much body? / Joan Key --Text and textiles: weaving across the borderlines / Janis Jefferies --Kinda art, sorta tapestry ... / Ann Newdigate -- Sewn constructions / Dinah Prentice -- Penelope and the unravelling of history / Ruth Scheuing.
