Search results for 'Art criticism' (try it on Scholar)

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  1. Art Criticism (2006). Becker, Howard S., Faulkner, Robert R., and Kirshenblatt-Gimblett, Barbara (Eds). Art From Start to Finish. Jazz, Painting, and Other Improvisations. University of Chicago Press. 2006. Pp. 248. 23 Half. [REVIEW] British Journal of Aesthetics 46 (4).score: 540.0
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  2. David Carrier (2002). Rosalind Krauss and American Philosophical Art Criticism: From Formalism to Beyond Postmodernism. Praeger.score: 240.0
    Machine generated contents note: Introduction: The Rise of Philosophical Art Criticism 1 -- Chapter 1. In the Beginning Was Formalism 17 -- Chapter 2. The Structuralist Adventure 33 -- Chapter 3. The Historicist, Antiessentialist Definition of Art 55 -- Chapter 4. Resentment and Its Discontents 71 -- Chapter 5. The Deconstruction of Structuralism 87 -- Afterword: The Fate of Philosophical Art Criticism 111.
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  3. Arthur Coleman Danto (1998). The Wake of Art: Essays: Criticism, Philosophy and the Ends of Taste. G+B Arts Int'l.score: 210.0
    Since the mid-1980s, Arthur C. Danto has been increasingly concerned with the implications of the demise of modernism. Out of the wake of modernist art, Danto discerns the emergence of a radically pluralistic art world. His essays illuminate this novel art world as well as the fate of criticism within it. As a result, Danto has crafted the most compelling philosophy of art criticism since Clement Greenberg. Gregg Horowitz and Tom Huhn analyze the constellation of philosophical and critical (...)
     
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  4. Rolf Dieter Herrmann (1971). How a European Views the Journal of Aestehtics and Art Criticism. Journal of Aesthetics and Art Criticism 29:499-506.score: 210.0
    How have the theories of aesthetics which were worked out in europe evolved in america? are there widely differing standpoints between european and american aestheticians? what herrmann tried to do, to shed light on these questions, was to look over the issues of "the journal of aesthetics and art criticism" since 1941. thomas munro, a pupil of john dewey and founder of the journal tried to provide in the united states a broader and more open-ended and undogmatic platform for (...)
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  5. Jerome[from old catalog] Stolnitz (1960). Aesthetics and Philosophy of Art Criticism. Boston, Houghton Mifflin.score: 210.0
     
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  6. Stephen Melville, Lynne Cook, Michael Newman, Whitney Davis & Guy Brett (2008). The State of Art Criticism. Journal of Aesthetics and Art Criticism 18 (3).score: 204.0
    About the Author James Elkins is E.C. Chadbourne Chair in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago. His many books include Pictures and Tears, How to Use Your Eyes, and What Painting Is, all published by Routledge. Michael Newman teaches in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago, and is Professor of Art Writing at Goldsmiths College in the (...)
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  7. D. R. Anderson (forthcoming). JSTOR: The Journal of Aesthetics and Art Criticism, Vol. 50, No. 4 (Autumn, 1992), Pp. 299-305. Journal of Aesthetics and Art Criticism.score: 186.0
    In the strong or radical sense, the creation of a work of art succeeds, as Kant said, in exhibiting originality that is exemplary and unteachable. The creative artist generates new and valuable outcomes. He or she accomplishes this in a way that is neither predictable before it ..
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  8. Arthur C. Danto (1996). From Aesthetics to Art Criticism and Back. Journal of Aesthetics and Art Criticism 54 (2):105-115.score: 180.0
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  9. Monroe C. Beardsley (1978). Languages of Art and Art Criticism. Erkenntnis 12 (1):95 - 118.score: 180.0
    What implications does goodman's "languages of art" have for the theory and practice of art criticism? to account for the cognitive value of pictorial representations, It apparently requires to be supplemented by a concept of depiction, Or indefinite reference. For goodman's theory of expression to be convincing, Criteria are needed to discriminate exemplification in goodman's sense from the mere possession of labels. Some of the fundamental criteria of evaluation very widely used by art critics do not seem to be (...)
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  10. Lydia Goehr (1993). The Institutionalization of a Discipline: A Retrospective of the Journal of Aesthetics and Art Criticism and the American Society for Aesthetics, 1939-1992. Journal of Aesthetics and Art Criticism 51 (2):99-121.score: 180.0
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  11. Campbell Crockett (1958). Psychoanalysis in Art Criticism. Journal of Aesthetics and Art Criticism 17 (1):34-44.score: 180.0
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  12. Jenefer M. Robinson (1981). Style and Significance in Art History and Art Criticism. Journal of Aesthetics and Art Criticism 40 (1):5-14.score: 180.0
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  13. Roxie Davis Mack (1994). Modernist Art Criticism: Hegemony and Decline. Journal of Aesthetics and Art Criticism 52 (3):341-348.score: 180.0
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  14. Clementina Red (2012). Specular Phenomenology: Art and Art Criticism. Collingwood and British Idealism Studies 17 (2):248-260.score: 180.0
    This paper explores the dialogue between Collingwood and Guido de Ruggiero on art and art criticism. The sense of identity of these two activities, it will be argued, can be understood only if one considers the criticism of living art: The art of one who also creates, who through a critical process transforms an outline into a work of art. Thus understood a work of art belongs to the life of the spirit, if considered from the dimension of (...)
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  15. Cynthia Freeland (2009). What Happened to Art Criticism? By Elkins, James Critical Mess: Art Critics on the State of Their Practice Edited by Rubinstein, Raphael. Journal of Aesthetics and Art Criticism 67 (2):245-247.score: 180.0
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  16. Helmut A. Hatzfeld (1947). Literary Criticism Through Art and Art Criticism Through Literature. Journal of Aesthetics and Art Criticism 6 (1):1-21.score: 180.0
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  17. Harriet Jeffery (1947). Some Problems in the Philosophy of Art Criticism. Journal of Aesthetics and Art Criticism 5 (4):296-301.score: 180.0
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  18. Rolf-Dieter Herrmann (1971). How a European Views the Journal of Aesthetics and Art Criticism. Journal of Aesthetics and Art Criticism 29 (4):499-505.score: 180.0
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  19. Helmut Hungerland (1948). Consistency as a Criterion in Art Criticism. Journal of Aesthetics and Art Criticism 7 (2):93-112.score: 180.0
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  20. William C. Wright (1974). Hazlitt, Ruskin, and Nineteenth-Century Art Criticism. Journal of Aesthetics and Art Criticism 32 (4):509-523.score: 180.0
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  21. Bertrand Davezac (1963). Malraux's Ideas on Art and Method in Art Criticism. Journal of Aesthetics and Art Criticism 22 (2):177-188.score: 180.0
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  22. Roland Barthes (1977). Barthes, R. (1977). Image, Music, Text. (S. Heath, Ed.)The Journal of Aesthetics and Art Criticism (Vol. 37, P. 220). Hill and Wang. Doi:10.2307/429854Image, Music, Text. [REVIEW] Journal of Aesthetics and Art Criticism 37 (2).score: 180.0
    Roland Barthes, the French critic and semiotician, was one of the most important critics and essayists of this century. His work continues to influence contemporary literary theory and cultural studies. Image-Music-Text collects Barthes's best writings on photography and the cinema, as well as fascinating articles on the relationship between images and sound. Two of Barthes's most important essays, "Introduction to the Structural Analysis of Narrative" and "The Death of the Author" are also included in this fine anthology, an excellent introduction (...)
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  23. Helmut Hungerland (1947). Suggestions for Procedure in Art Criticism. Journal of Aesthetics and Art Criticism 5 (3):189-195.score: 180.0
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  24. Steve Baker (1981). Frank Kermode and Art Criticism. British Journal of Aesthetics 21 (2):130-138.score: 180.0
    As a criterion for judging avant-garde art, newness has been regarded as more important than excellence. kermode's single venture into art criticism, "objects, jokes & art," suggests this search for the new has led to a trivialisation of art. ideas from his more recent literary criticism such as "the classic" could be applied to avant-garde art, providing a non-reactionary means of assessing value on the basis of a work's openness to a plurality of interpretations. this would offer an (...)
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  25. Gregg Horowitz & Tom Huhn (1998). The Wake of Art: Criticism, Philosophy, and the Ends of Taste. In Arthur Coleman Danto (ed.), The Wake of Art: Essays: Criticism, Philosophy and the Ends of Taste. G+B Arts Int'l.score: 174.0
     
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  26. Theodore Meyer Greene (1940). The Arts and the Art of Criticism. Princeton, Princeton University Press.score: 168.0
     
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  27. Alessandro Giovannelli (2007). The Ethical Criticism of Art: A New Mapping of the Territory. Philosophia 35 (2):117-127.score: 162.0
    The goal of this paper is methodological. It offers a comprehensive mapping of the theoretical positions on the ethical criticism of art, correcting omissions and inadequacies in the conceptual framework adopted in the current debate. Three principles are recommended as general guidelines: ethical amenability, basic value pluralism, and relativity to ethical dimension. Hence a taxonomy distinguishing between different versions of autonomism, moralism, and immoralism is established, by reference to criteria that are different from what emerging in the current literature. (...)
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  28. Elizabeth Vallance (forthcoming). Art Criticism as Subject Matter in Schools and Art Museums. Journal of Aesthetic Education.score: 150.0
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  29. Cyril Barret (1965). Medieval Art Criticism. British Journal of Aesthetics 5 (1):25-36.score: 150.0
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  30. Francis Dauer (1990). Art and Art Criticism: A Definition of Art. Metaphilosophy 21 (1-2):111-132.score: 150.0
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  31. Dave Beech (2002). On Arthur C. Danto's The Wake of Art: Criticism, Philosophy, and the End of Taste. Historical Materialism 10 (2):255-266.score: 150.0
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  32. Isabel C. Hungerland (1955). The Concept of Intention in Art Criticism. Journal of Philosophy 52 (24):733-742.score: 150.0
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  33. Peter Jones (1978). Hume on Art, Criticism and Language: Debts and Premises. Philosophical Studies 33 (2):109 - 134.score: 150.0
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  34. Manuel Bilsky (1961). Book Review:Aesthetics and Philosophy of Art Criticism. Jerome Stolnitz. [REVIEW] Ethics 71 (2):143-.score: 150.0
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  35. Leo Stein (1928). Concrete and General in Art Criticism. Journal of Philosophy 25 (25):691-694.score: 150.0
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  36. Herbert E. Bowman (1954). Art and Reality in Russian "Realist" Criticism. Journal of Aesthetics and Art Criticism 12 (3):386-392.score: 150.0
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  37. George Geahigan (forthcoming). Conceptualizing Art Criticism for Effective Practice. Journal of Aesthetic Education.score: 150.0
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  38. David K. Holt (forthcoming). Feminist Art Criticism and the Prescriptions of Roger Fry. Journal of Aesthetic Education.score: 150.0
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  39. Lester D. Longman (1960). Criteria in Criticism of Contemporary Art. Journal of Aesthetics and Art Criticism 18 (3):285-293.score: 150.0
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  40. John A. Stinespring (forthcoming). Discipline-Based Art Education and Art Criticism. Journal of Aesthetic Education.score: 150.0
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  41. J. J. L. Whiteley (1976). The Origin and the Concept of 'Classique' in French Art Criticism. Journal of the Warburg and Courtauld Institutes 39:268-275.score: 150.0
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  42. Berger (1961). Aesthetics and Philosophy of Art Criticism. New Scholasticism 35 (2):260-265.score: 150.0
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  43. A. Myrton Frye (1941). The Referends of Art Criticism. Philosophical Review 50 (1):74-80.score: 150.0
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  44. James D. Herbert (1984). The Political Origins of Abstract-Expressionist Art Criticism. Telos 1984 (62):178-187.score: 150.0
    The emergence of Abstract Expressionism as a predominant artistic style in the early 1950s was accompanied by a new critical image of the artist as a heroic individualist. This myth, according to which the artist created great works primarily by looking into the profound depths of his own soul rather than by responding to the world and society around him, has become the standard description of the Abstract-Expressionist artistic process. By such an account, the Abstract-Expressionist artist was an apolitical being, (...)
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  45. W. B. K. (1966). The Language of Art and Art Criticism. Review of Metaphysics 20 (2):373-373.score: 150.0
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  46. Hugo A. Meynell (forthcoming). On the Nature of Art Criticism. Journal of Aesthetic Education.score: 150.0
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  47. Jolanta Nowak (2013). Autonomy and the Confrontation Between Ethics and Art in Art Criticism. Ethical Perspectives 20 (3):451-475.score: 150.0
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  48. Pamela G. Taylor & B. Stephen Carpenter (2007). Hypermediated Art Criticism. Journal of Aesthetic Education 41 (3):1-24.score: 150.0
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  49. Eighteenth-Century British Aesthetics (2003). BAXANDALL, MICHAEL. Words for Pictures: Seven Papers on Renaissance Art & Criticism. Yale UP 2003. Pp. 169. 25 Colour Plates, 11 B & W Diagrams.£ 25.00. BOGUE, RONALD. Deleuze on Cinema. Routledge. [REVIEW] British Journal of Aesthetics 43 (4).score: 150.0
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  50. Michael H. Duffy (forthcoming). Michelangelo and the Sublime in Romantic Art Criticism. Journal of the History of Ideas.score: 150.0
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