Results for 'Art Criticism'

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  1.  73
    A Kantian Hybrid Theory of Art Criticism: A Particularist Appeal to the Generalists.Emine Hande Tuna - 2016 - Journal of Aesthetics and Art Criticism 74 (4):397-411.
    Noël Carroll proposes a generalist theory of art criticism, which essentially involves evaluations of artworks on the basis of their success value, at the cost of rendering evaluations of reception value irrelevant to criticism. In this article, I argue for a hybrid account of art criticism, which incorporates Carroll's objective model but puts Carroll-type evaluations in the service of evaluations of reception value. I argue that this hybrid model is supported by Kant's theory of taste. Hence, I (...)
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  2.  70
    Review of New Feminist Art Criticism by Katy Deepwell. [REVIEW]Peg Brand - 1997 - Journal of Aesthetics and Art Criticism 55 (3):344-345.
    Katy Deepwell calls for a vital and visible "new" feminist criticism in 1997 amidst a pessimistic overview of the state of feminist art and criticism in Britain, Canada, and the U.S. As an update to this review, I note that Deepwell took decisive and effective action on her pessimism and for the past twenty years (as of this writing in July 2017) created an online feminist journal--n.paradoxa: international feminist art journal--that has published over 550 articles by 400 writers (...)
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  3.  54
    Art Criticism as Practical Reasoning.Anthony Cross - 2017 - British Journal of Aesthetics 57 (3):299-317.
    Most recent discussions of reasons in art criticism focus on reasons that justify beliefs about the value of artworks. Reviving a long-neglected suggestion from Paul Ziff, I argue that we should focus instead on art-critical reasons that justify actions—namely, particular ways of engaging with artworks. I argue that a focus on practical rather than theoretical reasons yields an understanding of criticism that better fits with our intuitions about the value of reading art criticism, and which makes room (...)
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  4.  27
    Is There Kantian Art Criticism?Rachel Zuckert - 2013 - In Margit Ruffing, Claudio La Rocca, Alfredo Ferrarin & Stefano Bacin (eds.), Kant Und Die Philosophie in Weltbürgerlicher Absicht: Akten des Xi. Kant-Kongresses 2010. De Gruyter. pp. 343-356.
    Kant’s theory of taste might suggest that there cannot be any legitimate, useful art criticism, which guides others’ art appreciation: on the Kantian view, each of us must judge for him- or herself, autonomously, not follow the judgments of others; and no empirical concepts, or empirical knowledge, is supposed to be relevant for making a judgment of taste. Thus, it would seem, we should not follow others who have superior knowledge of art, because they have such knowledge. Despite these (...)
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  5.  12
    A Note on Socially Engaged Art Criticism.Mikkel Bolt Rasmussen - 2017 - Nordic Journal of Aesthetics 25 (53).
    This article is a discussion of Grant Kester’s notion of socially-engaged art criticism via a retrospective mapping of the four most important 1990s artistic practices: relational art, institutional critique, tactical media and socially-engaged art. While both relational, or participatory, art and institutional critique seem to have run out of steam, and have fused more or less seamlessly with the institution of art, socially-engaged art still seems to hold critical potential by making use of the relative autonomy of art beyond (...)
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  6.  1
    Are Art Criticism, Art Theory, Art Instruction, and the Novel Global Phenomena?James Elkins - 2018 - Journal of World Philosophies 3 (1):79-92.
    As visual art becomes more international, ways of writing about art become more uniform. This essay proposes that two disciplines concerned with contemporary visual art, art criticism and art theory, are on the verge of being effectively homogeneous around the world. They share concepts, artists, artworks, institutions, and bibliographic references. For comparison, I consider two other fields that may also be increasingly uniform: studio art instruction and the novel. The last, in particular, is the subject of a large literature; (...)
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  7.  38
    Rosalind Krauss and American Philosophical Art Criticism: From Formalism to Beyond Postmodernism.David Carrier - 2002 - Praeger.
    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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  8.  52
    A Kantian Theory of Art Criticism.Emine Hande Tuna - 2016 - Dissertation, University of Alberta
    I argue that Kant’s aesthetic theory yields a fruitful theory of art criticism and that this theory presents an alternative both to the existing theories of his time and to contemporary theories. In this regard, my dissertation offers an examination of a neglected area in Kant scholarship since it is standardly assumed that a theory of criticism flies in the face of some of Kant’s most central aesthetic tenets, such as his rejection of aesthetic testimony and general objective (...)
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  9. The Wake of Art: Criticism, Philosophy, and the Ends of Taste.Gregg Horowitz & Tom Huhn - 1998 - In Arthur Coleman Danto (ed.), The Wake of Art: Essays: Criticism, Philosophy and the Ends of Taste. G+B Arts Int'l.
     
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  10. Aesthetics and Philosophy of Art Criticism; a Critical Introduction.Monroe C. Beardsley - 1960 - Journal of Philosophy 57 (19):623-625.
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  11. Aesthetics and Philosophy of Art Criticism.Jerome[from old catalog] Stolnitz - 1960 - Boston: Houghton Mifflin.
     
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  12. Aesthetics and Philosophy of Art Criticism a Critical Introduction.Jerome Stolnitz - 1960 - Houghton Mifflin.
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  13. The Wake of Art: Essays: Criticism, Philosophy and the Ends of Taste.Arthur Coleman Danto - 1998 - G+B Arts Int'l.
    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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  14.  23
    New Bearings in Esthetics and Art Criticism. A Study in Semantics and Evaluation.C. L. Stevenson - 1944 - Journal of Philosophy 41 (13):360-362.
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  15. How a European Views the Journal of Aestehtics and Art Criticism.Rolf Dieter Herrmann - 1971 - Journal of Aesthetics and Art Criticism 29:499-506.
    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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  16. Toward a Supreme Fiction Genre and Beholder in the Art Criticism of Diderot and His Contemporaries.Michael Fried - 1975 - [Johns Hopkins University Press, Etc.].
  17.  31
    The State of Art Criticism.Stephen Melville, Lynne Cook, Michael Newman, Whitney Davis & Guy Brett - 1960 - Journal of Aesthetics and Art Criticism 18 (3).
    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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  18.  56
    JSTOR: The Journal of Aesthetics and Art Criticism, Vol. 50, No. 4 (Autumn, 1992), Pp. 299-305.D. R. Anderson - forthcoming - Journal of Aesthetics and Art Criticism.
    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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  19.  40
    Evaluative Standards In Art Criticism: A Defence.Julia Peters - 2005 - Postgraduate Journal of Aesthetics 2 (1):32-44.
    To a superficial consideration, art criticism might appear as a profession of a parasitic nature, nourishing itself on what is produced by others: by artists. In fact, however, the relation between artistic practice and its criticism is more adequately conceived of as a sort of symbiosis. For, while it is true that criticism depends on and presupposes the existence of its objects - that is, works of art - on the other hand nothing would prevent good art (...)
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  20. 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]Roland Barthes - 1977 - Journal of Aesthetics and Art Criticism 37 (2):235-236.
    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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  21. Aesthetics and Philosophy of Art Criticism.Richard Kuhns - 1961 - Journal of Aesthetics and Art Criticism 19 (3):351-352.
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  22. Style and Significance in Art History and Art Criticism.Jenefer M. Robinson - 1981 - Journal of Aesthetics and Art Criticism 40 (1):5-14.
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  23.  82
    From Aesthetics to Art Criticism and Back.Arthur C. Danto - 1996 - Journal of Aesthetics and Art Criticism 54 (2):105-115.
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  24.  85
    Languages of Art and Art Criticism.Monroe C. Beardsley - 1978 - Erkenntnis 12 (1):95 - 118.
    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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  25. What Happened to Art Criticism?James Elkins & Raphael Rubinstein - 2009 - Journal of Aesthetics and Art Criticism 67 (2):245-247.
     
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  26.  43
    The Institutionalization of a Discipline: A Retrospective of the Journal of Aesthetics and Art Criticism and the American Society for Aesthetics, 1939-1992.Lydia Goehr - 1993 - Journal of Aesthetics and Art Criticism 51 (2):99-121.
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  27.  33
    Frank Kermode and Art Criticism.Steve Baker - 1981 - British Journal of Aesthetics 21 (2):130-138.
    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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  28.  5
    New Feminist Art Criticism.Katy Deepwell - 1997 - Journal of Aesthetics and Art Criticism 55 (3):344.
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  29.  13
    The Language of Art and Art Criticism: Analytic Questions in Aesthetics.Kingsley Price - 1965 - Journal of Aesthetics and Art Criticism 25 (1):105-107.
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  30.  29
    How a European Views the Journal of Aesthetics and Art Criticism.Rolf-Dieter Herrmann - 1971 - Journal of Aesthetics and Art Criticism 29 (4):499-505.
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  31.  37
    Modernist Art Criticism: Hegemony and Decline.Roxie Davis Mack - 1994 - Journal of Aesthetics and Art Criticism 52 (3):341-348.
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  32.  32
    What Happened to Art Criticism? By Elkins, James Critical Mess: Art Critics on the State of Their Practice Edited by Rubinstein, Raphael.Cynthia Freeland - 2009 - Journal of Aesthetics and Art Criticism 67 (2):245-247.
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  33.  26
    Hazlitt, Ruskin, and Nineteenth-Century Art Criticism.William C. Wright - 1974 - Journal of Aesthetics and Art Criticism 32 (4):509-523.
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  34.  24
    Literary Criticism Through Art and Art Criticism Through Literature.Helmut A. Hatzfeld - 1947 - Journal of Aesthetics and Art Criticism 6 (1):1-21.
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  35.  23
    Specular Phenomenology: Art and Art Criticism.Red Clementina - 2011 - Collingwood and British Idealism Studies 17 (2):248-260.
    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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  36.  28
    Some Problems in the Philosophy of Art Criticism.Harriet Jeffery - 1947 - Journal of Aesthetics and Art Criticism 5 (4):296-301.
  37.  19
    Consistency as a Criterion in Art Criticism.Helmut Hungerland - 1948 - Journal of Aesthetics and Art Criticism 7 (2):93-112.
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  38.  21
    Psychoanalysis in Art Criticism.Campbell Crockett - 1958 - Journal of Aesthetics and Art Criticism 17 (1):34-44.
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  39.  9
    Suggestions for Procedure in Art Criticism.Helmut Hungerland - 1947 - Journal of Aesthetics and Art Criticism 5 (3):189-195.
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  40.  9
    Malraux's Ideas on Art and Method in Art Criticism.Bertrand Davezac - 1963 - Journal of Aesthetics and Art Criticism 22 (2):177-188.
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  41.  24
    Ethical Criticism and the Interpretation of Art.Ted Nannicelli - 2017 - Journal of Aesthetics and Art Criticism 75 (4):401-413.
    This article brings together two prominent topics in the literature over the past few decades—the ethical criticism of art and art interpretation. The article argues that debates about the ethical criticism of art have not acknowledged the fact that they are tacitly underpinned by a number of assumptions about art interpretation. I argue that the picture of interpretation that emerges from the analysis of these assumptions is best captured by moderate actual intentionalism. Reflection upon the nature of ethical (...)
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  42.  22
    The Arts and the Art of Criticism.Theodore Meyer Greene - 1940 - Princeton: Princeton University Press.
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  43. The Ethical Criticism of Art: A New Mapping of the Territory.Alessandro Giovannelli - 2007 - Philosophia 35 (2):117-127.
    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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  44. The Art Criticism of John Ruskin.John Ruskin & Robert L. Herbert - 1964 - Doubleday Anchor Books.
  45.  71
    Testimony, Understanding, and Art Criticism.Allan Hazlett - forthcoming - In Christy Mag Uidhir (ed.), Philosophy and Art: New Essays at the Intersection. Oxford University Press.
    I present a puzzle – the “puzzle of aesthetic testimony” – along with a solution to it that appeals to the impossibility of testimonial understanding. I'll criticize this solution by defending the possibility of testimonial understanding, including testimonial aesthetic understanding.
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  46.  6
    The Language of Art and Art Criticism: Analytic Questions in Aesthetics. [REVIEW]B. K. W. - 1966 - Review of Metaphysics 20 (2):373-373.
    Margolis's main concern is to clarify aesthetic terminology, and especially to distinguish between normative and descriptive uses of such terms as "taste" and "aesthetic." His own definition of a work of art, however, "an artifact considered with respect to its design," hardly improves on the definitions he criticizes. Some of the problems he discusses can be seen as versions of the One and the Many: e.g., the relation between a symphony and its different performances or between a poem and the (...)
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  47.  44
    Moderate Comic Immoralism and the Genetic Approach to the Ethical Criticism of Art.Ted Nannicelli - 2014 - Journal of Aesthetics and Art Criticism 72 (2):169-179.
    According to comic moralism, moral flaws make comic works less funny or not funny at all. In contrast, comic immoralism is the view that moral flaws make comic works funnier. In this article, I argue for a moderate version of comic immoralism. I claim that, sometimes, comic works are funny partly in virtue of their moral flaws. I argue for this claim—and artistic immoralism more generally—by identifying artistically valuable moral flaws in relevant actions undertaken in the creation of those works. (...)
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  48.  47
    After the End of Art: Contemporary Art and the Pale of History.Arthur C. Danto - 1998 - Princeton University Press.
    Over a decade ago, Arthur Danto announced that art ended in the sixties. Ever since this declaration, he has been at the forefront of a radical critique of the nature of art in our time. After the End of Art presents Danto's first full-scale reformulation of his original insight, showing how, with the eclipse of abstract expressionism, art has deviated irrevocably from the narrative course that Vasari helped define for it in the Renaissance. Moreover, he leads the way to a (...)
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  49.  9
    The Future of Art Criticism: Objectivism Goes to the Movies. Barrowman - 2018 - Journal of Ayn Rand Studies 18 (2):165.
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  50.  8
    Philosophical Problems in Contemporary Art Criticism: Objectivism, Poststructuralism, and the Axiom of Authorship. Barrowman - 2017 - Journal of Ayn Rand Studies 17 (2):153.
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