Both Carrol and Wharton have comparable perceptions of arts criticism, showing their expertise in the field. They describe the importance of being an expert in the subject that you are criticizing, as well as why criticism is important for both the artist and their audience. However, Carrol goes the extra step of explaining what’s important in both evaluation and judgment of criticism, making his definition that much stronger over Wharton’s.
Critical thinking is a very important aspect to understanding art. As David Perkins put it in “The Intelligent Eye”, we must avoid “experimental thinking”, a rash, quick way of thinking based on observations and use “reflective intelligence”, a way of thinking in which a viewer takes their time and dissects details and nuances to fully understand a work of art. A majority of viewers will look at a piece of art and come to a quick analysis of it, without much thought. But, according to Perkins, “The more attentive the observation is, the better the opportunity is for deeper learning” (Perkins 14). As Banksy said in Exit Through the Gift Shop, “the reaction to the work of art is the most important thing about it.” Without a reaction or an opinion, the work of art has no meaning. Therefore, in order to trul...
Alexander, V. (2003). Art Worlds. In Sociology of the Arts: Exploring Fine and Popular Forms (pp. 67-82). MA: Blackwell.
The History of Art
When we think of history we don’t often think of art. We don’t realize how the history of art can help us learn more about the people, the cultures, and the belief systems of those who lived hundreds and thousands of years before us. Art has developed, influenced, and contributed starting from the great Stone Age to the present day. Art gives an insight into the changes and evolution that man and culture have gone through to become what is today.
The History of Art Deco
Art Deco as an art mover has had a lot of influence in the history of arts and was under the influence of the past art movements and different cultures, the present lifestyle and the societies of the life changing World War I and II. In design Art Deco was glamorous and in style it was luxurious. Major influences were the styles of art and the French crafts of high standards, different cultures and avant-grade art. It wasn’t just a normal style that reflected adventure, entertainment and leisure but a highly enjoyed taste by all classes of people with different minds after Second World War. It handed down its concepts of design and traditional and modern visual styles to younger generations while at the same time its styles influencing many present-day designers (Hillier & Escritt, 2004).
This essay will focus on why and how conceptual artists sets out to destroy or undermine the value of physical pleasure in art's making and reception. In order to discuss this issue, first we need to look back on history to examine the historical context of Conceptual Art. During 1960s, the world is in a turbulent state experiencing all sorts of crises . After the World War One and the World War Two, the traditional value and institutional system had been overthrown. The collapse of old world politics, social order and authority, moreover, rise of Feminism, racial conflict between white and black, intervention of Vietnam War forced artists to challenge the conventional system and authority. In terms of technology, after the invention of photography, artists were not too much concern about lifelike representation. Picture, music, tape, neon lights...everything on earth can be vehicle of arts, which created infinite possibility of art making. Many conceptual artists are also influenced by philosopher from 20th century, such as Ludwig Wittgenstein, Walter Benjamin, Karl Barth, they raise the question of perceiving and representation. Conceptual art is also emerged, developed and influenced from other art movements such as Dada, Pop art and Minimal Art. Mary Anne stated in her article 'Conceptual Art' that 'Modernism had historically unfolded and artists began to work outside of painting frames...artists moved from morphological questions to questions about the production of meaning and value and what makes a particular object or practice into art'. It might not be easy to clearly define Conceptual Art because Conceptual Art could hardly be called a artistic style, in different period of its history, it has different critique approach...
Conceptual Art emerged in the 1960s where the term was initially used by Henry Flynt, a musician and anti-art activist. However his initial use of the term ‘Concept Art’ referred to his philosophy of the vulnerabilities of logic and mathematics. Soon after, the term was implemented by the Art and Language group, directed by artist Joseph Kossuth. The group believed that Conceptual art was composed when the exploration of the idea of art succeeded the object itself. Furthermore, it was a reaction against Formalism; a study of art by comparing style and form...
This paper deals, in broadest terms, with the questions of how artwork is connected to the changes and dynamics that prevail in a society. To describe these changes, I will investigate how a specific type of art reflects its social content in contemporary societies. My analysis is carried out by closely looking at the Pop Art movement, especially with Andy Warhol, who has come to be known as one of the greatest artists of the 20th century. It will be argued that Pop Art managed to successfully articulate its time, and in so doing, it became a widely influential art movement whose effect is still very much existent in today’s world of art. In order to prove its claim, this paper relies on the theory of “the field of cultural production” by Pierre
Duchamp’s piece was not controversial because of the simplistic nature of the piece, nor the oddity of it- it was controversial because he had not made it himself. People were very opposed to this idea because they believed that art was something made and not found. Duchamp’s “ready-made” art, which were always mass produced objects made by machines, was offensive to them and so they rejected it wholeheartedly. Unlike Fountain, Kandinski’s Little Pleasures was not rejected because of the nature of its ’creation’, it was rejected because people had never before seen art with such a lack of recognizable forms. Before Kandinski, art had always had representations of things from life, and Little Pleasures seemed almost completely arbitrary to them with no connections to the world they lived in. As such, both pieces were, at first, denied the title of “art” because society was unable to break from tradition and admire something
I am an artist and art educator. I am currently a certified doctoral candidate in the Art and Art Education program at Teachers College Columbia University, where I am the director of the Myers Media Art Studio, and teach video art and photography. I have been teaching art classes in higher education since 2008. My experience of art critic that I am about to share in this essay may not present any novel ideas, yet they are still significant and relevant. Throughout my long-term art education, which included several prestige art schools, such as the University of Arts, Berlin, Germany, Carnegie Melon School of Art, Pittsburgh, and the School of the Museum of Fine Arts, Boston (SMFA/Tufts University), I have