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An introduction to art criticism : histories, strategies, voices Cover Image Book Book

An introduction to art criticism : histories, strategies, voices

Houston, Kerr. (Author).

Record details

  • ISBN: 9780205835942
  • ISBN: 0205835945
  • Physical Description: print
    viii, 343 pages ; 23 cm.
  • Edition: First edition.
  • Publisher: Boston : Pearson, [2013]

Content descriptions

Bibliography, etc. Note: Includes bibliographical references.
Formatted Contents Note: A history of art criticism -- Description and contextualization -- Interpretation and analysis -- Judgment and evaluation -- Individual critical styles: tone and voice -- Conclusion -- Anthology.

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Subject: Art criticism

Available copies

  • 1 of 1 copy available at Emily Carr University of Art + Design.

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  • 0 current holds with 1 total copy.
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Location Call Number / Copy Notes Barcode Shelving Location Circulation Modifier Holdable? Status Due Date Courses
Emily Carr University of Art + Design N7475 .H68 2013 (Text) 30228234 Book Volume hold Available -
► Summaries & More
▼ Additional Content
Preface vii
Introduction 1(22)
What is Art Criticism?
1(2)
The Search for Standard Features
3(2)
Distinctions and Overlaps between Art Criticism and Related Activities
5(2)
Art Criticism's Place in the Larger Field of Criticism
7(3)
What Can Art Criticism Offer?
10(3)
The Influence and Legitimacy of Criticism
13(2)
Critics and Responsibilities
15(3)
Who are Art Critics?
18(3)
Conclusions
21(2)
Chapter 1 A History of Art Criticism
23(59)
The Birth of a Genre
23(2)
Early Voices in Art Criticism
25(5)
Diderot and the Specter of Censorship
30(1)
English Art Criticism in the Later 1700s
31(1)
Politics with a Vengeance
32(2)
Romanticism versus Neoclassicism
34(2)
English Criticism: Hazlitt and Ruskin
36(3)
The Development of French Modernism
39(5)
The Rise of Formalist Criticism
44(3)
Paris in the Early 1900s
47(2)
European Criticism between the Wars
49(1)
American Criticism Comes of Age
50(5)
Abstract Expressionism and Harold Rosenberg
55(2)
ARTnews and the Poet-Critics
57(2)
Clement Greenberg and the Return of Formalism
59(2)
1960s Formalism and Artforum
61(2)
Emerging Alternatives to Formalism
63(2)
Reenter Politics
65(2)
Early Feminist Criticism
67(2)
Neo-Marxism and October
69(2)
The 1980s and the Culture Wars
71(3)
Festivalism, Globalism, and Institutional Critique
74(3)
Art Criticism since 2000
77(5)
Conclusions
80(2)
Chapter 2 Description and Contextualization
82(31)
General Issues Involving Description
82(3)
The Act of Description and Its Aims
82(1)
Strategies of Description
83(2)
Internal and External Evidence
85(18)
Internal Evidence: The Medium and Formal Elements
87(4)
Internal Evidence: Subject Matter and Content
91(2)
External Evidence: Title, Price, Materials, and Intention
93(4)
External Evidence: The Artist's Experiences, Categories, and Historical Context
97(3)
External Evidence: Physical Context and Crowd Responses
100(1)
External Evidence: Personal Responses
101(2)
Complexities Involving Description
103(10)
Evocative Description
103(2)
Difficulties in Rendering the Visual in Verbal Terms
105(2)
Description as Interpretation
107(2)
The Costs of a Poor Description
109(1)
Conclusions
110(3)
Chapter 3 Interpretation and Analysis
113(39)
General Issues Involving Interpretation
113(10)
Relations---and Distinctions---between Description and Interpretation
113(3)
Criticism as Retrieval and as Revision
116(2)
Judging Interpretations
118(1)
Opposition to---and Support for---Interpretation
119(1)
Interpretation and Intentionality
120(3)
Interpretations Involving Internal and External Evidence
123(11)
Iconographic Interpretation
124(1)
Formal Analysis
125(1)
Phenomenological Interpretation
126(1)
The Status of External Evidence
127(1)
Biographical Interpretation
128(2)
Historicizing Interpretation: The Zeitgeist
130(1)
Historicizing Interpretation: Cultural Context
131(3)
Critical Theory and Systematic Interpretations
134(18)
Psychoanalytic Interpretation
134(3)
Feminist Interpretation
137(3)
Marxist Interpretation
140(3)
Structuralist and Semiotic Interpretation
143(3)
Poststructuralist Interpretations
146(2)
Conclusions
148(4)
Chapter 4 Judgment and Evaluation
152(36)
The Place of Judgment in Criticism
152(22)
Changing Attitudes about Judgment
153(2)
The Contributions of Hume and Kant
155(2)
Challenges to---and Revisions of---Kant
157(3)
Claims about Universal and Personal Criteria
160(2)
Early Examples of Common Criteria
162(3)
Changing Criteria in the Nineteenth Century
165(2)
Originality and Expressiveness Become Common Criteria
167(1)
Early-Twentieth-Century Criteria
168(3)
Recent Variations in the Use of Criteria
171(3)
Forms of Judgment and Related Issues
174(3)
Positive Judgment
175(2)
Negative Judgment
177(5)
Complexities Involving Judgment
182(6)
Conclusions
185(3)
Chapter 5 Individual Critical Styles: Tone and Voice
188(33)
External Factors Affecting Criticism
188(12)
Deadlines
188(2)
Word and Space Limits
190(2)
Contextual Considerations
192(2)
Considerations of Audience
194(3)
Institutional Ideologies
197(3)
Tone, Voice, and the Relevance of External Factors
200(13)
The Creation of Tone: Word Choice
202(2)
The Creation of Tone: Person
204(4)
The Creation of Tone: Punctuation
208(2)
The Creation of Tone: Tense
210(1)
The Creation of Tone: Syntax and Sentence Structure
210(2)
The Creation of Tone: Further Strategies
212(1)
Debates About Tone
213(8)
Should Art Criticism Match Its Subject in Tone?
214(1)
How Clear Should Art Criticism Be?
215(3)
Conclusions
218(3)
CONCLUSION
221(2)
ANTHOLOGY
223(87)
Denis Diderot Selections from the Salons of 1765 and 1767
223(12)
Charles Baudelaire, Selections from the Salon of 1846
235(11)
John Ruskin, "Conclusion: Modern Art and Modern Criticism" (1843)
246(7)
Guillaume Apollinaire, Two Articles on Picasso (1905)
253(3)
Royal Cortissoz, "The Post-Impressionist Illusion" (1913)
256(3)
Harold Rosenberg, "The American Action Painters" (1952)
259(6)
Leo Steinberg, "Month in Review" (1956)
265(4)
Hilton Kramer, "Critics of American Painting" (1959)
269(5)
Clement Greenberg, "Modernist Painting" (1960)
274(5)
Michael Fried, "Art and Objecthood" (1967)
279(11)
Lucy Lippard, "The Women Artists' Movement---What Next?" (1975)
290(3)
The Editors of October, "About October" (1976)
293(2)
Suzi Gablik, "Beyond the Rectangle, Out of the Frame" (1995)
295(7)
James Elkins, Excerpt from What Happened to art Criticism? (2003)
302(8)
Glossary 310(16)
Bibliography 326(13)
Index 339

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