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The variety of artistic movements has resulted in a division of art criticism into different disciplines which may each use different criteria for their judgements. [3] [5] The most common division in the field of criticism is between historical criticism and evaluation, a form of art history, and contemporary criticism of work by living artists.
"Against Interpretation" is Sontag's influential essay in Against Interpretation and Other Essays, which discusses the divisions between two different kinds of art criticism and theory: formalist interpretation and content-based interpretation. Sontag is strongly averse to what she considers to be contemporary interpretation, that is, an ...
Arts criticism is the process of describing, analyzing, interpreting, and judging works of art. [1] The disciplines of arts criticism can be defined by the object being considered rather than the methodology (through analysis of its philosophy): buildings (architecture criticism), paintings (visual art criticism), performances (dance criticism, theatre criticism), music (music journalism ...
A theory of art is intended to contrast with a definition of art. Traditionally, definitions are composed of necessary and sufficient conditions, and a single counterexample overthrows such a definition. Theorizing about art, on the other hand, is analogous to a theory of a natural phenomenon like gravity.
While art history and art criticism overlap as disciplines, we usually tend to think of the latter as writing the first draft of the former.
Metamodernism is the term for a cultural discourse and paradigm that has emerged after postmodernism.It refers to new forms of contemporary art and theory that respond to modernism and postmodernism and integrate aspects of both together.
Institutional critique is a practice that emerged from the developments of Minimalism and its concerns with the phenomenology of the viewer; formalist art criticism and art history (e.g. Clement Greenberg and Michael Fried); conceptual art and its concerns with language, processes, and administrative society; and the critique of authorship that begins with Roland Barthes and Michel Foucault in ...
The journal was a participant in introducing French post-structural theory on the English-speaking academic scene. [1] [3] According to The Art Story, Krauss used the journal "as a way to publish essays on her emergent ideas on post-structuralist art theory, Deconstructionist theory, psychoanalysis, postmodernism and feminism". [1]