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Art criticism includes a descriptive aspect, [3] where the work of art is sufficiently translated into words so as to allow a case to be made. [2] [3] [7] [11] The evaluation of a work of art that follows the description (or is interspersed with it) depends as much on the artist's output as on the experience of the critic.
John Ruskin (8 February 1819 – 20 January 1900) was an English polymath – a writer, lecturer, art historian, art critic, draughtsman and philanthropist of the Victorian era.
A volume from Graham Reynolds's catalogue raisonné of John Constable [1]. A catalogue raisonné (or critical catalogue) is an annotated listing of the works of an artist or group of artists and can contain all works or a selection of works categorised by different parameters such as medium or period.
Typically the art critic views art at exhibitions, galleries, museums or artists' studios and they can be members of the International Association of Art Critics which has national sections. [3] Very rarely art critics earn their living from writing criticism. The opinions of art critics have the potential to stir debate on art-related topics.
Hughes, an aspiring artist and poet, abandoned his university endeavours to become first a cartoonist and then an art critic for the Sydney periodical The Observer, edited by Donald Horne. [7] Hughes was briefly involved in the original Sydney version of Oz magazine and wrote art criticism for Nation and the Sunday Mirror. [8]
There is no official list of art critics, the compilation of which is compounded by problems in defining art criticism – not least of which is the overlap with art history, [1] and philosophy of art. Herein will be included those authors that are mentioned as being art critics or producing art criticism in works of reference, as are ...
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 Painted Word hit the art world like a really bad, MSG-headache-producing, Chinese lunch," wrote Rosalind E. Krauss in Partisan Review. [5] By ridiculing the most respected members of the art world establishment, Wolfe had ensured that the reaction to his book would be negative.