| |
| |
| Preface | |
| |
| |
| Introduction | |
| |
| |
| What is Art Criticism? | |
| |
| |
| The Search for Standard Features | |
| |
| |
| Distinctions and Overlaps between Art Criticism and Related Activities | |
| |
| |
| Art Criticism's Place in the Larger Field of Criticism | |
| |
| |
| What Can Art Criticism Offer? | |
| |
| |
| The Influence and Legitimacy of Criticism | |
| |
| |
| Critics and Responsibilities | |
| |
| |
| Who are Art Critics? | |
| |
| |
| Conclusions | |
| |
| |
| |
| A History of Art Criticism | |
| |
| |
| The Birth of a Genre | |
| |
| |
| Early Voices in Art Criticism | |
| |
| |
| Diderot and the Specter of Censorship | |
| |
| |
| English Art Criticism in the Later 1700s | |
| |
| |
| Politics with a Vengeance | |
| |
| |
| Romanticism versus Neoclassicism | |
| |
| |
| English Criticism: Hazlitt and Ruskin | |
| |
| |
| The Development of French Modernism | |
| |
| |
| The Rise of Formalist Criticism | |
| |
| |
| Paris in the Early 1900s | |
| |
| |
| European Criticism between the Wars | |
| |
| |
| American Criticism Comes of Age | |
| |
| |
| Abstract Expressionism and Harold Rosenberg | |
| |
| |
| ARTnews and the Poet-Critics | |
| |
| |
| Clement Greenberg and the Return of Formalism | |
| |
| |
| 1960s Formalism and Artforum | |
| |
| |
| Emerging Alternatives to Formalism | |
| |
| |
| Reenter Politics | |
| |
| |
| Early Feminist Criticism | |
| |
| |
| Neo-Marxism and October | |
| |
| |
| The 1980s and the Culture Wars | |
| |
| |
| Festivalism, Globalism, and Institutional Critique | |
| |
| |
| Art Criticism since 2000 | |
| |
| |
| Conclusions | |
| |
| |
| |
| Description and Contextualization | |
| |
| |
| General Issues Involving Description | |
| |
| |
| The Act of Description and its Aims | |
| |
| |
| Strategies of Description | |
| |
| |
| Internal and External Evidence | |
| |
| |
| Internal Evidence: The Medium and Formal Elements | |
| |
| |
| Internal Evidence: Subject Matter and Content | |
| |
| |
| External Evidence: Title, Price, Materials, and Intention | |
| |
| |
| External Evidence: The Artist's Experiences, Categories, and Historical Context | |
| |
| |
| External Evidence: Physical Context and Crowd Responses | |
| |
| |
| External Evidence: Personal Responses | |
| |
| |
| Complexities Involving Description | |
| |
| |
| Evocative Description | |
| |
| |
| Difficulties in Rendering the Visual in Verbal Terms | |
| |
| |
| Description as Interpretation | |
| |
| |
| The Costs of a Poor Description | |
| |
| |
| Conclusions | |
| |
| |
| |
| Interpretation and Analysis | |
| |
| |
| General Issues Involving Interpretation | |
| |
| |
| Relations-and Distinctions-between Description and Interpretation | |
| |
| |
| Criticism as Retrieval and as Revision | |
| |
| |
| Judging Interpretations | |
| |
| |
| Opposition to-and Support for-Interpretation | |
| |
| |
| Interpretation and Intentionality | |
| |
| |
| Interpretations Involving Internal and External Evidence | |
| |
| |
| Iconographic Interpretation | |
| |
| |
| Formal Analysis | |
| |
| |
| Phenomenological Interpretation | |
| |
| |
| The Status of External Evidence | |
| |
| |
| Biographical Interpretation | |
| |
| |
| Historicizing Interpretation: The Zeitgeist | |
| |
| |
| Historicizing Interpretation: Cultural Context | |
| |
| |
| Critical Theory and Systematic Interpretations | |
| |
| |
| Psychoanalytic Interpretation | |
| |
| |
| Feminist Interpretation | |
| |
| |
| Marxist Interpretation | |
| |
| |
| Structuralist and Semiotic Interpretation | |
| |
| |
| Poststructuralist Interpretations | |
| |
| |
| Conclusions | |
| |
| |
| |
| Judgment and Evaluation | |
| |
| |
| The Place of Judgment in Criticism | |
| |
| |
| Changing Attitudes about Judgment | |
| |
| |
| The Contributions of Hume and Kant | |
| |
| |
| Challenges to-and Revisions of-Kant | |
| |
| |
| Claims about Universal and Personal Criteria | |
| |
| |
| Early Examples of Common Criteria | |
| |
| |
| Changing Criteria in the Nineteenth Century | |
| |
| |
| Originality and Expressiveness Become Common Criteria | |
| |
| |
| Early-Twentieth-Century Criteria | |
| |
| |
| Recent Variations in the Use of Criteria | |
| |
| |
| Forms of Judgment and Related Issues | |
| |
| |
| Positive Judgment | |
| |
| |
| Negative Judgment | |
| |
| |
| Complexities Involving Judgment | |
| |
| |
| Conclusions | |
| |
| |
| |
| Individual Critical Styles: Tone and Voice | |
| |
| |
| External Factors Affecting Criticism | |
| |
| |
| Deadlines | |
| |
| |
| Word and Space Limits | |
| |
| |
| Contextual Considerations | |
| |
| |
| Considerations of Audience | |
| |
| |
| Institutional Ideologies | |
| |
| |
| Tone, Voice, and the Relevance of External Factors | |
| |
| |
| The Creation of Tone: Word Choice | |
| |
| |
| The Creation of Tone: Person | |
| |
| |
| The Creation of Tone: Punctuation | |
| |
| |
| The Creation of Tone: Tense | |
| |
| |
| The Creation of Tone: Syntax and Sentence Structure | |
| |
| |
| The Creation of Tone: Further Strategies | |
| |
| |
| Debates About Tone | |
| |
| |
| Should Art Criticism Match Its Subject in Tone? | |
| |
| |
| How Clear Should Art Criticism Be? | |
| |
| |
| Conclusions | |
| |
| |
| Conclusion | |
| |
| |
| Anthology | |
| |
| |
| Selections from the Salons of 1765 and 1767 | |
| |
| |
| |
| Selections from the Salon of 1846 | |
| |
| |
| |
| "Conclusion: Modern Art and Modern Criticism" (1843) | |
| |
| |
| |
| Two Articles on Picasso (1905) | |
| |
| |
| |
| "The Post-Impressionist Illusion" (1913) | |
| |
| |
| |
| "The American Action Painters" (1952) | |
| |
| |
| |
| "Month in Review" (1956) | |
| |
| |
| |
| "Critics of American Painting" (1959) | |
| |
| |
| |
| "Modernist Painting" (1960) | |
| |
| |
| |
| "Art and Objecthood" (1967) | |
| |
| |
| |
| "The Women Artists' Movement-What Next?" (1975) | |
| |
| |
| |
| The Editors of October, "About October" (1976) | |
| |
| |
| "Beyond the Rectangle, Out of the Frame" (1995) | |
| |
| |
| |
| Excerpt from What Happened to art Criticism? (2003) | |
| |
| |
| |
| Glossary | |
| |
| |
| Bibliography | |
| |
| |
| Index | |