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Evaluating Art

3700411ae81a5ba151f9946dcb59c386?s=47 nichsara
March 05, 2013
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Evaluating Art

3700411ae81a5ba151f9946dcb59c386?s=128

nichsara

March 05, 2013
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Transcript

  1. Evalua&ng  Art.    What  is  Art  Cri&cism?   What  is

     Art  History?   Reading:   Ar=orms,  ch.  13     Terms/Concepts:   Form,  Content,  Meaning,   Subject  MaIer,  Intent,     Theory,  Formalism,  Art  for   Art’s  Sake,  Greenbergian   Formalism,  Expression   Theory,  Catharsis,  Arousal   Theory,  Contextual,  Social   History  of  Art,  Zeitgeist,   Marxism,  Psychoanalysis,     Postcolonialism,  Museums,   Framing  Devices,  White  Cube,        
  2. Leonardo  da  Vinci,  The  Last  Supper,  1495-­‐1498   Form  

    Content  
  3. Form  is  the  totality  of  the  physical  and  visual  aspects

      of  a  work  of  art.   Form   Content  
  4. Content  is  the  meaning  of  a  work  of  art.  

    Form   Content  
  5. What  specifically  is  content?   Subject  MaIer   Ar&st’s  Intent

      Viewer’s  Interpreta&on   The  “Message”  
  6. Art  Cri&cism  vs.  Art  History   Art  Cri&cism   serves

     to  assess  art’s     value  to  us  now.     Art  History   serves  to  analyze   art  in  its  historical     context.   Both  Art  Cri&cism  and  Art  History  rely  on  Art  Theory.  
  7. the·∙o·∙ry   noun  \ˈthē-­‐ə-­‐rē,  ˈthir-­‐ē\   plural  the·∙o·∙ries   1:

     the  analysis  of  a  set  of  facts  in  their  rela&on  to  one  another     2:  abstract  thought  :  specula&on     3:  the  general  or  abstract  principles  of  a  body  of  fact,  a  science,  or  an   art  <music  theory>     4a  :  a  belief,  policy,  or  procedure  proposed  or  followed  as  the  basis  of   ac&on  <her  method  is  based  on  the  theory  that  all  children  want  to   learn>  b  :  an  ideal  or  hypothe&cal  set  of  facts,  principles,  or   circumstances  —ogen  used  in  the  phrase  in  theory  <in  theory,  we   have  always  advocated  freedom  for  all>     5:  a  plausible  or  scien&fically  acceptable  general  principle  or  body  of   principles  offered  to  explain  phenomena  <the  wave  theory  of  light>     6a  :  a  hypothesis  assumed  for  the  sake  of  argument  or  inves&ga&on  b  :   an  unproved  assump&on  :  conjecture  c  :  a  body  of  theorems   presen&ng  a  concise  systema&c  view  of  a  subject  <theory  of   equa&ons>    
  8. Theory  acts  as  a  lens  to  focus  your  inquiry.  

  9. Basic  Ques&ons   1.  What  is  my  first  response  to

     the  work?   2.  When  and  where  was  the  work  made?    By   whom  and  for  whom  was  it  made?   3.  What  did  the  work  originally  look  like?   4.  What  does  the  form  contribute  to  the  works   meaning?   5.  Where  would  the  work  originally  have  been   seen?   6.  What  purpose  did  the  work  serve?   7.  What  is  the  &tle?    Does  it  contribute  to  the   works  meaning?  
  10. Major  Theories  of  Art  Cri&cism   •  Formalist  Theories  

    •  Expression  Theories   •  Contextual  Theories   •  Marxist  Theories   •  Psychoanaly&c  Theories   •  Postcolonialist  Theories   General  Approaches   (In  Ar6orms,  ch.  13)   Specific  Theories  
  11. Art  as  Form   Key  Figures:   Victor  Cousin  

    Theophile  Gau&er   Clive  Bell   James  McNeill  Whistler   Dante  Gabriel  Roses   Clement  Greenberg   Rosalind  Krauss   Michael  Fried   Victor  Cousin  
  12. Art  as  Form   James  McNeill  Whistler,  Peacock  Room,  1876

     
  13. Art  as  Form   Josef  Albers,  Study  for  Homage  to

     the  Square,  1954-­‐1956    
  14. Useful  Ques&ons   1.  What  does  the  work  look  like?

      2.  How  does  the  work  use  the  “elements  of   design”  (i.e.  composi&on,  color,  line,  etc.)?   3.  How  are  the  “principles  of  design”  (i.e.  rhythm,   balance,  emphasis,  etc.)  present  in  the  work?   4.  How  do  the  “elements”  and  “principles”  interact   with  one  another?   5.  What  do  you  reac&ons  to  the  work’s  form  say   about  your  taste?  
  15. Art  as  Expression   Key  Figures   Plato  (5th  century

     BCE)   Aristotle  (4th  century  BCE)   Leo  Tolstoy  (1828-­‐1910)   R.G.  Collingwood  (1880-­‐1943)   BenedeIo  Croce  (1866-­‐1952)   John  Dewey  (1859-­‐1952)   Ernst  Cassirer  (1874-­‐1945)   Susanne  Langer  (1895-­‐1985)     Leo  Tolstoy  
  16. Art  as  Expression   Eugene  Delacroix,  Liberty  Leading  the  People,

     1830  
  17. Art  as  Expression   Wasily  Kandinsky,  ImprovisaBon  28,  1912  

  18. Useful  Ques&ons   1.  What  is  your  ins&nctual  reac&on  to

     the  work   of  art?   2.  What  emo&ons  are  present  in  the  work?     How  are  they  present?   3.  Who  was  the  ar&st?   4.  What  were  the  emo&ons  of  the  ar&st  was   trying  to  express?   5.  What  message  was  the  ar&st  trying  to   convey?  
  19. Art  as  Evidence   Key  Figures:   Arnold  Hauser  (1892-­‐1978)

      Theodor  W.  Adorno  (1903-­‐1969)   Louis  Althusser  (1918-­‐1990)   Walter  Benjamin  (1892-­‐1940)   Pierre  Bourdieu  (1930-­‐2002)   Shifra  Goldman  (1926-­‐)   Albert  Boime  (1933-­‐2008)   Jules  Prown  (1930-­‐)     Arnold  Hauser  
  20. Ar&st   Art   Viewer   Context  

  21. Ar&st   Art   Viewer   Context  

  22. Ar&st   Art   Viewer   Context  

  23. Useful  Ques&ons   1.  When  and  where  was  the  work

     of  art  made?   2.  How  does  the  work  of  art  illustrate  the  values  or   social  condi&ons  of  this  &me?   3.  Does  the  work  of  art  conform  to  or  rebel  against   prevailing  ideals  of  this  context?   4.  What  was  life  like  for  people  when  this  work   was  made?   5.  What  were  the  social  and  economic  condi&ons   of  the  &me  and  place  the  work  was  made?   6.  Who  was  the  ar&st?    How  did  they  fit  in  this   cultural  context?  
  24. Contextual  Theories    Marxist  Theory    Psychoanaly&c  Theory    Postcolonial

     Theory    Gender  Theories    Racial  Theories    Queer  Theories    Viewer-­‐Response  Theory    Structuralist  Theory    Post-­‐Structuralist  Theory  
  25. Framing  Devices  in  Museums    Choice  of  objects  to  

    display.    The  grouping  or   separa&on  of  objects.    The  categoriza&on  of   objects.    The  loca&on  of  displays.    The  design  of  displays.    The  didac&c  materials.   Museums  “frame”  our  understanding  and  interpreta&on  of  cultures  and  historical  periods.  
  26. Museum  Displays  Can…    Tell  a  story.    Create  rela&onships.

       Contextualize  objects.    Lend  importance  to   objects.    Declare  an  object  to  be   an  artwork  or  an   ar&fact.  
  27. Naviga&ng  Space   Plan  of  the  Hamilton  Building  and  the

     North   Building,  Denver  Art  Museum.  
  28. Naviga&ng  Space:   The  White  Cube   Resnick  Pavillion,  LACMA

     (Los  Angeles  County   Museum  of  Art).  
  29.   Naviga&ng  Space     Kirkland  Museum  of  Fine  &

     Decora&ve   Art,  Denver,  founded  in  1980.  
  30. Reading  Room,  Denver  Art  Museum.   The  Enlightenment  Room,  Bri&sh

     Museum  
  31. Posi&oning   Paris  Salon,  18th  century.  

  32. Grouping   Thunder  Bay  Museum,  Thunder  Bay,   Ontario  

  33. Grouping   Lawrence  A.  Fleischmann  Gallery,  Smithsonian   American  Art

     Museum,  Washington,  D.C.  
  34. Grouping  

  35. Grouping   Portland  Art  Museum  

  36. Ligh&ng   SeaIle  Art  Museum,  SeaIle,  Washington  

  37. Ligh&ng   Oklahoma  City  Museum  of  Art  

  38. Denver  Art  Museum  Free  Day:  This  Saturday  October  6th  

    Direc&ons  to  the   museum  and   transporta&on   op&ons  are  on   Blackboard.  
  39. Use  this  worksheet  to  guide  your  visit.   Download  

    Worksheet  from   Blackboard!   From  your  worksheet  write  your  3-­‐4  page  paper  
  40. Interroga&ng  the  Museum  is  due  October  23rd