A comparative study of art theory between Kim, Yong-Joon of Korea and China Xú, Bĕi-Hŏng -focused on art criticism before 1950-

2018 ◽  
Vol 19 (1) ◽  
pp. 485-497
Author(s):  
Jun Seok Chang
Keyword(s):  
Comparative Study ◽  
Art Criticism ◽  
Art Theory

Modern art history as a human science in a situation of cultural turn

2019 ◽  
Vol 11 (3) ◽  
pp. 94-106
Author(s):  
Nikolai A. Khrenov
Keyword(s):  
20Th Century ◽  
Art History ◽  
Art Criticism ◽  
Normal Science ◽  
Art Theory ◽  
Linguistic Turn ◽  
Self Protection ◽  
The Relationship ◽  
Intensive Development ◽  
Cultural Turn

Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology. However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism. The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.

Modern art history as a human science in a situation of cultural turn

2019 ◽  
Vol 11 (1) ◽  
pp. 82-98
Author(s):  
Nicolai A. Khrenov
Keyword(s):  
20Th Century ◽  
Art History ◽  
Art Criticism ◽  
Normal Science ◽  
Art Theory ◽  
Linguistic Turn ◽  
Self Protection ◽  
The Relationship ◽  
Intensive Development ◽  
Cultural Turn

Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology. However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism. The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.

scholarly journals On Proto-Modernist Traits in Early Modern Art Theory

2018 ◽  
pp. 19
Author(s):  
Angelina Milosavljević
Keyword(s):  
Early Modern ◽  
Media Studies ◽  
Art Criticism ◽  
Modern Art ◽  
The Body ◽  
16Th Century ◽  
Art Theory ◽  
Giorgio Vasari ◽  
Specific Concentration ◽  
Contemporary Practice

Early modern art and art theory are still considered by historians and theorists of art mainly in terms of aesthetic principles in the service of the representation of political and ideological concepts. However, the body of early modern art and especially theory abounds with notions, which anticipate the modernist tendencies of self-criticism. In this paper, we would like to suggest that self-criticism also characterized pre-Modernist art, complemented by advanced art criticism, especially during the Mannerist era. We would like to point out that the notion of self-criticism equally applies to both early modern art and art theory in which the specific concentration on problems of construction and composition of painting based its foundations on abstract mathematical  rules, serving to justify and dignify the medium itself. Furthermore, this tendency divorced the art of painting, specifically, from the illusion of reality, thus entrenching it more firmly in its own area competence, to use Clement Greenberg’s phrase. We would also like to demonstrate that late 16th-century art theory pushed well beyond its time, especially the theory written by artists. Their programmatic reliance on pre-existing pictorial models allowed these artists-theorists to abandon the question of realism and naturalism for pure speculation, which could not have been achieved in contemporary practice. We would like to suggest that ideas of abstraction and speculation, so characteristic of Modernist art, featured well before Modernism in the writings of Mannerist artists and theorists Giorgio Vasari, Giovanni Paolo Lomazzo, and Federico Zuccari. Article received: March 26, 2018; Article accepted: April 10, 2018; Published online: September 15, 2018; Original scholarly paperHow to cite this article: Milosavljević, Angelina. "On Proto-Modernist Traits in Early Modern Art Theory." AM Journal of Art and Media Studies 16 (2018): 19−28. doi: 10.25038/am.v0i16.251

scholarly journals The Return to Kalokagathia: Curating as Leverage in the Ongoing Dialogues between Aesthetics and Ethics

Philosophies ◽  
2020 ◽  
Vol 5 (4) ◽  
pp. 29
Author(s):  
Suzana Milevska
Keyword(s):  
Art Criticism ◽  
Art World ◽  
Art Theory ◽  
Ancient Greek ◽  
The West ◽  
Ethical Concerns ◽  
Catalyst Potential ◽  
Ethical Responsibilities

This essay argues that curating brought back a kind of leverage that redressed the otherwise imbalanced relationship between aesthetics and ethics. Curating lends out to art its innocent and aspirational belief in such a balance because the ethical concerns in art theory and art criticism have long been toned down while form was prioritized over content. Ever since the curatorial profession created its own niche in the art world—started, for example, in the West, in the late 1960s with curators such as Siegelaub, Szeemann, or Lippard—curating began to mediate this relationship, thus helping to activate the catalyst potential of art without having to compromise its formal aspects. More specifically, this essay explores the ways in which theories and practices of curating brought back to mind the ancient Greek notion of kalokagathia, the intertwinement of aesthetics and ethics and, with it, other ethical responsibilities, principles, and values that art forgot to address while giving privilege to its formal aspects.

scholarly journals An aesthetic of the unknown

2015 ◽  
Vol 7 (1) ◽  
pp. 19-32
Author(s):  
Michael Evans
Keyword(s):  
Contemporary Art ◽  
Art Criticism ◽  
Theoretical Framework ◽  
Art Theory ◽  
Abstract Painting ◽  
The Unconscious ◽  
Conscious Mind ◽  
Starting Point ◽  
Numinous Experience

This paper begins to establish an ‘aesthetic of the unknown’ by drawing together theorists and approaches from mainstream art criticism to provide a starting-point for an aesthetic sympathetic with Jungian perspectives, in an attempt to bridge a gap between contemporary abstract painting, contemporary art theory, and Jungian studies. This is a framework for approaching abstract painting not as an object awaiting interpretation or ‘reading’, but rather as something that offers a numinous experience (or experience of the unknown), which can be thought about but may remain ultimately unknowable and irreducible. Such experience – involving both the unconscious and conscious mind – would provide glimpses of forms of meaning not accessible to full rational exposition. This type of unconsciously understood meaning is explored, acknowledging that there is a need to preserve this encounter with the unknown and a need for a contemporary critical, theoretical framework that recognises the importance of this within abstract painting.

scholarly journals THE IDENTITY AS AN ART PHENOMENON

2021 ◽  
Vol 5 (43) ◽  
Author(s):  
A. Zinenko
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Art Criticism ◽  
Organizational Design ◽  
Cross Cultural ◽  
Research Subject ◽  
Art Theory ◽  
Teaching Activities ◽  
Hermeneutic Phenomenological ◽  
The Past

The research subject is the study of the Phenomenon of identity and its reflection in contemporary Ukrainian art. The purpose of the work is to investigate the specifics of the Phenomenon's reflection of identity in contemporary Ukrainian art. The work methodology is based on chronological and scientific comprehensiveness, art history, historical, philosophical, and culturological approaches, ontological, axiological, hermeneutic, phenomenological, cross-cultural, and method of art analysis. The work results allow us to understand the evolution of researchers' views in various fields on the Phenomenon of identity and its application in contemporary art approaches. The results' scope is today's artistic practices, history, art theory, and art criticism, teaching activities for students and graduate students of creative specialties. Findings. The Phenomenon of identity in contemporary art means that problem of its reflection in the art exists and begins to be understandable. Some conclusions about the correctness of the direction of practices and patterns to a new search identity approach can be made considering foreign experience. Simultaneously, a society that interacts with contemporary art in the latest cultural projects and what principles of such participation should be taken into account in organizational, design, exhibition, and interpretive activities. The proof that modern contemporary art in its various manifestations is deeply rooted in the socio-cultural process, and therefore has different forms of identity, is closely connected with the past and present of Ukraine. Appeal to the past in art - preserving memory, rethinks symbols and signs, gives new life to archaic images and techniques; art is turned to the present, reflecting on reality. Presenting society's moods and problems accumulate the achievements of Ukraine as an independent country.Keywords: contemporary art, identity, Ukraine, the beginning of XXI century. 

Modern art history as a human science in a situation of cultural turn

2019 ◽  
Vol 11 (2) ◽  
pp. 102-115
Author(s):  
Nicolai A. Khrenov
Keyword(s):  
20Th Century ◽  
Art History ◽  
Art Criticism ◽  
Normal Science ◽  
Art Theory ◽  
Linguistic Turn ◽  
Self Protection ◽  
The Relationship ◽  
Intensive Development ◽  
Cultural Turn

Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology. However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism. The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.

scholarly journals Political Art Criticism and the Need for Theory

Arts ◽  
2020 ◽  
Vol 10 (1) ◽  
pp. 1
Author(s):  
Daniel Neofetou
Keyword(s):  
Art Criticism ◽  
Status Quo ◽  
The Other ◽  
The Political ◽  
Political Art ◽  
Art Theory ◽  
Political Force ◽  
Other Hand ◽  
The Status ◽  
The Way

Day-to-day art criticism and art theory are qualitatively distinct. Whereas the best art criticism entails a closeness to its objects which is attuned to particularity, art theory inherently makes generalized claims, whether these claims are extrapolated from the process of art criticism or not. However, this article argues that these dynamics are effectively reversed if we consider the disparity between the criticism of so-called political art and attempts over the last century to elaborate theory which accounts for the political in art qua art. Art theory has located the political force of art precisely in the way that its particularity opposes or resists the status quo. Art criticism, on the other hand, tends to treat artwork as a text to be interpreted whose particularity may as well dissolve when translated into discourse. Drawing from the work of Theodor W. Adorno, this article argues that political art theory calls for art criticism more attuned to experience if it is to elucidate art’s critical valence.

James Jackson Jarves's Art Criticism: Aesthetic Classifications and Historiographic Consequences

2008 ◽  
Vol 42 (2) ◽  
pp. 215-235
Author(s):  
KAREN L. GEORGI
Keyword(s):  
Art History ◽  
Art Criticism ◽  
Turning Point ◽  
American Culture ◽  
American Art ◽  
Art Theory ◽  
Fundamental Understanding ◽  
American Art History ◽  
Methodological Principles ◽  
The Aesthetic

Looking at the methodological principles and rhetorical forms that structure James Jackson Jarves's often-cited 1864 book The Art-Idea, this essay reconsiders Jarves's role in the historiography of American art. Jarves has long been associated with post-Civil War shifts toward international aesthetic trends, which eroded the native bias in favor of verisimilitude and anecdote. He is thought to mark a turning point. His texts, however, only partially corroborate the reputation. Here, firstly, I reread Jarves's art theory to suggest what were the aesthetic preferences he hoped to foster among Americans, and why. Secondly, I propose that the reputed Jarves fulfills an apparently unrecognized need in the subdiscipline of American art history – a fundamental understanding of American art as automatically, necessarily, indexical. It is primarily a manifestation of American culture, and more specifically American culture as defined by change, growth, disruption, reintegration.

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