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Practice of art criticism
The new HSC places a significant emphasis on the distinctions between art historical study and art critical study. You will probably find that much of the writing about history and criticism is similar or seems to overlap significantly. One of the focuses of this article is the role the critic plays in the art world and the way you can learn to distinguish between different types of critical writing.
Focus question
Find an art critique in a newspaper or journal and highlight any emotive or subjective words and phrases. What argument is the art critic making when using these words and what evidence is provided?
Issues covered in this document:
- What significance does criticism have in the art world?
- Who does have authority to speak or write about art?
- The role of art criticism
- Styles of art criticism
- Forms of art writing
- Art writing and the new syllabus
- Further research on art criticism
1. What significance does criticism have in the art world?
The way art has been perceived in the 20th century is quite different to that of the previous century.
Changes in the world and environment, new philosophies, new audiences, new functions and roles for art, new materials and processes, feminism, indigenous issues and politics; all have had implications for artists, art making, art writing, art criticism and collecting.
Essentially, art historians document the significance of change and art critics document the significance of value. However, there is much crossover in art writing. Robert Hughes is an international art critic who writes with both historical references and a critical point of view. (Refer to his books Shock of the New, American Visions, Nothing if not Critical.)
2. Who does have authority to speak or write about art?
Artists are not necessarily writers and do not always want to make comment or critique their own work. Curators are trained to gather and interpret information about artists and consider the artist’s entire career to assess how concepts and technical skill affects audiences. Gallery owners and collectors have recently employed curators to evaluate artworks. The implication is that if someone is buying work for investment, then he or she needs advising on the potential of the work to maintain an increase in value. Critics should not be collecting art for public “collections” as their selections could be construed as indicating personal preferences.
The task of writing about and evaluating art should transcend mere opinion. Robert Hughes believes that it is a conflict of interest for a critic to collect art. This brings up the point that writer Charles Green makes in the following article that there are two types of value of art: monetary value and cultural value.
Critical writing implies authority: that the writer “knows best” or “knows more”. The magazine Australian Art Collector No. 12 April 2000 has articles written by critics stating their opinion of new artists.
The style of critical writing is influenced by the audience of the publication. Bruce James’ style differs in language between works written for Art Collector and the Sydney Morning Herald.
McPhee (p89 Art Collector No 12 April 2000) speaks of the ability of some critics, collectors, curators to recognise great artworks despite their being seemingly “against the trend”. This is often referred to as “having an eye” and the phrase implies some kind of innate ability beyond the understanding of the general public and compels a leadership to which others are drawn.
McPhee questions whether this ability can be learned despite having a consummate knowledge of art history, materials, techniques that influence an artist.
3. The role of art criticism
The chief goal of art criticism is understanding. We need a way of looking at art objects that will give an insight into the meaning and merits. The second goal is to increase pleasure. As a social motive, criticism allows discussion about art.
A critic must have a wide knowledge of art through study and looking at art and a reasonable appreciation of the creative act either through experience or study. Critics should be able to judge quality in relation to form and content. He or she should open readers to new ideas and emotional qualities.
4. Styles of art criticism
Modalities and style of art criticism are dependent on purpose:
- Journalistic reviews of exhibitions, plays, books, and concerts help readers of “art events” to create the atmosphere of striving and rivalry that artists, collectors and general audience require.
- Pedagogical criticism is practised in museums, schools, colleges, and universities wherever art is taught. The teacher, curator or critic has the power to influence the students or audience.
- Scholarly criticism appears mainly in journals, usually the product of long study and specialisation. Academic critics can influence the reputations of artists.
- Popular criticism is practised by lay people and is not always informed by research, study or experience.
Interpretation
Explanation of a work of art involves discovering a meaning and its significance on the human condition. An important part of the critics’ role is to discover and write about the intended and perceived meanings the work may have.
Critical judgment
Judgment is often decided upon a series of methods of examination. Formal evaluation refers to visual organisation: the relationships between the elements of the artwork, material and techniques. This form of interpretation is indicative of the structural frame. The subjective frame can be employed to determine the ability of the artist to communicate emotions vividly, irrespective of formal organisation.
Instrumentalism investigates art that is reflective of social or moral issues: issues that are consequences of political, economic, and social occurrences. This perspective is typical of the cultural frame.
Feldman in Varieties of Visual Experience. Prentice Hall 1987 discusses forms of art criticism.
5. Forms of art writing
The practice of writing about art has become a crucial element in the art world and plays an integral part of the way an audience gains an appreciation or understanding of an artwork. The kinds of art writing range from the text on the wall of the museum accompanying the artwork to the descriptions offered in the local newspaper to the philosophical and often opaque writings found in art journals and catalogues.
The following articles examine different kinds of art writing, exploring different styles, criticism and difficulties in writing for target audiences.
Hill, P. “How to write about art and still get a kick out of looking at it” Art Monthly July 1998 No. 111 p. 17
In this article, Hill places the act of art critical writing firmly in history by citing examples from the Renaissance as well as the twentieth century. Citing Carracci, Munch, Kandinsky, Sontag, he asks “Can art criticism be taught?”
Hill provides a full range of writing styles to illustrate the fact that writing must be suited to its purpose and examines these in relation to the differing interpretations of various audiences.
“It is important to realise that to write something well for an inflight magazine or for a weekly news magazine or for a museum press release can be just as difficult as writing for a journal such as October or a critical art magazine like Art & Text. Each has its own rules its own audience and its own purpose. You must build relationships with managing editors, review editors, arts reviews and fellow critics.” p18
Hill, P. “Can art writing be taught?” Pt 2 Art Monthly No. 117 March 1999
In this article, Hill continues his discussion of “appropriate” writing for the arts and how the role of criticism contains an innate understanding to be impartial and assist in explaining or exposing meaning.
“All art writing is necessarily subjective but it should be free of personal prejudices and judgemental statements, consist of complex ideas and clear language, energetic in enthusiastic encouraging of art viewing.” p24
6. Art writing and the new syllabus
Art students must now be proficient at both art historical writing and art critical writing.
Art criticism is concerned with the expression of evaluative judgments about artworks and the critical exploration of issues in the art world. It allows for an opportunity to interpret and evaluate works by expressing responses, systematic analysis and value judgments about artworks.
Writing about art is a self-conscious attempt to make more sense of art.
Traditionally writers of the 19th century were writing to categorise and identify art. These were usually historians and critics, who were initially concerned with the examination and categorisation by style, form, region, and period. These methods used subjective and structural frames.
The employment of the cultural and postmodern frames could assist in a broad understanding of art critical writing.
Contemporary art criticism often uses all four frames or perspectives. It examines how historical aspects play a regulatory and modifying role on the present.
Subjective frame:
looks at art through sensory experience, felt or
perceived. Meaning is understood in relation to personal
expression, imagination, intuition, the unconscious.
Structural frame:
enables specific categories of analysis through forms,
symbols, and signs.
Cultural frame:
relates the artwork through values and beliefs embedded
within a specific context of society, e.g. race, gender,
class, economics, politics, principles.
Postmodern frame:
provides a method of questioning, of analysis on the basis of disclosure of past influences, exposure of the layers of present contexts, of parody of past authorities.
| Aspect of art writing | Examples | Outcomes |
|---|---|---|
| Definitions
|
theories
|
focus on a topic i.e. relevance
|
| Descriptions
|
concepts
|
evidence of reading and study
|
| Analyses
|
facts, examples, instances
|
present reasoned arguments
|
| Interpretations
|
opinions
|
use of evidence
|
| Clarifications
|
interpretations
|
present a point of view
|
| Evaluations
|
criteria evaluation
|
explain/defend a point of view
|
| Conclusions
|
conclusions
|
present resolution or conclude
|
Key words
| Definitions from the Assessment Support
Document
|
|
|---|---|
|
Analyse
|
identify components and the relationship
between them; draw out and relate implications
|
|
Appreciate
|
make a judgment about the value
|
|
Assess
|
make a judgment of value, quality, outcomes
results or size
|
|
Clarify
|
make clear or plain
|
|
Compare
|
show how things are similar or different
|
|
Contrast
|
show how things are different or opposite
|
|
Critically (evaluate/ analyse)
|
add a degree or level of accuracy depth,
knowledge and understanding, logic, questioning,
reflection and quality, to evaluation/ analysis
|
|
Describe
|
provide characteristics and features
|
|
Discuss
|
identify issues and provide points for and
against.
|
|
Evaluate
|
make a judgment based on criteria;
determine the value of
|
|
Examine
|
inquire into
|
|
Explain
|
relate cause and effect make the
relationships between things evident; provide why and/or
how
|
|
Interpret
|
draw meaning from
|
|
Investigate
|
plan inquire into and draw conclusions
about
|
|
Summarise
|
express concisely the relevant details.
|
(The Board of Studies has also published a glossary of key words)
7. Further research on art criticism
The following articles could provide valuable material for art critical writing.
Research
Hill, P. “How to write about art and still get a kick out of looking at it” Art Monthly July 1998 No. 111 p. 17
Locate this article. What do you think that Peter Hill considers are the advantages of art criticism?
Sensation exhibition
ARTnews Nov 1999 p208, p190
Barstow, D. “Shark cruise in art-infested waters” Sydney Morning Herald Wed 8 Dec 1999
Bonyhady, T. “A sensational shame” Sydney Morning Herald Saturday 11 Dec 1999
Morgan, J. “A fine line between art and commerce” Sydney Morning Herald Wed 1 March 2000
McCarthy,P. “Art and commerce on a collision course in US Galleries” Sydney Morning Herald 21 Dec 1999
Paglia, C. “Why the avant-garde is bankrupt in Brooklyn” Sydney Morning Herald 8 Oct 1999
Vogel, C. “Not quite the sensation he had in mind” Sydney Morning Herald 30 Sept 1999
Serrano Piss Christ
McDonald, J. “Hammer of the Gods” Sydney Morning Herald 18 Oct 1997
Dubin, S. “A Cascade of Criticism” Arresting Images -Impolitic Art and Uncivil Actions (p96)
Landseman, C. “Is modern art asking for it?” Sydney Morning Herald 14 Oct 1997
Morgan, J. “Mad About Art” Sydney Morning Herald 18 Oct 1997
Feminist issues -
Reclaiming the Body Video
World Art Vol 1 No. 2 1994- Badgirls
Chadwick Women Art and Society
Pollock and Parker- Old Mistresses Pandora
The Art World’s Angry Young Women. ARTnews Vol 98 no. 10
Indigenous issues
Aboriginality
Barrowclough, N. “Rip Off Artists” Good Weekend Sydney Morning Herald
Johnson, V. Aboriginal Artists of the Western Desert Craftsman House
Perkins, H “The scandal lies in our double standards” Sydney Morning Herald 2 June 1999
McDonald, J. “Faint heart never won fair deal” Sydney Morning Herald 20 November 1998
Copyright issues
Jopson, D. “Culture Clash”Sydney Morning Herald 20 April 1998
Harari, F. “Artists Withold Licence” The Australian 18 July 1994
Reid, M. “Copyright laws wield broad axe” Weekend Australian 2/3 Oct 1999
References
Autry, G. “Artists only need apply” Art Monthly no. 28 p. 17 April 2000
Barrett, T. “Criticizing Art” Mountain View, California, Mayfield Pub 1994
Bonyhardy, T. Dirk and Grease, Eureka Street vol 9 no. 6 July 1999 p34
Hirsh, E.P. Writing about Art Sth Melbourne, Addison Longman 1996
Feldman, B. Varieties of Visual Experience Prentice Hall 1987
Green, C. “How do we Assign Value in Art” Talk Given at Art Gallery of NSW Dec 1999
Hill, P. “They came they saw they bought the lot” Saatchi Collection, Art Monthly p27 June 1995 no 80
Hill, P. “How to write about art and still get a kick out of looking at it” Art Monthly July 1998 No 111 p17
Hill, P. “Can Art writing be taught?” Pt 2 Art Monthly No. 117 March 1999 p24
Kroneneberg “Other voices: the freelance curator in Australia” Art Monthly Sept 1994 No.73
Mc Phee, J. “Eye for an Eye: the Art of Appreciation” Australian Art Collector Issue 12 April 2000
Mendelssohn, J. “The Artist and the Critic” Artlink Vol 19 No 2 June 1999
Nelson, R “Criticism and Impotence” Art Monthly Dec 97-Feb 98 p12
Patrick, K. editorial Contemporary Visual Arts Issue 27, 2000,
Rendle-Short, F “On the edge” Art Monthly Dec 1999- Feb 2000 No. 126 p15
Sylvester, D. “Curator and critic London. “ SMH Sat 20 Nov 1999
Thomas, D. “Being a curator”. Art Monthly Sept 1999 No 123 p4
Wilson, K. ‘Confirming prejudices validating fears” Art Monthly March 98 No. 107 p4 (A review about Giles Auty of the “The Australian”)
Useful texts
Berger, J. Ways of Seeing Pan 1972
Carrier, D. Artwriting Amherst University of Massachusetts Press 1987
Carrier, D. Principles of Art History Writing University Park; the Pennsylvania State University Press 1991
Michelle Watts, Visual arts teacher
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