Essay on Art Criticism and Art History

Jenessa Asch Professor Caratzola Art History 202 Term Paper Draft Art History is the study of objects of art in their historical development and stylistic contexts. The history of art, we feel, can sometimes be confused with art criticism. However, Art History is concerned with finding the value of the artistic piece in respect with others in the same category of art or movement, and art criticism is more of an evaluation of art. The art examined best represents the culture during the time period

both modern and classical; linguistics; literature; history; jurisprudence; philosophy; archaeology; comparative religion; ethics; the history, criticism and theory of the arts…” (“What Are the Humanities?”). This definition can be used to analyze the African continent; the practices and various cultural aspects that can be found in America, in particular in the African American population; as well as the international relations, and history. Interviewees were asked different questions about Africa

Down the Barriers to Feminist Art Work "Every time a girl reads a womanless history she learns she is worth less." While studying art history in Pre-Industrial Visual Cultures this semester, one theme has become painfully obvious. There are few if any women artists included in the study of art history. If you dig deep into the books you can find mention of many unknown, unrecognized and often times very talented women artists from the past. Women in history are simply not recognized,

Kippenberger was shaped by German history and treated an art with the historical reality and complexities. Kippenberger desired to deal with the turbulence in German post-war history. He was inspired by events affected him directly, such as the fall of the Berlin Wall in November 1989. The Berlin Wall is part of German history. Kippenberger was critical of the removal the wall, connecting it with the impetus to cleanse history. He knew the value of the wall in terms of history and made the sculpture including

competence of each art coincided with all that was unique to the nature of its medium. The task of self-criticism became to eliminate from the effects of each art any and every effect that might conceivably be borrowed from or by the medium of any other art. Thereby each art would be rendered 'pure', and in its 'purify' find the guarantee of its standards of quality as well as of its independence. 'Purity' meant self-definition, and the enterprise of self-criticism in the arts became one of self-definition

Community-based Artistic Practices are not a complete novelty in contemporary art, their rhetoric are being used as strategic tools, to support discourse such as democracy, equality, social justice among other, from the 1960s on a explicit way. Even less, this “social turn” , understood as an ethical shift by artist and critics who focus their attention on the aspect of social usefulness of the art practices, characterized by an increase of art projects that emphasize participation, dialogue and community engagement

garde, postmodern and contemporary art. “Griselda Pollock continually challenges the dominant museum models of art and history that have been so excluding of women’s artistic contributions and articulates the complex relations between femininity, modernity, psychoanalysis and representation.” (Boundless, 2015) She is known as a major influence in feminist theory, gender studies and feminist art history. Griselda Pollock’s approach to art history and criticism utilises the central tenets of Marxism

Art is a deliberate recreation of a new and special reality that grows from one’s response to life. It improves our existence by enhancing, changing and perpetuating our cultural composition. “The great artist knows how to impose their particular illusion on the rest of mankind,” proclaimed Guy de Mauspassant. Art improves our lives by directly and indirectly lift the morale of individuals, creating unity and social solidarity. Art creates awareness of social issues. Art may express and reflect the

The construct of the ‘Roman copy’ in art history has deeply rooted and extensive origins. Whilst this prejudiced was attached to Roman sculpture from an extremely early time in modern archaeology and art history, the construct viewed in a current context reveals issues with both its development and contribution to historical understanding and education. The construct is formed upon several main factors that have recently been called into question by revisionist historians. Firstly, the development

The Map of Art History essay is about how art history uses disciplines in societies to represents itself through order and classification. From many observations and theories it considers three subject: first is the listing of fields in art history, second is the library system is for categorizing art books, and third is the plotting of space and time in art history from survey texts. Also in the discussion the writer talks about the geography of art history such as where does the idea appear from