E-Book, Englisch, Band 14, 464 Seiten
Reihe: Hatje Cantz Text
Voss / Söntgen / Diderot Why Art Criticism? A Reader
1. Auflage 2022
ISBN: 978-3-7757-5092-9
Verlag: Hatje Cantz Verlag
Format: EPUB
Kopierschutz: 6 - ePub Watermark
E-Book, Englisch, Band 14, 464 Seiten
Reihe: Hatje Cantz Text
ISBN: 978-3-7757-5092-9
Verlag: Hatje Cantz Verlag
Format: EPUB
Kopierschutz: 6 - ePub Watermark
How is art criticism to be understood within an expanding artistic field? A look at its history and its manifestations within globalized conditions shows the variety of the genre, of the criteria and of the styles of writing. This reader is an attempt to bring a diverse range of art-critical voices and perspectives into conversation with each other, with texts from the 18th century to the present. The editors Beate Söntgen and Julia Voss have invited colleagues from various geographical and intellectual backgrounds to present and discuss the art critics of their choice, choosing one example from their respective bodies of work to comment upon. How have these writers approached art criticism? Which styles do they employ? What makes them extraordinary? What can we learn from their writings today, and why is it important in its contemporary context?
BEATE SÖNTGEN (*1963) is professor of art history at Leuphana University Lüneburg. She studied art history, philosophy, and modern German literature in Marburg and Berlin. She is director of the DFG Research Training Group “Cultures of Critique: Forms, Media, Effects” and co-director of the program “PriMus - Doctoral Studies in Museums.”
JULIA VOSS (*1974) is an honorary professor at Leuphana University Lüneburg. She studied art history, modern German literature, and philosophy in Berlin and London. She is herself an art critic and journalist and was deputy head of the arts section of the Frankfurter Allgemeine Zeitung.
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cover
Title
Colophon
Contents
Foreword
Why Art Criticism? An Introduction
Passion, Performance, and Soberness
Beate Söntgen
Essays on Painting
Denis Diderot
In Conversation
Johannes Grave
In Front of a Friedrich Seascape with Capuchin Monk
Clemens Brentano, Achim von Arnim
Feelings Before Friedrich’s Seascape
Heinrich von Kleist
Emotional Collectivities
Stephanie Marchal
Fellows in Reality
Julius Meier-Graefe
The Leak
Julia Voss
The Klimt Affair
Berta Zuckerkandl
Klimt’s letter to the Education Ministry
Crafts and the Spiritual
Monica Juneja
The Indian Craftsman
Ananda K. Coomaraswamy
Practical Formalist
Beate Söntgen
The Futurists
Roger Fry
The Case of the Late Sir Lawrence Alma Tadema, O. M.
Independent Gallery: Vanessa Bell and Othon Friesz
Agitation
Valerija Kuzema
The Work of Viktor Palmov
Sergei Tretyakov
Photo-Notes
Snapshot
Margarete Vöhringer
Against the Synthetic Portrait, For the Snapshot
Alexander Rodchenko
Decomposition
Malte Rauch
Critiques
Georges Bataille
Decolonizing Art History
Parul Dave Mukherji
Why Exhibit Works of Art?
Ananda K. Coomaraswamy
Advocating the Collective
Camilo Sarmiento Jaramillo
The Aesthetic of Our Time
Luis Vidales
Colombian Painting
Materialism and Proximity
Isabelle Graw
Note on the Hostages, Paintings by Fautrier
Francis Ponge
Censorship and the Authorial “I”
Valerie Hortolani and Valerija Kuzema
Annotations on Painting in Leipzig, with an Update on Tübke
Lothar Lang
Hermann Glöckner
The Hans Grundig Exhibition, 1973
Harald Metzkes at the Nationalgalerie, 1978
Fragments on Art Criticism
Trespasser of Gatekeeping
Juli Carson
I Committed a Happening
Oscar Masotta
Embedded Chronicler
Monique Bellan
The Artistic and Literary Life: Reviews from La Revue du Liban et de l’Orient Arabe
Victor Hakim
Undisciplined
Thorsten Schneider
Prolegomena to a Hedonistic Enlightenment
Peter Gorsen
In Drag
Astrid Mania
Warhol: The Medium as Cultural Artifact
Mary Josephson
Self-Reflective Connectivity
Beatrice von Bismarck
Network: The Art World Described as a System
Lawrence Alloway
Vulnerability and Resistance
Florencia Malbrán
Two Decades of Vulnerability in Latin American Visual Arts 1950/1970
Marta Traba
Fellow-Feeling
Sarah Wilson
Réquichot and His Body
Roland Barthes
Documentation as Dialogue
Michael F. Zimmermann
On the Invention of Photographic Meaning
Allan Sekula
Introduction
Deculturization
Sabeth Buchmann
Negative Capability as Practice in Women’s Art
Annemarie Sauzeau-Boetti
Coming Together: Demas Nwoko and New Culture
Azu Nwagbogu
Architecture and Environmental Designs
Bob Bennett
Gathering Voices, Feeling Relations
Oona Lochner
Two Lines of Sight and an Unexpected Connection: Helen Mayer Harrison and Newton Harrison
Arlene Raven
Drawing Another Line
Maja and Reuben Fowkes
A New Turnaround
Ješa Denegri
Chronopolitical Intervention
Ana Teixeira Pinto
Loving the Alien in Advance of the Landing
Mark Sinker
A Drifting Mind
Isabel Mehl
Madame Realism’s Diary: The Matisse Pages
Lynne Tillman
Criteria Against All Odds
Peter Geimer
How Do I Find My Way Out of This Labyrinth? On the Necessity and Impossibility of Criteria for Judging Contemporary Art
Stefan Germer
Decentering
Maja and Reuben Fowkes
The Soil in Which Art Grows
Igor Zabel
Greetings from the Provinces
Tactics of Alienation
Ghalya Saadawi
From Excavation to Dispersion: Configurations of Installation Art in Post-War Lebanon
Walid Sadek
Art Historiography
Angela Harutyunyan
Toward a Dilemmatic Archive: Historicizing Contemporary Art in Armenia
Vardan Azatyan
Hatchet Job
Wolfgang Kemp
What World Does this Prince Want to Rule?
Julia Voss
Bridging Borders
Anita Hosseini
Found in Translation: Exile as a Productive Experience in the Work of Iranian Artists
Helia Darabi
Dispatch: Tehran
Through the Digital Looking Glass
Ying Sze Pek
Politics of Art: Contemporary Art and the Transition to Post-Democracy
Hito Steyerl
If You Don’t Have Bread, Eat Art!: Contemporary Art and Derivative Fascisms
The Cultural Logic of Financialization
Holger Kuhn
The Beggar’s Pantomine: Performance and its Appropriations
Melanie Gilligan
Camp and Credit Cards
Yuriko Furuhata
This Excess Called Lassen: What Is it That Art History Cannot Write?
Takashi Kashima
Nearly Unbiased
Julia Grosse
Homage: Djilatendo Remixing Africa, Again
Patrick Mudekereza
Wolfgang Tillmans at the Échangeur
Retroactivity
Andreas Beyer
Male Morals
Peter Richter
Troll: Anonymous
Miriam Rasch
Through My Reading Glasses
Reader Laureate
Gender apartheid: literary supplements #lekkertellen
Queering
Rebecca John
Staying With the Sirens. On the Resilience of the Past
Adwait Singh
Cracks in the Wall
Into the Light
Culture and Capital
Anna Kipke
Palace in Plunderland: Claire Bishop on the Shed
Claire Bishop
Merging
Yvette Mutumba
In a Hypermediatized World. Visions of Cultural Journalism
Enos Nyamor
Follow the Money
David Mielecke
Reviews from 4Columns
Aruna D’Souza
The Series
Julia Voss
@jennifer_higgie
from Instagram, March 12, 20211
Biographies
Bibliography
Why Art Criticism? An Introduction
Commentary
Source Text
Passion, Performance and Soberness
clemens brentano, achim von arnim
In Front of a Friedrich Seascape with Capuchin Monk
Feelings Before Friedrich’s Seascape
Klimt’s letter to the Education Ministry
The Case of the Late Sir Lawrence Alma Tadema, O. M.
Independent Gallery: Vanessa Bell and Othon Friesz
Against the Synthetic Portrait, For the Snapshot
The Aesthetic of Our Time Colombian Painting
Note on the Hostages, Paintings by Fautrier
Censorship and the Authorial “I”
valerie hortolani and valerija kuzema
Annotations on Painting in Leipzig, with an Update on Tübke
Harald Metzkes at the National Gallery
The Artistic and Literary Life: Reviews from La Revue du Liban et de l’Orient Arabe
Prolegomena to a Hedonistic Enlightenment
Warhol: The Medium as Cultural Artifact
Network: The Art World Described as a System
Two Decades of Vulnerability in Latin American Visual Arts 1950/1970
On the Invention of Photographic Meaning
Negative Capability as Practice in Women’s Art
Coming Together: Demas Nwoko and New Culture
Architecture and Environmental Designs
Gathering Voices, Feeling Relations
Two Lines of Sight and an Unexpected Connection: Helen Mayer Harrison and Newton Harrison
Loving the Alien in Advance of the Landing
Madame Realism’s Diary: The Matisse Pages
From Excavation to Dispersion: Configurations of Installation Art in Post-War Lebanon
Historicizing Contemporary Art in Armenia
What World Does this Prince Want to Rule?
Found in Translation: Exile as a Productive Experience in the Work of Iranian Artists
Through the Digital Looking Glass
Politics of Art: Contemporary Art and the Transition to Post-Democracy
If You Don’t Have Bread, Eat Art!: Contemporary Art and Derivative Fascisms
The Cultural Logic of Financialization
