Why Is That Art? Aesthetics and Criticism of Contemporary Art terry Barrettrapishare

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 · 134 ratings  · 11 reviews

Start your review of Why Is That Fine art?: Aesthetics and Criticism of Gimmicky Fine art

While this book was meant to be a guide to fine art theory, what struck me well-nigh was how nepotistic and closed the art world itself is, especially to women and minorities. In detail, it's interesting how much of the not-concrete, intensely personal art (expressing almost solely the artists' psyche) is made by people who are either wealthy or continued (usually both). Too much in fine art criticism is circle-hasty, with critics agreeing with and promoting people similar themselves-- this is especially true While this volume was meant to be a guide to fine art theory, what struck me nearly was how nepotistic and closed the art world itself is, especially to women and minorities. In particular, information technology's interesting how much of the non-concrete, intensely personal art (expressing almost solely the artists' psyche) is made past people who are either wealthy or connected (usually both). Besides much in fine art criticism is circumvolve-jerky, with critics agreeing with and promoting people similar themselves-- this is especially true for abstract expressionist art where artists talk about "painting their emotions", and the sole reason that sells is that critics (predominantly directly, white, western, anglophone, male) agree with them.

The sections on realism and postmodernism are fairly well done, both written from a postmodern perspective. Expressionism, nonetheless, was vague and not plenty culturally contextualised-- much like the way itself-- and was almost entirely a fix of "what" ("this painting represents the artists' feelings virtually a detail retention") and non about enough "why" (which parts of the painting? and how are the feelings existence expressed through them?)

Overall, it'south a overnice and short introduction to art and art theory, specifically on realism, expressionism, formalism and postmodern pluralism. Each affiliate had a nice structure, focusing on artists who all-time exemplify the "movement"/paradigm-- with comments both by critics as well as the artists themselves on their own work. The objective of the book is descriptive rather than normative-- "what do formalists really intendance about? how do you assess fine art from a formalist perspective?"--and in that, the book is, for the nearly part, fairly successful.

That said, I would have probably preferred to read a unlike volume that actually critiques unlike art movements from a postmodern perspective (for instance, a discussion on non-western conceptions of art is entirely absent, barring a couple of lines in the intro affiliate-- near none of the paradigms described would make sense in a not-western perspective). Every bit of now, the cloth in the volume simply serves to reinforce the thought that the "art world" is a disjointed clique, disconnected from the rest of the world, and but surviving because information technology is a way for wealthy privileged people to act pretentious and feel good virtually themselves.

P.Due south.: The volume needs heavy editing-- the prose gets super repetitive in most every affiliate.

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I used this book for my Aesthetics and Criticism grade, while I liked it for being a proficient introduction to critical theory, I am hoping to observe something that reads ameliorate in 16 weeks for the students. At that place were a lot of supplemental essays I added to the course in the areas that the text was lacking which overwhelmed the expectations of two credits. I would recommend it to other instructors. In the time to come , I want to specifically focus on Postmodernism and I will apply the text'due south information to I used this book for my Aesthetics and Criticism form, while I liked it for being a good introduction to critical theory, I am hoping to find something that reads better in 16 weeks for the students. There were a lot of supplemental essays I added to the class in the areas that the text was lacking which overwhelmed the expectations of two credits. I would recommend it to other instructors. In the time to come , I want to specifically focus on Postmodernism and I volition utilize the text's data to create lectures on all the other theories. ...more

Jul 26, 2009 Lhab84 rated it it was astonishing

I found this volume very useful when beginning my art ed. studies. I would recommend it to anyone interested in post-modern art, or who is at least open to learning more most it, and trying to achieve some type of comfort level towards information technology.

Believe it or non, this textboook has been assigned to me two separate times - one time during undergrad and one time at present during grad school. I wasn't terribly addicted of it either time. The books basically splits art into four non particularly singled-out categories: realism, expressionism, formalism, and mail service-modernism.

Each category is a chapter with a description of the theory, the theorists it is associated with, a few artists whose art could possibly fit into that category, and a final summary. To me the

Believe information technology or not, this textboook has been assigned to me two split times - one time during undergrad and once now during grad school. I wasn't terribly fond of it either time. The books basically splits fine art into four not particularly singled-out categories: realism, expressionism, formalism, and post-modernism.

Each category is a chapter with a description of the theory, the theorists it is associated with, a few artists whose fine art could maybe fit into that category, and a terminal summary. To me the strongest part was where the author presented works of artists, and the weakest was each department where he listed and described theorists. That flake was dead dull.

Information technology was somewhat limited (I presume) by copyright law. A lot of the artworks mentioned were not pictured in the book, and many of those which did brand information technology into the book were black and white. Seeing the artworks without colour was oftentimes a shame considering we lost a huge component of the piece of work.

To exist fair, this book was about contemporary art which makes information technology of express interest to me. I am not a big fan of modern art, and this text did not change that.

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A brief, but skillful, overview of each style of art and the popular artists that are associated with it. Gives explanations about beingness an unbiased and fantabulous estimate of artistic works and the way to write the perfect art critique.

Sep 26, 2009 Juli rated it it was ok

This was a bit tedious and tough to get through. Archetype textbook style writing and content permit for glossed-over eyes and mind-wandering reading.

Jan fifteen, 2013 Brian rated it really liked it

Very useful primer to get a sense of major themes and developments.

Oct 27, 2016 Haley Johnson rated it it was amazing

I thought this was a very thorough way of going through dissimilar "eras" of fine art, and explaining each era very clearly. It challenge means of thinking, and shared new ways of thinking about art. I idea this was a very thorough way of going through different "eras" of fine art, and explaining each era very clearly. It challenge means of thinking, and shared new ways of thinking about art. ...more

Jul 26, 2014 Dave Hood rated information technology it was astonishing

Good intro into theory and estimation of contemporary art. Will help you appreciate the plethora of mediums in contemporary art.

Terry Berret is a Professor of Fine art Education, with a articulation engagement in the Department of Art, at the Ohio Land University, where he is the recipient of a distinguished teaching award for courses in criticism and aesthetics within education. The author of numerous works on art criticism, he is an art critic in education for the Ohio Arts Council, consults museum education departments, juries ex Terry Berret is a Professor of Art Pedagogy, with a articulation appointment in the Department of Art, at the Ohio Land University, where he is the recipient of a distinguished educational activity laurels for courses in criticism and aesthetics within education. The writer of numerous works on art criticism, he is an art critic in pedagogy for the Ohio Arts Council, consults museum educational activity departments, juries exhibitions, and conducts workshops on studio critiques and writing. ...more

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