What role does race play in the moral judgment of character? None, ideally, philosophers insist, contending that the proper assessment of an action requires that we disregard any social values associated with the body performing it. What rightly comes under evaluation, they assert, is the neutral, abstract deed irrespective of the race of the agent. Only under these conditions, presumably, can we gauge true moral worth. Reading together Immanuel Kant and Frantz Fanon on ethics and race, I propose instead that (...) embodied values such as those accorded by race do not distort the portrait of the ethical subject but rather bring that subjectivity into being. Key Words: blackness • embodiment • ethics • Frantz Fanon • Immanuel • Kant • morality • race • value. (shrink)

Most recent discussions of reasons in art criticism focus on reasons that justify beliefs about the value of artworks. Reviving a long-neglected suggestion from Paul Ziff, I argue that we should focus instead on art-critical reasons that justify actions—namely, particular ways of engaging with artworks. I argue that a focus on practical rather than theoretical reasons yields an understanding of criticism that better fits with our intuitions about the value of reading art criticism, and which makes room (...) for a nuanced distinction between criticism that aims at universality and criticism that is resolutely personal. (shrink)

As visual art becomes more international, ways of writing about art become more uniform. This essay proposes that two disciplines concerned with contemporary visual art, art criticism and art theory, are on the verge of being effectively homogeneous around the world. They share concepts, artists, artworks, institutions, and bibliographic references. For comparison, I consider two other fields that may also be increasingly uniform: studio art instruction and the novel. The last, in particular, is the subject of a large literature; (...) critics and historians debate whether contemporary global novels are becoming more self-similar if not more predictable. The literature on the novel allows me to conclude that it is likely writing on art is following the same tendency. (shrink)

The idea and practice of art, which started to change in the modern period, continued its metamorphosis in the post-modern period. Contemporary art, which was handled by many philosophers and thinkers, was called trans-aesthetic by Jean Baudrillard. According to Baudrillard, art has lost its meaning by penetrating every aspect of life in the post-modern age. In other words, art has become the transfer of images that mean nothing by becoming trans-aesthetic. At this stage, no object can be said to be (...) beautiful or ugly. (shrink)

When we evaluate artworks, we often point to what an artist could have done or what a work could have been in order to say something about the work as it actually is. Call this counterfactual reasoning in art criticism. On my account, counterfactual claims about artworks involve comparative aesthetic judgments between actual artworks and hypothetical variations of those works. The practice of imagining what an artwork could have been is critically useful because it can help us understand how (...) artworks achieve specific aesthetic effects. I conclude by responding to an objection to my account on the basis that it violates the widely accepted acquaintance principle in aesthetics, on which aesthetic judgments must be based on firsthand perceptual encounters with their objects. (shrink)

Just over a decade-and-a-half ago, a roundtable discussion published in the pages of October worried that the periodic renewal of critical discourses had slowed to a standstill and that art criticism was faced with obsolescence. Such an obsolescence should be understood in a broadly Hegelian manner: the danger is not that art criticism would disappear from the cultural field, but that it will continue—although drained of its previous necessity. Such fears perhaps run the risk of exaggeration, yet this (...) article shall suggest that there seems a sense in which the field of art criticism has contracted in recent years. Self-reflexivity in art and the popularization of “para-curatorial” approaches, for instance, often underpin the artwork discursively before the arrival of art criticism upon the scene. To be sure, such circumstances are viewable positively as interdisciplinary dialogical opportunities, but the negative flipside here is that art criticism’s potential contribution becomes increasingly minimized. From another angle, critics such as Isabelle Graw have contended that the economic-cultural regime of post-Fordism, with its attention on intellectual labor and knowledge production, might actually hold possibilities for the contemporary art critic—but even here, I argue, art criticism becomes contracted, albeit in the other meaning of the word. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hypermediated Art CriticismPamela G. Taylor (bio) and B. Stephen Carpenter II (bio)Technological media catapults our perception into what Marshall McLuhan called "new transforming vision and awareness."1 As our lives become more and more immersed in such technologies as television, film, and interactive computers, we find ourselves inundated with a heightened sense of mindfulness—an aesthetic experience made possible through such computer technological characteristics as hyperlinks, hypermedia, and hyperreality. In these (...) terms, the prefix "hyper" represents various linking devices inherent to computer technology that allure and transport us between, above, below, and toward vast areas of information, places, and peoples. Hypermediacy, according to Bob Cotton and Richard Oliver, is "an entirely new kind of media experience born from the marriage of TV and computer technologies. Its raw ingredients can be brought together in any combination. It is a medium that offers random access; it has no physical beginning, middle, or end."2 In other words, there is no set or static structure inherent in technological media. It is not so much an "anything goes" apparatus as it is an "anything is possible" system. The seemingly vast possibilities inherent to technological media offer us many and alternate views of the world.Just as technological media encourage multiple means of viewing the world, no single approach to art criticism can be considered dominant, as several methods, methodologies, and approaches exist for responding to [End Page 1] works of art. We conceive of art criticism as a complex means of making meanings about works of art and communicating those meanings to other people. Following the lead of art educator Terry Barrett,3 art criticism hinges on the four activities of describing, interpreting, judging, and theorizing about art. Barrett suggests that, although all four overlap, interpretation is the most important and most likely the most complex aspect of art criticism. Although interwoven with description, analysis, and judgment, interpretation of the meanings of individual works of art is of foremost concern in contemporary art criticism. Similarly, we situate hypermediated art criticism as a synthesis of our descriptions, interpretations, judgments, and theories—both verbal and visual—with the various ways in which computer technology facilitates the simultaneous existence, representation, storage, and presentation of these and other forms of meaning making about works of art.Hypermediated art criticism is built upon our own technological abilities to both create and follow divergent paths, ideas, and beliefs according to our choices. Hypermediated art criticism is inclusive of the ways that our choices change daily depending upon our situation, role, and purpose, or simply as a result of what we witness or experience in a moment. In the hypermediated criticism process, our ways of seeing and knowing change from a linear to multilinear perspective, from single to multilayered, and from static to mutable perception. Indeed, the disparate ways of seeing and knowing made possible through technological media and hypermedia provide us with an expansive and personally reflective approach to art criticism.Personal Reflection and Art CriticismMichael Joyce, known for his poetic approach to computer hypertext theory and fictional writing, says, "We are who we are. Layered and overlaid, we make a world within our bodies."4 Possibly now more than ever that world within our bodies can be represented, re-presented, and re-invented right before our eyes through technological media. Digital ethnographer Ricki Goldman-Segall refers to this technological world as a learning constellation in which "we are each composed of many selves, all of which interact with each other as we learn.... With the use of new computer technologies, we extend not only our technological abilities, but also our various personae—the societies of our minds—in the form of new objects for others to think with."5 In the classroom, hypermediated art criticism generated through computer technology functions just this way—as new objects that we, and our students, use to help us extend the ways in which we think about works of art.Contrary to the antihumanist approach so often associated with computer technology theory,6 our discussion of hypermediated art criticism—the symbiotic relationship of art criticism and technology—begins with the [End Page 2] basic assumption that a primary purpose of... (shrink)

"Ruskin was the most important aesthetic authority of the 19th century. In his dozens of books and lectures he wrote about the qualities of art. the key figure, the history that connected one to another. In The Stones of Venice, Modern Painters, Seven Lamps of Architecture he developed rules and standards that are amazingly contemporary in their range of sympathies. However, Ruskin wrote thousands of pages of criticism; for the modern reader his thought needs always to be rediscovered. This (...) anthology by Robert Herbert contains the essential thought of Ruskin on theory and practice (creativity, color, compositio, exhibiting workd of art), ("the nature of gothic," Venetian Renaissance, iron and glass as new materials for building), and sculpture and ornament (Greek, Byzantine, Medieval, and Renaissance). Herbert devotes his section on painting to Ruskin's remarks on Giotto, Fra Angelico, Botticelli, Michelangelo, the Venetians, Turner, the Pre-Raphaelites, and many others. Ruskin was full of contradictions and quirks, but he is the one 19th-century critic who gave the 20th century many of its most progressive thoughts on architecture, painting, and relationship of art to a social and moral context."--BOOK COVER. (shrink)

Kant’s theory of taste might suggest that there cannot be any legitimate, useful art criticism, which guides others’ art appreciation: on the Kantian view, each of us must judge for him- or herself, autonomously, not follow the judgments of others; and no empirical concepts, or empirical knowledge, is supposed to be relevant for making a judgment of taste. Thus, it would seem, we should not follow others who have superior knowledge of art, because they have such knowledge. Despite these (...) elements of Kant’s view, I argue that there is nonetheless a role for Kantian art critics: to serve as exemplary judges, “incorporating” empirical knowledge of art into their judgments of taste, communicating the richness and playfulness of aesthetic judging, and exemplifying the claims to universality of judgments of taste. (shrink)

In this chapter, the author considers a line of thought in Arthur Danto in that regard about the bearing of cognitive science on our construal of changes in art. For Danto, a key to the issue of how to understand change in art forms and artistic identities is found in his fundamental notion that both the meaning and the style of a work of art are historically indexed; that is, they depend on historical conditions. Danto's skepticism about facile changes in (...) world views is born out of his theory that the history of such changes has certain logic, defined over basic or fundamental forms of action and thought; a view that applies as much to science as it does to art. The author's claim has been that recent research shows that, logical deductions aside, advances in cognitive science suggest that the language of art criticism will have to change. (shrink)

I argue that Kant’s aesthetic theory yields a fruitful theory of art criticism and that this theory presents an alternative both to the existing theories of his time and to contemporary theories. In this regard, my dissertation offers an examination of a neglected area in Kant scholarship since it is standardly assumed that a theory of criticism flies in the face of some of Kant’s most central aesthetic tenets, such as his rejection of aesthetic testimony and general objective (...) principles of taste. If art criticism is an enterprise of providing evaluations of artworks supported by reasons, then it is hard to see what the Kantian art critic can do for us. If I cannot defer to the critic’s judgment that she loved Blade Runner and there are no feasible general principles linking the depiction of futuristic cityscapes, or the accompaniment of a haunting minimalist soundtrack to the goodness of a film, then it does not seem to matter whether the critic communicates to me her evaluation of Blade Runner or supports her evaluation with descriptions of Blade Runner scenes. Nevertheless, the assumption that these Kantian tenets preclude the possibility of art criticism is mistaken and it is my aim to show how this can be. The project has two phases. In the first phase I develop a new interpretation of Kant’s theory of artistic beauty. In the second phase I make use of this interpretation to put forward a Kantian account of art criticism. Central to my interpretation is the notion that judgments of perfection, e.g., Blade Runner is an excellent neo-noir science fiction film, inform our aesthetic evaluations and receive support from descriptions of non-aesthetic properties of the film. It is precisely this underappreciated role of judgments of perception that I exploit in making room for Kantian art criticism. (shrink)

What implications does goodman's "languages of art" have for the theory and practice of art criticism? to account for the cognitive value of pictorial representations, It apparently requires to be supplemented by a concept of depiction, Or indefinite reference. For goodman's theory of expression to be convincing, Criteria are needed to discriminate exemplification in goodman's sense from the mere possession of labels. Some of the fundamental criteria of evaluation very widely used by art critics do not seem to be (...) those called for, Or authorized, By goodman's sketchy but highly significant theory of aesthetic value. (shrink)

To a superficial consideration, art criticism might appear as a profession of a parasitic nature, nourishing itself on what is produced by others: by artists. In fact, however, the relation between artistic practice and its criticism is more adequately conceived of as a sort of symbiosis. For, while it is true that criticism depends on and presupposes the existence of its objects - that is, works of art - on the other hand nothing would prevent good art (...) from being equated with and contaminated by bad art if critics ceased to draw a distinction between the two. (shrink)

By virtue of an extended consideration of problems and possibilities in the discipline of film studies toward the goal of constructing an Objectivist aesthetics of cinema, this article examines some of the most pressing issues facing contemporary art criticism. Opposing tenets of an Aristotelian aesthetic tradition against tenets of a Kantian aesthetic tradition, the author attempts to resolve a number of long-standing aporias in the Objectivist aesthetics and in the philosophy of art more broadly in the hopes of charting (...) a fruitful path for the future of art criticism. (shrink)

I present a puzzle – the “puzzle of aesthetic testimony” – along with a solution to it that appeals to the impossibility of testimonial understanding. I'll criticize this solution by defending the possibility of testimonial understanding, including testimonial aesthetic understanding.

This article argues that, propaedeutic to the construction of an Objectivist aesthetics, scholars must refute the irrational/immoral philosophical premises that have been destroying the philosophy of art. Due to the troubling combination of its contemporaneity, extremism, and considerable influence, poststructuralism, which, since the 1960s, has served as the default philosophical foundation for philosophers of art, is the target of this article. This article contends that the road to an Objectivist aesthetics must first be cleared of philosophical debris like poststructuralism before (...) we can hope to go back to the world of art. (shrink)

Noël Carroll proposes a generalist theory of art criticism, which essentially involves evaluations of artworks on the basis of their success value, at the cost of rendering evaluations of reception value irrelevant to criticism. In this article, I argue for a hybrid account of art criticism, which incorporates Carroll's objective model but puts Carroll-type evaluations in the service of evaluations of reception value. I argue that this hybrid model is supported by Kant's theory of taste. Hence, I (...) not only present an alternative theory of metacriticism, which has the merit of reinstating the centrality of reception value in art critics’ evaluations, but also show that, contrary to a common conception, Kant's aesthetic theory can house a fruitful account of art criticism. The benefit of this hybrid account is that, despite being essentially particularist, it should be appealing even to generalists, including Carroll. (shrink)

This paper explores the dialogue between Collingwood and Guido de Ruggiero on art and art criticism. The sense of identity of these two activities, it will be argued, can be understood only if one considers the criticism of living art: The art of one who also creates, who through a critical process transforms an outline into a work of art. Thus understood a work of art belongs to the life of the spirit, if considered from the dimension of (...) becoming. Only by reliving the past can it be transformed, yet this requires an understanding of the map of human experience. This is what constitutes specular phenomenology, a phenomenology reflected in the mirror of art and scientific analysis. (shrink)

As a criterion for judging avant-garde art, newness has been regarded as more important than excellence. kermode's single venture into art criticism, "objects, jokes & art," suggests this search for the new has led to a trivialisation of art. ideas from his more recent literary criticism such as "the classic" could be applied to avant-garde art, providing a non-reactionary means of assessing value on the basis of a work's openness to a plurality of interpretations. this would offer an (...) alternative reading of the history of modern art, opposed to formalist and reductionist views of the modernist continuum. (shrink)

Adrian Piper joins the ranks of writer-artists who have provided much of the basic and most reliable literature on modern and contemporary art. Out of Order, Out of Sight is an artistic and intellectual autobiography and an (occasionally scathing) commentary on mainstream art, art criticism, and American culture of the last twenty-five years. Piper is an internationally recognized conceptual artist and the only African American in the early conceptual art movement of the 1960s. The writings in Out of Order, (...) Out of Sight trace the development of her thinking about her artwork and the art world, and her evolving awareness of herself as a creative, racial, and gendered subject situated in an often limiting and always absurd cultural and social context. (shrink)

About the Author James Elkins is E.C. Chadbourne Chair in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago. His many books include Pictures and Tears, How to Use Your Eyes, and What Painting Is, all published by Routledge. Michael Newman teaches in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago, and is Professor of Art Writing at Goldsmiths College in the (...) University of London. His publications include the books Richard Prince: Untitled (couple) and Jeff Wall, and he is co-editor with Jon Bird of Rewriting Conceptual Art. (shrink)