Art Critic Research
The Importance of Art Criticism to
Practice-Based Research and Questioning
“…there is a level at which art speaks
directly to all of us and piques our intuitive critical sensibilities. We’re
entitled to hold both informed and uninformed opinions, since once the art is
out in the world, it belongs equally to everyone. Sometimes we have to risk
being wrong, but must at least make a valiant argument. ”
https://brooklynrail.org/2012/12/artseen/whats-so-important-about-criticism-macadam
art criticism and the art critic:
•Art criticism, the analysis and
evaluation of works of art. More subtly, art criticism is often tied
to theory; it is interpretive, involving the effort to understand a particular
work of art from a theoretical perspective and to establish its significance in
the history of art.
•The critic is “minimally required to be a
connoisseur,” which means he must have a “sound knowledge” of the history of
art, as Philip Weissman wrote in his essay “The Psychology of the Critic and
Psychological Criticism” (1962), but “the step from connoisseur to
critic implies the progression from knowledge to judgment.”
Amelia Jones
•Sexual Politics: Judy Chicago's
'Dinner Party'
in Feminist Art History.
Berkeley: University
of California Press,
1996.
•Irrational Modernism: A
Neurasthenic History of New York Dada. Cambridge, Massachusetts: MIT Press,
2004.
•“The Artist is Present”: Artistic
Re-enactments and the Impossibility of Presence. TDR,
Vol. 55, No. 1 (Spring 2011), p. 16-45. Posted Online February 16, 2011.[9]
•Heathfield, Adrian and
Amelia Jones (eds.). Perform, Repeat, Record: Live Art in
History.
Chicago: University of
Chicago Press,
2012.
•Seeing Differently: A History and
Theory of Identification and the Visual Arts. New York: Routledge,
2012.
•"Sexuality" London: Whitechapel
Gallery, 2014.
•Silver, Erin and Amelia Jones (eds.). Otherwise:
Imagining queer feminist art histories. Manchester: Manchester University
Press, 2015.
“This
paper, which draws on the works exhibited in the 2013 exhibition I organized in
Montreal (“Material Traces: Time and the Gesture in Contemporary Art”), makes
use of thing theory, aesthetic theory, and theories of immaterial labor to
examine a trend in contemporary art towards returning to manual creative
processes and explicitly “worked” materials. Looking at a range of practices
foregrounding what I call the “having been made” of the work of art, I argue
that such practices afford us an opportunity to address transformed structures
of labor in
contemporary society—specifically the interrelations among processes of making
(or labor) and
the materialities
transformed and animated throughthese
processes—and thus point to new configurations of subject-object relations and
new modes of engagement that enliven rather than shut down a range of affective
and embodied interpretive moments. In this way, the artists’ negotiation of
aspects of immaterial labor
allows for future spectators (or “experiencers”) to rethinkour own
relationship to viewing and interpreting and assigning value to the images and
things we engage.” Jones https://artandperformance.wordpress.com/2015/07/09/amelia-jones-material-traces-contemporary-art-dematerialization-and-the-animating-force-of-labor/
...a video to watch about this exhibition, material traces...
CLAIRE BISHOP
PhD, Essex University, 2002
Research Interests: Contemporary Art and Theory
Professor of Contemporary Art
Professor Claire Bishop joined the
Graduate Center in 2008, after teaching at Warwick University (UK) and the
Royal College of Art, London. Her books have been translated into over
seventeen languages, and she is a regular contributor to Artforum. Her
current research addresses the impact of digital technologies on contemporary
art, as well as questions of amateurism and 'de-skilling' in contemporary dance
and performance art.
KEY TEXTS FOR RESEARCHING BISHOP'S WRITING
Radical
Museology, or, What's Contemporary in Museums of Contemporary Art? Koenig
Books, 2013
Artificial
Hells: Participatory Art and the Politics of Spectatorship, Verso 2012
1968/1989:
Political Upheaval and Artistic Change, Proceedings of a conference I organized
in Warsaw in Summer 2008, Museum of Modern Art, Warsaw 2010
Double
Agent, Exhibition catalogue for 2008 exhibition at ICA London + tour, ICA
London2009
Participation,Whitechapel
Art Gallery/MIT Press, 2006
Installation
Art: A Critical History Publisher: Tate Publishing/Routledge
2005
History
Depletes Itself, A critical review of Danh Vo's exhibitions "mothertongue"
and "Slip of the Tongue" at the 2015 Venice Biennale Contemporary Art
and Curating contemporary art, in ArtforumSep 2015
Dance
in the Museum, Three institutional histories of dance in the museum from the
1930s to the present day: Tate, MoMA and Whitney. Performance Art, Dance, and
Museums, Dec 2014 in Dance Research Journal
Reconstruction
Era: The Anachronic
Time(s) of Installation Art, Installation Art, Art Reconstructions, Fondazione
Prada, 2013
Publication
Name: Revisiting When Attitudes Become Form: Bern 1969/Venice 2013 (ed. Germano Celant)
"The
Digital Divide: Contemporary Art and New Media." Artforum,
September 2012.
Unhappy
Days in the Art World: Deskilling Theatre, Reskilling Performance, Performance
Art and Dance, Dec 2011, Brooklyn Rail
"Delegated
Performance: Outsourcing Authenticity." October, no. 140 (Spring 2012).
What
is a Curator? Contemporary Art, Curating, and History of Exhibitions, issue
#26, 2007, IDEA
1968-1989: Political Upheaval and Artistic
Change. Warsaw: Museum of Modern Art, 2010.
Double Agent. London: ICA, 2009.
"The
Social Turn: Collaboration and Its Discontents." Artforum,
February 2006.
Participation.
London: Whitechapel/MIT Press, 2006.
Installation
Art: A Critical History. London: Tate, 2005.
"Antagonism
and Relational Aesthetics." October, no.110 (Fall 2004).
But
is it installation art?
Claire
Bishop
1
January 2005
Tate
Etc. issue 3: Spring 2005
http://clairebishopresearch.blogspot.com/
http://gc-cuny.academia.edu/ClaireBishop
http://gc-cuny.academia.edu/ClaireBishop
User's Guide
•This isn't really a blog, more of an
online archive of my publications, articles, talks, conferences, and so on. For
pdfs of my writing, see my page at academia.edu
About me: I am a professor in the PhD Program in Art History at CUNY Graduate Center, New York, where I've been based since 2008. Previously I taught at Warwick University (2006-8), at the Royal College of Art, London (2001-6) and at Essex University, where I completed my PhD in 2002. I can be contacted on cbishop@gc.cuny.edu.
- CB
About me: I am a professor in the PhD Program in Art History at CUNY Graduate Center, New York, where I've been based since 2008. Previously I taught at Warwick University (2006-8), at the Royal College of Art, London (2001-6) and at Essex University, where I completed my PhD in 2002. I can be contacted on cbishop@gc.cuny.edu.
- CB
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