Why do we value art? In what criteria do we evaluate its worth? Is it the aesthetic value or exchange value of art work? The contemporary global art scene seems to have the closest relationship between art and the public, more than any other period. Art attracts an enormous number of people, by putt...
Why do we value art? In what criteria do we evaluate its worth? Is it the aesthetic value or exchange value of art work? The contemporary global art scene seems to have the closest relationship between art and the public, more than any other period. Art attracts an enormous number of people, by putting on international art fairs, auctions, blockbuster exhibitions, etc. or by producing a range of sensational news, artists as celebrities, and mega global art events. In this sense art is flourishing, but invisibly, out of sight of contemporary collective intellectual life. Many people argue that art criticism is in a worldwide crisis. But at the very same time, art criticism is booming: it is everywhere, for example glossy art magazines, prominent newspapers, well-produced brochures or catalogs, and blogspots, and often benefits from high-quality publishing and wide distribution. However, art criticism is in crisis only because it has largely given up judging artworks in favor of describing them. Contemporary critics tend not to think outside the box of the exhibition or particular work at hand. Commercial art galleries and newspapers that call for the reform of art criticism usually attack jargon, and promote simple ideas. So in brief, this is the problematic situation of art criticism: it is produced more widely than ever before, and massively ignored in contemporary intellectual debates. I thought such circumstance is seriously problematic or risky, so I speculated about the evaluation and judgment of contemporary art and art criticism in this study. In the first section of this paper, I considered the problem of standards in art evaluation. In the second, I attempted to argue that art criticism should function as a field of discussion for collective values, for example the critical reflection of the human being and death, rather than a simple description of art or a kind of guide to the art. In conclusion, I suggested that art criticism can take a tum for the better by using its lack of codification and its heterogeneity.
Why do we value art? In what criteria do we evaluate its worth? Is it the aesthetic value or exchange value of art work? The contemporary global art scene seems to have the closest relationship between art and the public, more than any other period. Art attracts an enormous number of people, by putting on international art fairs, auctions, blockbuster exhibitions, etc. or by producing a range of sensational news, artists as celebrities, and mega global art events. In this sense art is flourishing, but invisibly, out of sight of contemporary collective intellectual life. Many people argue that art criticism is in a worldwide crisis. But at the very same time, art criticism is booming: it is everywhere, for example glossy art magazines, prominent newspapers, well-produced brochures or catalogs, and blogspots, and often benefits from high-quality publishing and wide distribution. However, art criticism is in crisis only because it has largely given up judging artworks in favor of describing them. Contemporary critics tend not to think outside the box of the exhibition or particular work at hand. Commercial art galleries and newspapers that call for the reform of art criticism usually attack jargon, and promote simple ideas. So in brief, this is the problematic situation of art criticism: it is produced more widely than ever before, and massively ignored in contemporary intellectual debates. I thought such circumstance is seriously problematic or risky, so I speculated about the evaluation and judgment of contemporary art and art criticism in this study. In the first section of this paper, I considered the problem of standards in art evaluation. In the second, I attempted to argue that art criticism should function as a field of discussion for collective values, for example the critical reflection of the human being and death, rather than a simple description of art or a kind of guide to the art. In conclusion, I suggested that art criticism can take a tum for the better by using its lack of codification and its heterogeneity.
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