Arts criticism is the process of describing, analyzing, interpreting, and judging works of art ^[1]. It is distinct from art criticism (which focuses on visual arts) due to its broader remit.^{[citation needed]} The disciplines of arts criticism can be defined by the object being considered rather than the methodology (through analysis of its philosophy): buildings (architecture criticism), paintings (visual art criticism), performances (dance criticism, theatre criticism), music (music journalism), visual media (film criticism, television criticism), or literary texts (literary criticism).^[2][3]

Criticism of the arts can be broadly divided into two types. There is academic criticism such as that found in scholarly works and specialist journals, then there is criticism of a more journalistic nature (often called 'a review') which is seen by a wider public through newspapers, television and radio. The academic criticism will be of a more vigorous and analytical nature than the journalistic, the journalistic may even focus on entertaining the reader at the expense of detail about the art under discussion.^{[citation needed]}

See also[link]

• Art critic
• Art criticism
• Critic
• Cultural critic
• Genre studies

References[link]

1. ^ Art Vocabulary - accessed 10 July 2008 Archived June 11, 2008 at the Wayback Machine
2. ^ Geoffrey Harpham (August 2006). "Science and the Theft of Humanity". American Scientist (Sigma Xi). http://www.americanscientist.org/issues/id.3488,y.0,no.,content.true,page.1,css.print/issue.aspx. Retrieved 2008-07-10. 
3. ^ "Home: The Journal of Aesthetics and Art Criticism". The Journal of Aesthetics and Art Criticism. American Society for Aesthetics / Temple University. http://www.temple.edu/jaac/. Retrieved 2008-07-11. 

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Peter Schjeldahl, (born 1942), is an American art critic, poet, and educator.

Schjeldahl was born in Fargo, North Dakota. He grew up in small towns throughout Minnesota, and attended Carleton College and The New School. He began his professional writing career as a reporter in Minnesota, Iowa and New Jersey.

Art critic[link]

In 1964 he traveled to Paris for a year before settling in New York City in 1965. Since coming to New York he has worked as an art critic for ARTnews, The New York Times, The Village Voice (1980 to 1998),^[1] and 7 Days (The Cooper Union). In 1998 he joined The New Yorker where he is currently the head art critic.^[1] His writings have also appeared in Artforum, Art in America, The New York Times Magazine, Vogue, and Vanity Fair.^[1] During his career Schjeldahl has written several books of poetry as well as art criticism. He taught at Harvard University in the Department of Visual and Environmental Studies for four years as well.

Poet[link]

Schjeldahl’s poetry falls in line with many of the characteristic themes and styles of the New York School. As a contemporary postmodern poet, Schjeldahl believed fervently in the idea that poetry should be enjoyed and understood by all readers. In an interview with the Virginia Commonwealth University’s Blackbird Schjeldahl commented on how “there are no rewards in being obscure or abstruse or overbearing” (Wolgamott). Schjeldahl’s work reflects this attitude and his beliefs against institutionalizing art and poetry.

His poetry succeeds without a great deal of complexity in language usage or style while maintaining a definite seriousness and poignancy in his themes. Schjeldahl’s poetry often addresses common experiences or familiar events in a way which grounds his work and accentuates his messages. This can be seen in poems like “My Generation” where he opens with: “Vietnam/ Drugs/ Civil Rights/ Rock/ Watergate/ (in that order?)/ Are the blows of history/ That have left my generation/ Its peculiar battered silhouette.” As this passage shows, Schjeldahl fuels much of his poetry with historical and biographical contexts which help audiences relate more intimately with his work.

As an art critic and as a poet Schjeldahl’s main ambition has been seeded in his desire to help people enjoy art. In the same interview with Blackbird Schjeldahl stated how “writing things that people want to read is my bread and butter” (Wolgamott). Schjeldahl’s poetry exists as poetry that demands to be read and enjoyed rather than studied in classrooms. The significance of his work comes from the lively nature his poetry manages to maintain while simultaneously delivering very impacting messages. Schjeldahl’s lasting influence comes from his ability to write poetry and criticize art in the late 20th century where most audiences have tended to stray away from the arts in favor of more commercialized entertainment. Schjeldahl’s poetry stands out influentially among the works of the New York School of poets and the current American art communities.

Awards[link]

Schjeldahl was awarded a Guggenheim fellowship in 1995.^[2] In 1980 he received the Frank Jewett Mather Award for art criticism by the College Art Association.^[3] The Sterling and Francine Clark Art Institute named Peter Schjeldahl the winner of the 2008 Clark Prize for Excellence in Arts Writing. The prize was established in 2006 to recognize writers who advance public appreciation of visual art in a way that "is grounded in scholarship yet appeals to a broad range of audiences." It comes with a $25,000 honorarium and an award designed by architect Tadao Ando.^[4]

Personal life[link]

Schjeldahl currently resides in New York. He is married to Donnie Brooke Alderson, a former actress. They have one child, Ada Calhoun Schjeldahl.

Bibliography[link]

Books[link]

• Let's See: Writings on Art from The New Yorker, Thames & Hudson, New York, NY, 2008
• De Kooning and Dubuffet: The Late Works, Pace Gallery Publications, New York, NY, 1993.
• The Hydrogen Jukebox: Selected Writings of Peter Schjeldahl, 1978-1990. Edited by Malin Wilson, University of California Press, Berkeley, CA, 1991.
• The 7 Days Art Columns,1988-1990, Figures Press, New York, NY, 1990.
• Jean Dubuffet: Recent Paintings, October 31–29 November 1980 The Pace Gallery: Exhibition, The Gallery. New York, NY, 1980.
• Since 1964: New and Selected Poems, SUN, New York, NY, 1978.
• Dreams, Angel Hair Books, New York, NY, 1973.
• An Adventure of the Thought Police, Ferry Press, London, England, 1971.
• White Country, Corinth Books, New York, NY, 1968.

Contributed to[link]

• Cindy Sherman. Whitney Museum of American Art. New York, NY, 1987.
• De Kooning: Drawings, Sculptures: An Exhibition Organized by Walker Art Center, Minneapolis, March 10-April 21, 1974. Dutton. New York, NY, 1974.
• Dean Sobel, Jackie Winsor. Milwaukee Art Museum. Milwaukee, WI, 1991.
• Edward Hopper: Light Years, October 1 to November 12, 1988. Hirschl & Adler Galleries. New York, NY, 1988.
• Elizabeth Prelinger and Michael Parke-Taylor, The Symbolist Prints of Edvard Munch: The Vivian and David Campbell Collection. Yale University Press. New Haven, CT, 1996.
• Eric Fischl. Edited by David Whitney, Art in America: Stewart, Tabori & Chang. New York, NY, 1988.
• Jean Dubuffet. 1943-1963: Paintings, Sculptures, Assemblages: An Exhibition. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution Press. Washington, DC, 1993.
• Liza Lou: Essays by Peter Schjeldahl and Marcia Tucker. Smart Art Press. Santa Monica, CA, 1998.
• Louis Carlos Bernal and others, Ten Photographers, Olympic Images. Los Angeles Center for Photographic Studies. Los Angeles, CA, 1984.
• Lucas Samaras, Samaras Pastels: Denver Art Museum, October 3-December 27, 1981. edited by Marlene Chambers, The Museum. Denver, CO, 1981.
• Olav Christopher Jenssen: Bilder 1990-1994. Kestner-Gedellschaft. Hannover, Germany, 1995.
• Picasso’s Dora Maar/ De Kooning's Women. C&M Arts. New York, NY, 1998.
• Richard Bosman, Gifts of the Sea: Mandeville Gallery, University of California, San Diego, May 19 through June 25, 1989. The Gallery. San Diego, CA, 1989.
• Richard Deacon. Phaidon. London, England, 1995.
• Salle. Vintage Books. New York, NY, 1987.
• Shards: Garth Clark on Ceramic Art. Art Publishers. New York, NY, 2003.
• The Inward Eye: Transcendence in Contemporary Art. Contemporary Arts Museum. Houston, TX, 2001.
• William Wegman. Museo de Monterrey. Monterrey, Mexico, 1993.

-Compilation of Schjeldahl’s work comes in large part from the list found on Galenet’s Contemporary Authors Online.

Articles[link]

• Schjeldahl, Peter (3 November 2008). "The Art World: Just for Fun". The New Yorker 38 (35): 114–115. http://www.newyorker.com/arts/critics/artworld/2008/11/03/081103craw_artworld_schjeldahl. Retrieved 17 April 2009.  Retrospectives of Franz West and Mary Heilmann.
• Schjeldahl, Peter (24 November 2008). "The Art World: Come on Down". The New Yorker 84 (38): 128–129. http://www.newyorker.com/arts/critics/artworld/2008/11/24/081124craw_artworld_schjeldahl. Retrieved 16 April 2009.  "The New Orleans Biennial beckons."
• Schjeldahl, Peter (15 March 2010). "The Art World: Big Time". The New Yorker 86 (4): 71–75. http://www.newyorker.com/arts/critics/artworld/2010/03/15/100315craw_artworld_schjeldahl. Retrieved 16 January 2011.  "Skin Fruit" at the New Museum, New York.
• Schjeldahl, Peter (8 November 2010). "Critic's Notebook: Abstract Exemplar". The New Yorker 86 (35): 14.  Thomas Nozkowski at the Pace Gallery.

References[link]

1. ^ ^{a b c} "Contributors: Peter Schjeldahl". The New Yorker. http://www.newyorker.com/magazine/bios/peter_schjeldahl/search?contributorName=peter%20schjeldahl. Retrieved 16 April 2009. 
2. ^ "Peter Schjeldahl". John Simon Guggenheim Memorial Foundation. http://www.gf.org/fellows/13026-peter-schjeldahl. Retrieved 11 October 2010. 
3. ^ "Awards". The College Art Association. http://www.collegeart.org/awards/matherpast. Retrieved 11 October 2010. 
4. ^ Peter Schjeldahl Wins Clark Prize for Arts Writing. ARTINFO. April 25, 2008. http://www.artinfo.com/news/story/27456/peter-schjeldahl-wins-clark-prize-for-arts-writing/. Retrieved 2008-05-14. 

External links[link]

• Watch Peter Schjeldahl lecture at Boston University's School of Visual Arts on BUniverse.
• Peter Schjeldahl
• Wolgamott, Kent. Interview with Peter Schjeldahl. Blackbird Archive

Linda Nochlin (born 1931) is an American art historian, university professor and writer. She is considered to be a leader in feminist art history studies. She is best known as a proponent of the question "Why Have There Been No Great Women Artists?"^[1]

Early life[link]

Nochlin was born in New York.^[2] She received her BA from Vassar College, an MA in English from Columbia University, and her PhD in the history of art from the Institute of Fine Arts at New York University in 1963.

Career[link]

After working in the art history departments at Yale University, the Graduate Center of the City University of New York (with Rosalind Krauss), and Vassar College, Nochlin took a position at the Institute of Fine Arts, where she continues to teach.^[3] In 2000, Self and History: A Tribute to Linda Nochlin was published, an anthology of essays developing themes that Nochlin has worked on throughout her career.

Nochlin has also been involved in publishing other essays and books including Women, Art, and Power: And Other Essays (1988), The Politics of Vision: Essays on Nineteenth-Century Art and Society (1989), Women in the 19th Century: Categories and Contradictions (1997), and Representing Women (1999).

Her critical attention has been drawn to investigating the ways in which gender affects the creation and apprehension of art, as evidenced by her 1994 essay "Issues of Gender in Cassatt and Eakins".^[4] Besides feminist art history, she is best known for her work on Realism, specifically on Courbet.

Complementing her career as an academic, she serves on the Art Advisory Council of the International Foundation for Art Research (IFAR).^[5]

In 2006, Nochlin received a Visionary Woman Award from Moore College of Art & Design.

Women in Art[link]

Nochlin deconstructs art history by identifying and rejecting methodological presuppositions.^[6] Across an arc of decades, she has been an advocate for "art historians who investigate the work before their eyes while focusing on its subject matter, informed by a sensitivity to its feminist spirit."^[7]

In 1971, the magazine ArtNews published an essay whose title posed a question that would spearhead an entirely new branch of art history. The essay — "Why Have There Been No Great Women Artists?" — explored possible reasons why "greatness" in artistic accomplishment have been reserved for male geniuses such as Michelangelo. Nochlin argues that general social expectations against women seriously pursuing art, restrictions on educating women at art academies, and "the entire romantic, elitist, individual-glorifying, and monograph-producing substructure upon which the profession of art history is based "^[1] have systematically precluded the emergence of great women artists.

The thirty-year anniversary of Nochlin's ground-breaking inquiry informed a conference at Princeton University in 2001. The book associated with the conference, "Women artists at the Millennium", includes Nochlin's essay ""Why Have There Been No Great Women Artists?" Thirty Years After". In the conference and in the book, art historians addressed the innovative work of such figures as Louise Bourgeois, Eva Hesse, Francesca Woodman, Carrie Mae Weems and Mona Hatoum in the light of the legacies of thirty years of feminist art history, appeared in 2006.

Curator

Nochlin was the co-curator of a number of landmark exhibitions exploring the history and achievements of female artists.

• 2007 — "Global Feminisms" (with Maura Reilly) at the Brooklyn Museum.
• 1976 — "Women Artists: 1550-1950" (with Anne Sutherland Harris) at the Los Angeles County Museum of Art.

Selected works[link]

Nochlin's published writings encompass 156 works in 280 publications in 12 languages and 20,393 library holdings.^[8]

• 2007 — Courbet. London: Thames & Hudson. 13-ISBN 978-0-500-28676-0, 10-ISBN 0-500-28676-0; OCLC 174138772
• 2006 — "'Why Have There Been No Great Women Artists?' Thirty Years After" in Women Artists at the Millennium, edited by Carol Armstrong and Catherine de Zegher. Cambridge: MIT Press . 10-ISBN 0-262-01226-X, 13-ISBN 978-0-262-01226-3; OCLC 223446291
• 1999 — Representing Women. London: Thames & Hudson. 10-ISBN 0-500-28098-3, 13-ISBN 978-0-500-28098-0; OCLC 185808272
• 1994 — "Issues of Gender in Cassatt and Eakins" in Nineteenth Century Art: A Critical History, edited by Thomas Crow, Brian Lukacher, Linda Nochlin and Frances K. Pohl. London: Thames & Hudson. 13-ISBN 978-0-500-28683-8; 10-ISBN 0-500-28683-3; OCLC 137221626
• 1983 — The Imaginary Orient
• 1971 — "Why Have There Been No Great Women Artists?" ARTnews January 1971: 22-39, 67-71.
• 1971 — "Realism." New York: Penguin Books. Library of Congress 71-149557.

Notes[link]

References[link]

• D'Souza, Aruna. (2000). Self and History: A Tribute to Linda Nochlin. London: Thames & Hudson, 2000.
• Nochlin, Linda. (1999). "Memoirs of an Ad Hoc Art Historian" in Representing Women. London: Thames & Hudson. 10-ISBN 0-500-28098-3, 13-ISBN 978-0-500-28098-0; OCLC 185808272

External links[link]

• NYU: Linda Nochlin
• Linda Nochlin biography and c. v. provided by the Chinese University of Hong Kong in conjunction with the International Congress on Culture and Humanity in the New Millennium: "The Future of Human Values", 8–10 January 2000, Hong Kong