Media:
Audience:
Communicative purposes:
Authors:
Size: rather short, concise (500-600 words)
Move pattern and discourse strategies:
Move I (WHO + WHEN + WHERE)
Move II (WHAT; developing a controlling idea about the exhibition)
1. Find an art review. Give its title. Do you consider it a positive or a negative review on the whole? Why? Which are the positive aspects, and which are the negative ones? Do you have a clear image of that exhibition based on this art review? Do the interpretations given to the analyzed works help you understand the artist's themes?
2. Choose an exhibition you have recently seen and try to write your own art review of that exhibition.
- art magazines, newspapers of regional, national, international circulation
- journals devoted to different art forms
- radio + television broadcasts
- the Internet (including blogs)
Audience:
- the general public; educated, experienced readers, not necessarily art connoisseurs; people who are interested in art and possess some knowledge and/or intuition about art; people who expect to learn something new about art, or just see art from different perspectives
- the members of the artistic discourse community
- undecided people (as to whether to visit or not an exhibition)
- people who missed the exhibition, or are unable to visit it, because of its distant location or lack of time and who are counting on the intelligent writing of the art reviewer to get an idea about a specific art event
Communicative purposes:
- to inform the public about a current, or a just-concluded artistic event
- to promote an artist, an exhibition (gallery or museum, why not?)
- to offer the audience an evaluation of the show/exhibition (as personal, but expert opinion)
- to competently describe the most representative works
- to competently interpret the meanings of the works, by offering the necessary evidence to support interpretation (from within and outside the work; iconographic + iconological interpretations) -- the previous purposes are those of art critique
- to convince/persuade the public that the effort of visiting the exhibition is worthwhile, or, on the contrary -- similar to advertorials
- to persuade the readers to become art exhibition goers/expand the art public
- to educate oneself and the audience; develop artistic taste; fight against bad taste -- the last two purposes coincide with art education' purposes
Authors:
- art critics, art historians, professional writers, journalists, philosophers (aestheticians, art theorists), authors of TV and radio series and programs, bloggers, church people, etc.
- must have(s): enough experience to offer reliable evaluations; honesty; analytical, open mind; writing experience (offer that amount of information the audience needs; provide the right amount of scholarly insights without getting into too many boring details; maintain the reader's interest by varied rhetorical devices and discourse strategies); knowledge of the different (artistic) ideologies; knowledge of the art market.
Size: rather short, concise (500-600 words)
Move pattern and discourse strategies:
Move I (WHO + WHEN + WHERE)
- catching the reader's attention by using the appropriate rhetorical devices (e.g. a rhetorical question, a paradox, a figure of speech)
- offering specific information about the exhibition (when - the period; where - country, town, gallery, museum)
- offering some information about the artist(s) (a very short biography)
Move II (WHAT; developing a controlling idea about the exhibition)
- offering a general picture of the show and a first evaluation
- different discourse strategies:
- the historical approach of the works (chronological)
- an unpopular opinion
- an analogy
- what one expected vs. what one got
- a comparison (between works of the same artist, of different artists, between styles)
- the first impression (initial impact on the viewer)
- the strength/originality of the artist
- a question (either rhetorical or one that will be answered in the following move)
- ensuring the coherence of the text
- relating the previous information to the following
- analyzing artworks
- offering partial evaluations
- describing + interpreting +/- evaluating work 1
- describing + interpreting +/- evaluating work 2, a.s.o.
- partial evaluations of the works are made according to some aesthetic criteria (implicit or explicit)
- are usually positive, or holding some reservations; when the lack of value is quite obvious, evaluations are negative
- rhetorical strategies include: avoiding ambiguity and clearly stating the value (using qualifiers and quantifiers- e.g. overstatements -hyperboles), or, on the contrary, cultivating ambiguity for the sake of politeness (e.g. understatements - litotes = saying too little); irony and rarely sarcasm.
- offering a final, on-the-whole evaluation of the exhibition
- convincing the audience of the value of the show
- persuading the audience to visit the exhibition
- trying to predict the future development of an artist's work, based on the current show (speculating about future developments)
- implicitly persuading collectors to buy/or not some works
1. Find an art review. Give its title. Do you consider it a positive or a negative review on the whole? Why? Which are the positive aspects, and which are the negative ones? Do you have a clear image of that exhibition based on this art review? Do the interpretations given to the analyzed works help you understand the artist's themes?
2. Choose an exhibition you have recently seen and try to write your own art review of that exhibition.
sestras diana larisa grafica The review I found is titled "The Sublime and the Absurd: A Review of Thomas Houseago's Sculptures" by Holland Cotter, published in the New York Times in 2013.
ReplyDeleteOn the whole, I consider this art review to be positive, as the reviewer, Cotter, highlights Houseago's skill in creating sculptures that evoke both a sense of the sublime and the absurd. The review focuses on Houseago's ability to balance these contradictory impulses, resulting in works that are both imposing and vulnerable.
Positive aspects of the review include Cotter's praise for Houseago's technical skill in sculpting human figures from rough materials such as concrete and plaster, resulting in works that appear both ancient and modern. Cotter also notes the way Houseago's works express themes of existential and social anxiety, citing the sculpture "Untitled (Crawling Man)" as an example of the artist's ability to convey "the singularity and vulnerability of the human condition."
Negative aspects of the review are limited, but Cotter does note that some works, such as "Untitled (Big Man,'" may be less successful in conveying Houseago's themes due to their confusing nature.
Based on this art review, I do have a clear image of Houseago's exhibition. Cotter's descriptions of the sculptures and their themes provide a vivid picture of the artist's style and vision. The review helps me understand Houseago's interest in exploring contradictions, such as the sublime and the absurd, and his ability to combine these opposing forces to create works that resonate with viewers.
Cotter's interpretations of the works also help me understand the artist's themes, particularly in the way he highlights Houseago's ability to express anxiety and vulnerability through his sculptures. Cotter's analysis of works such as "Untitled (Crawling Man)" provides insights into Houseago's interest in the human condition and the ways we navigate our surroundings.
Overall, this art review provides a positive portrayal of Thomas Houseago's sculptures, highlighting both their technical skill and their ability to express complex and relatable themes
TASK 2
Review: Valentina Druțu's latest exhibition, "Pictură / Grafică," showcases a stunning collection of paintings and graphic works that demonstrate her mastery of both mediums. The artist's use of color and texture in her paintings is particularly noteworthy, as she creates dynamic and emotive compositions that draw the viewer in. The graphic works, on the other hand, reveal Druțu's skill in creating intricate and detailed images that showcase her keen eye for line and form.
One of the standout pieces in the exhibition is the painting "Culori de toamnă" (Autumn Colors), which features a vibrant palette of reds, oranges, and yellows that capture the essence of the season. The texture of the painting is also remarkable, as Druțu uses thick brushstrokes to create a sense of depth and movement.
Another highlight of the exhibition is the graphic work "Linii și forme" (Lines and Forms), which features a series of abstract shapes and forms that intertwine and overlap to create a visually striking composition. The use of negative space in the piece is particularly effective, as it allows the viewer to focus on the intricate details of the shapes and lines.
Overall, the exhibition is a testament to Druțu's talent and versatility as an artist. The combination of paintings and graphic works provides a well-rounded view of her artistic practice, and the themes and motifs explored in the works showcase her unique perspective and style.