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 negative review overall? 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 negative review overall? 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.
task 1: Title: “Hilma af Klint and Piet Mondrian: Forms of Life,” Tate Modern, London – Review by Jonathan Jones, The Guardian
ReplyDeleteOverall evaluation: The review is mostly positive, though with some critical reflections. Jonathan Jones appreciates the exhibition's effort to connect two artists through their spiritual and abstract approaches but questions how directly comparable they truly are.
Positive aspects:
The exhibition is praised for its bold curatorial vision, combining two artists not usually shown together.
The visual contrasts between Klint’s biomorphic forms and Mondrian’s geometric abstractions are compelling and thought-provoking.
Hilma af Klint’s work is described as “breathtaking” and “ahead of her time.”
Negative aspects:
The comparison with Mondrian is sometimes forced, according to the reviewer.
Mondrian’s works are described as colder and more rigid, which doesn’t always resonate emotionally after Klint’s vivid pieces.
Clarity of the exhibition image: Yes, the review provides a clear picture of the visual experience, the exhibition layout, and how the works are juxtaposed.
Interpretations and understanding of the artist’s themes: The reviewer reflects on both artists’ mystical and utopian aspirations, helping the reader grasp the philosophical and symbolic layers of their art.
Task 2 : I recently had the opportunity to visit the "Universul lui Salvador Dalí" exhibition at Casa Hintz in Cluj-Napoca, and it was an unforgettable experience. The exhibition showcased over 170 works, including monumental sculptures, lithographs, engravings, and miniatures crafted from gold and diamonds. A highlight was the VR experience, where visitors were guided by Dalí himself through his masterpieces, offering a unique perspective into his surreal world. This exhibition not only provided insight into Dalí's artistic genius but also allowed for an immersive journey into his imaginative universe.
Daria-Maria Călugăru, 2nd year design student
ReplyDelete1. A recent art review read was „Universul lui Salvador Dalí 20-20/04|Casa Hintz” drew up by visit cluj website. I consider it a positive review overall because it gives details about the incredible journey that the public goes through in his artwork. The text has both positive and negative aspects.
On one hand, the introduction engages with the audience. The beginning is dynamic and grabs attention by mentioning major international cities like Paris, Shanghai and Florence, which adds prestige to the exhibition. The details about the exhibition are well presented. Listing the types of works (lithographs, sculptures, miniatures, etc.) helps the reader form expectations. Also, the VR experience brings innovation and modernism to how art is presented.
On the other hand, some aspects could be improved, such as the critical perspective and the promotional tone. A stronger review might include some analysis—like whether VR truly reflects Dalí’s vision or if the selection of works is representative. In my view, if the content was divided into sections like background, new works, VR experience, then the article would have been more organized and clearer.
The interpretations do offer some insight into the universe of Dalí’s themes, but only at a general level. They spark interest, nevertheless they don't deeply unpack the meaning behind the works.
2. „The Universe of Salvador Dalí” sets the Cluj edition apart with the inclusion of three major works being shown in Romania for the first time: Twisted Christ, Zootrope Model and Head of Venus. It brings iconic works—ranging from lithographs and engravings to sculptures, gold miniatures, and even diamonds.
Twisted Christ was created in a period when Dalí returned to spiritual themes, this work reflects his complex relationship with Catholicism and personal suffering. Zootrope Model represents an optical device creating the illusion of motion—echoing Dalí’s fascination with time and metamorphosis. Head of Venus invites viewers to question what is real and what is perceived, a core theme in Dalí’s exploration of identity and illusion.
More Than Art—An Immersive Experience
In an innovative twist, the exhibition includes a Virtual Reality experience that brings Dalí’s world to life in an entirely new dimension. In this surreal experience, a virtual Dalí himself guides you through dreamscapes inspired by his masterpieces—melting clocks, fragmented bodies, and endless deserts all spring to life in a guided journey that's as otherworldly as the art itself.
The Artist Behind Surrealism
What makes Dalí’s work so compelling is not just his technique, but the deeply personal life events embedded in his art. After the death of his beloved wife Gala, Dalí’s work took a more introspective and melancholic turn. His later illustrations often reflect grief and loss—yet remain visually stunning and symbolically rich.
Equally telling is the motif of the burning giraffe, famously interpreted as a symbol of inner turmoil. Dalí began using this image after his expulsion from the Surrealist group led by André Breton—a moment that marked a major personal and ideological rupture. The giraffe, engulfed in flames yet calm in demeanor, became a haunting metaphor for isolation, rebellion, and transformation.
Guided Tours and Accessibility
To enrich your visit, the exhibition offers a free guided tour every Tuesday at 18:00, open to all visitors. These tours are led by passionate art experts who help decode the layers of symbolism hidden in Dalí’s work. For a more tailored experience, private tours are also available upon request, offering deeper insight into selected pieces and the historical context behind them.
Why You Shouldn’t Miss It
The Universe of Salvador Dalí is more than a showcase—it's a psychological and emotional journey into the artist’s subconscious. It’s a rare opportunity to experience not just Dalí’s work but the world as he saw it: strange, symbolic, and endlessly intriguing.