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.
My name is Răzvan Catrișcău and I am a student of History and Theory of Art, 2nd year.
ReplyDelete1, The review, by Hana Ostan-Ozbolt-Haas (art historian, independent curator and writer) of Leah Ke Yi Zheng's exhibition, entitled "Machine(s)", is launched with the title "Leah Ke Yi Zheng Distills Structure into Sensation". This review can be classified as a positive review in which the detailed rendering of the artist's concepts and working methods by the author of the article expresses a deep empathy and awareness in relation to the works exhibited in the exhibition. A first positive aspect is the highlighting of the conceptual and formal progress that the artist produces through his manner of considering the textile support of the works as an active component from an artistic point of view. Another aspect that could highlight the positive perspective of the review of Leah Ke Yi Zheng's works is the degree of detail to which the author goes into the research he does regarding the motifs that the artist addresses, such as hexagram motifs, in order to highlight the conceptual depth to which the works staged go. The descriptions of the works range from technical data to philosophical aspects and sources of historical influences that the artist uses, thus making it possible to fully materialize a clear image of the works in the reader's mind, even if they had not benefited from the images exposed in the review.
2.The exhibition "About Life and Death" at Parter Gallery (13.03-27.04.2025) explores the themes of life, death, and memory, being dedicated to the artist who passed away too soon, Dorin Panga. Through a carefully constructed conceptual thread, the exhibition presents varied works by Ana Lupaș, Rodica Svințiu, and Mircea Spătaru in techniques such as: papier maché, drawings, video, oil on wood, charcoal, bronze, plaster, and acrylic. An organic cycle is formed within the exhibition from the possible life after death to the idea of inevitable death. The spiritual concept of the exhibition sees earthly existence as a transitional stage, with the artists attempting to express themselves visually in an act of "rebellion" against the finality of death and as a tribute to "invisible and unfulfilled lives." The exhibition stands out for its profound concept, variety of techniques, elegance of presentation, and intelligent lighting, with the only lacking element being the descriptive labels of the works.
My name is Ștefan Găleanu and I am a third year student of the Painting Department.
ReplyDelete1. A recent art review that I found online is called “Hockney in London review – hip, horny but still searching for his own style”. It was published in The Guardian, by Jonathan Jones, on 21st of May, 2025. The writer offers a nuanced and generally positive review of the exhibition “In the Mood for Love: Hockney in London, 1960–1963” at Hazlitt Holland-Hibbert. Some positive aspects that are discussed are Hockney’s emotional energy, bold experimentation and historical insight into his formative years. Negative aspects of the exhibition on which Jonathan Jones forms an opinion on are those such as it lacking a cohesive narrative, and some works being seen as derivative. The review gives a vivid sense of the exhibition’s theme and mood, but I couldn’t say it provides me a clear image of it, at a formal level. About the interpretation of the themes, the review’s discussion of identity, desire, and artistic growth helps understand Hockney’s intentions.
2. Adrian Ghenie’s “Shadow Paintings” at the Albertina – A Haunting Resurrection of 21st Century Expressionism
Adrian Ghenie’s latest exhibition, Shadow Paintings, at Vienna’s Albertina Museum, is a masterful and deeply moving homage to Egon Schiele’s lost works. Rather than attempting literal reconstructions, Ghenie channels the emotional and psychological essence of Schiele’s missing pieces, known only through black-and-white photographs, and reimagines them through his own distinctive lens. Ghenie’s approach is not only replication, but a profound dialogue with Schiele’s themes of death, sexuality, identity, and melancholy. Through his signature blend of figuration and abstraction, Ghenie breathes new life into these vanished works, creating what he describes as “the impossible body”, meaning forms that transcend anatomical accuracy to capture the inner psyche. In Shadow Paintings, Ghenie achieves a remarkable feat: he not only honors Schiele’s legacy but also asserts his own place in the history of expressionist art. The exhibition is a must-see for anyone interested in the transformative power of painting and the enduring dialogue between artists across time.
1. The art review titled “An Opening Door” by W. Scott Olsen is a positive assessment of Ai Weiwei’s photographic work. Olsen comments about Ai s ability to alternate everyday experiences, highlighting the artist s skill in putting togheter photographs that blend the mundane world with the iconic. This approach offers readers insight into Ai s creative process and the depth of his artistic vision. The review is a positive one, emphasizing Ai Weiwei s contribution to contemporary art, portraying his photographic collection as a thoughtful and impactful exploration of visual storytelling. Although, reading Scott Olsen s review gave me a clear vision about the artist s intentions, i wouldn t really say the same about the visual aspects.
ReplyDelete2. "A roof over my head", from Andreea Curelaru, is the last exhibition I had the pleasure of attending. Regarding the theme behind it, it was an introspective exhibition that explored the quiet power of domestic life, childhood memory, and daily routine. Through a mix of nostalgic installations and gestual drawings, the artist invited viewers into personal spaces that feel both deeply familiar and emotionally rich. I was pleasantly surprised by the concept and execution of the project, making the exhibition one of the most memorable ones within the "Expo Marathon" project.
Moldovan Andreea 3rd year student photo-video student
ReplyDeleteThe title of the review is “Hamad Butt: Apprehensions review, beauty and violence from a lost and dangerous YBA”, published by The Guardian. It discusses an exhibition at Whitechapel Gallery that brings attention to the work of Hamad Butt, a powerful yet lesser-known figure from the YBA movement.
Overall, the review is positive. It highlights the emotional and conceptual depth of Butt’s art, especially his installations that blend beauty with danger. The critic praises how Butt’s personal identity, as a queer man of Pakistani descent, shaped his unique artistic voice.
The review gives a clear image of the exhibition, describing both the visuals and the emotional weight of the works. It also offers thoughtful interpretations that help the reader understand the artist’s key themes, like mortality, fragility, and identity.
A small critique is that the show might isolate Butt too much from his YBA peers, but this doesn’t diminish the overall impact. The review leaves a strong, respectful impression of the artist and his work.
Maties Iulia Grafica 1
ReplyDeletetask 1:This review of Uffe Isolotto’s We Walked the Earth at the Venice Art Biennale 2022 can be considered overall positive, though it carries a tone of unease and ambiguity which seems intentional, mirroring the themes of the installation itself.
Detailed and Evocative Descriptions:
The review vividly describes the hyperrealistic centaurs, the transformed farmhouse, and strange materials like blue fluid, eelgrass, and horse manure.
This helps readers visualize the space and emotional tone of the installation effectively.
Interpretive Depth:
The review interprets the installation as a reflection of contemporary uncertainty, transhumanism, and the struggle between despair and hope.
It acknowledges that the work presents a “drama of life and death”, enhancing our understanding of the artist’s intention.
Strong Sense of Atmosphere:
The fusion of the familiar (Danish farm life) with the alien (mutant centaurs, sci-fi elements) creates a clear picture of a distorted, unsettling world, helping readers grasp the emotional impact of the work.
task 2; Walking through the Uffizi Gallery was like stepping into a different time. I had seen pictures of Botticelli’s The Birth of Venus and Primavera before, but seeing them in person was something else. The details, the colors, and the stillness of the figures—it all felt strangely alive. Venus especially seemed to float, both gentle and distant.
Caravaggio’s Medusa was intense. I wasn’t expecting to feel so shaken by it. The expression, the blood, the realism—it looked like it could leap off the shield at any moment.
One of my favorite moments was seeing some of Leonardo da Vinci’s unfinished sketches. There was something really human about them—imperfect, in progress, full of energy. It made me think that even geniuses don’t always have it all figured out.
Overall, the Uffizi felt less like a museum and more like a journey through time. I left with a deeper appreciation for how art captures emotion, beauty, and even uncertainty—things we still relate to today.