I would like to second Paul Brown's comments on the ideas of a PhD
in Art History and add a few of my own. I think that one of the
most important things that has made art criticism real science
has been the advent of the computer and the opportunity to put
the ideas of Art Science to the test.
The concept of a Science of Art has never caught on in English-speaking
conuntries. Somehow art has been set up in opposition to science.
This might have resulted from the 19th century Art & Science movement
that prevailed in England. But, the German art theory took a much
different path, KunstWissenschaft that was to have a
profound effect on the Bauhaus and Modernism in general.
These ideas never seem to get across the channel, let alone across the
the Atlantic, and when they do they seem too frequently to have been treated
with a peculiar sentimentality, as in the work of Northrop Frye.
Many contemporary critics, Jacques Derrida, Louis Marin, Rudolf Arnheim,
Thomas Sebeok, David Carrier, etc., etc. are engaging the Art Scientific
discourse with the regour that mening creation deserves. In bringing rigorous
formal analysis to the study visual works, Art Science is no longer trapped in t
he
dubious endeavour of searching for beauty and is much more clearly concerned
with the SERIOUS issues related to expression and interpretation as the tools
for the communication of ideas.
Commercial advertising, religious and political propaganda prove that Art is the
most serious business of all. It is a powerful and difficult struggle for meanin
g and
its about time we started taking it seriously, and got rid of all sentimental
nonsense that surrounds the arts.
- ray lauzzana
in Art History and add a few of my own. I think that one of the
most important things that has made art criticism real science
has been the advent of the computer and the opportunity to put
the ideas of Art Science to the test.
The concept of a Science of Art has never caught on in English-speaking
conuntries. Somehow art has been set up in opposition to science.
This might have resulted from the 19th century Art & Science movement
that prevailed in England. But, the German art theory took a much
different path, KunstWissenschaft that was to have a
profound effect on the Bauhaus and Modernism in general.
These ideas never seem to get across the channel, let alone across the
the Atlantic, and when they do they seem too frequently to have been treated
with a peculiar sentimentality, as in the work of Northrop Frye.
Many contemporary critics, Jacques Derrida, Louis Marin, Rudolf Arnheim,
Thomas Sebeok, David Carrier, etc., etc. are engaging the Art Scientific
discourse with the regour that mening creation deserves. In bringing rigorous
formal analysis to the study visual works, Art Science is no longer trapped in t
he
dubious endeavour of searching for beauty and is much more clearly concerned
with the SERIOUS issues related to expression and interpretation as the tools
for the communication of ideas.
Commercial advertising, religious and political propaganda prove that Art is the
most serious business of all. It is a powerful and difficult struggle for meanin
g and
its about time we started taking it seriously, and got rid of all sentimental
nonsense that surrounds the arts.
- ray lauzzana