Revised to include coverage of digital images, this text progresses logically from describing criticism in general to describing photographs, interpretation, judging, to an understanding of photographic theory.
Table of Contents
Table of Contents
Preface
Chapter 1 � About Art Criticism
Definition of Criticism
Sources of Criticism
Kinds of Criticism
The Backgrounds of Critics
Stances Toward Criticism
Relations Between Critics and Artists
The Art of Criticizing Criticism
The Value of Criticism
Chapter 2 � Describing Photographs: What Do I See?
Defining Description
Describing an Exhibition: Avedon�s �In the American West�
Describing Subject Matter
Describing Form
Describing Medium
Describing Style
Comparing and Contrasting
Identifying Internal and External Sources of Information
Describing and Interpreting
Describing and Evaluating
The Importance of Description to Readers
Principles for Describing Photographs
Chapter 3 � Interpreting Photographs: What Does It Mean?
Two Exemplary Interpretations
About Interpretation
Definition of Interpretation
The Objects of Interpretations
Interpretive Claims and Arguments
Interpretive Perspectives
Three Interpretations of Eleanor
Other Interpretive Strategies
Combinations of Interpretive Approaches
�Right� Interpretations
Interpretations and the Artist�s Intent
Interpretations and Feelings
Interpretation, Meaning, and Personal Significance
The Community of Interpreters
Chapter 4 � Types of Photographs
Categories of Photographs
New Categories
Descriptive Photographs
Explanatory Photographs
Interpretive Photographs
Ethically Evaluative Photographs
Aesthetically Evaluative Photographs
Theoretical Photographs
Chapter 5 � Photographs and Contexts
Internal Context
Original Context
External Context
External Contexts and Connotations
Interpretation of Barbara Kruger�s Untitled(�Surveillance�)with Contextual Information
�Surveillance� and Internal Context
�Surveillance� and Original Context
�Surveillance� and External Context
Barbara Kruger�s Untitled (�Surveillance�) and the Categories
Descriptive Photographs
Explanatory Photographs
Interpretive Photographs
Ethically Evaluative Photographs
Aesthetically Evaluative Photographs
Theoretical Photographs
The Interpretive Process: A Summary
Chapter 6 � Judging Photographs: Is It Good?
Examples of Judgmental Statements
Positive Judgments
Negative Judgments
Implied Judgments
Opposing Judgments
Comparative Judgments
Judgments and Reasons
Judgments and Criteria
Different Criteria
Realism
Expressionism
Formalism
Activism
Other Criteria
Choosing Among Criteria
Differing Judgments
Judgments Are Arguments
Reappraisals
Judgments and Preferences
Intentionalism and Judgments
The Objects of Judgments
Judgments of Robert Mapplethorpe�s Photographs
Hilton Kramer�s and Grace Glueck�s Views of Mapplethorpe�s Work
Other Critics� Views of Mapplethorpe�s Work
Conclusion
Principles for Judging Photographs
Chapter 7 � Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and Practice
Ontological Concerns: What Is a Photograph?
Digital Images and Ontology
Epistemological Concerns: Are Photographs True?
Realist Theory
Conventionalist Theory
Photographic Truth
Aesthetic Concerns: Is Photography Art?
Modernism and Postmodernism
Digital Images and Aesthetic Concerns
Ethical Concerns: Are Photographs Moral?
Marxist Theory and Ethical Photography
Feminist Theory and Ethical Photography
Multicultural Theory and Ethical Photography
Queer Theory and Ethical Photography
Postcolonial Theory and Ethical Photography
Conclusion
Chapter 8 � Writing and Talking About Photographs
Writing About Photographs
Observing and Taking Notes
Quick-Writes and Careful-Writes
Students� Interpretive Writings
Building Visual Interpretations
Making Personal Meaning
Judging Photographs
Writing Criteria Statements
Four Student Views of Immediate Family by Sally Mann
Writing Metacritically
Writing Artists� Statements
Processes of Writing
Talking About Photographs
Studio Critiques
Kinds of Critiques
Conducting Successful Critiques
Principles for Effective Critiques
Notes
Bibliography
Index