hrvatski

Kritika kao povijesnoumjetnička disciplina

For hudered and fifty years at least, art criticism has lacked normative, didactic, and academic direction. That is, it has nit been nostalgic nor has it relied on tradition as the exclusive value. Neverthelss, throughout this period, it has never entirely broken up with art history, even though it very much stroveto remain open toeards the uture.Namely, it wasonly in realtion to the labour performed that it could measure and determine innovation and originality on new proposals, since it is only in a longue duree perspective that we should judge about the vitality and actuality. Art history has at its disposal the apparatus of categories regarding stylistic changes, while the criticism of contemporary art has for a lon period of time walked on crutches, using padding and surrogates for trends or dominant tendencies. Spaces dedicated to art is today axposed to the draught of most disparate directions Coverrage of exhibitons, interpretations of art works and evaluation of achivments can be guided by most varied approaches.Begining with the narowly formal, Gestalt approach, thropugh the psyhocritical and psychoanalitic interpretatio, to the registration, inventory and chronicle with sociologic implications, we can observe an entire spectrum of analytic methods, but by placing them in conplementary relationship.There is no purely rescriptive and neutrally objectivist method: writing about art prepupposes disciplinary parallels, chriticism is a part of art-historical, and it forms the tiles of e future mosaic.

Kritika; povijest umjetnosti; likovna umjetnost

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