Art History and Art Criticism
2001 - 2002
Are the literary genres Art History and Art Criticism capable of stable definition, or must the character of their reciprocity be negotiated at every historical turn? What are the purposes and functions of distinguishing one from the other? What has happened to the ideal of the public intellectual long associated with the role of the critic? Can advanced research in the visual arts be sustained outside the academy? How has the question of audience affected art writing in all its varied forms?
Participants included Michael Brenson (independent art critic), Benjamin Buchloh (Columbia University and Getty Scholar), Chloe Chard (independent art historian and Getty Scholar), Françoise Forster-Hahn (University of California, Riverside and Clark Fellow), Maria Gough (University of Michigan and Clark Fellow), Charles Harrison (Open University, Oxford, and Getty Scholar), Robert Haywood (University of Notre Dame and Clark Fellow), David Joselit (University of California, Irvine, and Clark Fellow), Stephen Melville (Ohio State University and Clark Fellow), Rosalind Krauss (Columbia University), Terence Smith (The Power Institute and Getty Scholar), and Alastair Wright (Princeton University).