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

About the Author

Terry Barrett is Professor of Art Education, with a joint appointment in the Department of Art, at The Ohio State University, where he is the recipient of a distinguished teaching award for courses in criticism and aesthetics within education. He has authored four books: Interpreting Art: Reflecting, Wondering and Responding; Criticizing Art: Understanding the Contemporary (2nd ed.); Criticizing Photographs: An Introduction to Understanding Images (4th ed.); and Talking about Student Art. He edited the anthology Lessons for Teaching Art Criticism, published articles in Aesthetic Education, Afterimage, Art Education, Exposure, Camera-Lucida, Dialogue, Cultural Research in Art Education, New Advocate, New Art Examiner, Studies in Art Education, Teaching Artist Journal, Theory into Practice, Visual Arts Research, and many chapters in edited books. He is an art critic in education for the Ohio Arts Council, consults museum education departments, juries exhibitions, and conducts workshops on studio critiques and writing.