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Objectively Art? An Examination of the Critical Reception of Dale Chihuly's Work

机译:客观地是艺术?对戴尔·奇胡利作品的批判接受的考察

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摘要

Artist Dale Chihuly (b. 1941) is arguably one of the most controversial figures in the contemporary art world. Well-known for his monumental glass sculptures, Chihuly has positioned himself as a recognizable brand name in the art industry, with thousands of people viewing his work over the last fifty years. Since the 1960s, Chihuly's objects have been showcased in over 197 exhibitions and at least 230 museums own a Chihuly artwork as part of their permanent collection. It can be difficult to imagine that Chihuly is such a polarizing figure when his career has resulted in these types of statistics, but an examination of the critical reception of his work reveals his controversial position in the art world.;Criticism of Chihuly and his projects primarily takes the form of online short exhibition reviews and accounts of his techniques. The authors of these short critiques are often professional art critics, who generally work for newspapers or art magazines. Some longer critical essays exist in the form of book introductions published by Chihuly's studio. These writers are usually art historians or curators who have been commissioned by the studio to write an essay for a new book. Not surprisingly, the authors of the book introductions praise Chihuly, while the professional art critics write scathing reviews, resulting in a perplexing disparity.;Supported by an overview of his career, my meta-critical analysis examines the critical reception of Chihuly's work. I argue that Chihuly is an artist whose glass works invite a discourse on our contemporary understanding of art. I begin by describing how art critics respond to Chihuly's sculptures and compare their arguments to those written by art historians and curators. I then examine how Chihuly's practice was influenced by the American Studio Glass movement and the history of the glass making tradition. My argument ends with my own critical review of his most recent projects, the Chihuly Sanctuary and the Glass on Glass series.
机译:艺术家Dale Chihuly(生于1941年)可以说是当代艺术界最具争议的人物之一。 Chihuly以其不朽的玻璃雕塑而闻名,他将自己定位为艺术界的知名品牌,在过去的50年中,成千上万的人观看了他的作品。自1960年代以来,Chihuly的物品已在197多个展览中展出,至少有230个博物馆拥有Chihuly艺术品作为其永久收藏的一部分。很难想象Chihuly在他的职业生涯中得出这样的统计数据时是个两极分化的人物,但是对他的作品的批判性接受的研究揭示了他在艺术界的争议地位。; Chihuly的批评和他的项目主要采取在线短期展览评论和他的技术描述的形式。这些简短评论的作者通常是专业艺术评论家,通常在报纸或艺术杂志上工作。 Chihuly的工作室出版的书籍介绍形式还存在一些较长的评论文章。这些作家通常是艺术史学家或策展人,他们受到工作室的委托为新书撰写论文。毫不奇怪,这本书导言的作者称赞奇胡利,而专业艺术评论家写了严厉的评论,造成了令人困惑的悬殊。在他的职业生涯概述的支持下,我的元批评分析考察了奇胡利作品的批判性接受。我认为Chihuly是一位艺术家,他的玻璃作品引起了我们对当代艺术理解的讨论。首先,我将描述艺术评论家如何回应奇胡利的雕塑,并将其论证与艺术史学家和策展人所撰写的论证进行比较。然后,我研究Chihuly的做法是如何受到美国Studio Glass运动和玻璃制造传统历史的影响的。我的论断以自己对他最近的作品《奇胡利保护区》和《玻璃上的玻璃》系列的批评性评论结束。

著录项

  • 作者

    Clay, Caitlin Laura.;

  • 作者单位

    Texas Christian University.;

  • 授予单位 Texas Christian University.;
  • 学科 Art history.;Art criticism.
  • 学位 M.A.
  • 年度 2018
  • 页码 58 p.
  • 总页数 58
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

  • 入库时间 2022-08-17 11:53:00

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