By N. Y.) Metropolitan Museum of Art (New York, Maxwell K. Hearn, Judith G. Smith, Guo Li Gu Gong Bo Wu Yuan
Arts of the Sung and Yüan contains papers ready for a six-session foreign symposium equipped by way of The Metropolitan Museum of artwork together with the exhibition, Splendors of Imperial China: Treasures from the nationwide Palace Museum, Taipei. Our realizing of the artwork and tradition of the Sung and Yüan dynasties has extended and altered dramatically seeing that an identical exhibition happened on the Museum in 1961–62, Chinese paintings Treasures, together with a variety of 231 works additionally from the nationwide Palace Museum, Taipei. Given the presence of such a lot of infrequent early masterpieces from those sessions within the Arts of the Sung and Yüan exhibition and their formative position in shaping the improvement of later chinese language tradition, the Museum has elected to take this chance to reexamine with a clean eye one of the most known monuments. This quantity is devoted to furthering the primary of cross-cultural interchange embodied within the exhibition. simply because the 1961–62 exhibition encouraged an entire new release of China students within the West, the exhibition provided a becoming social gathering for a bunch of students from Asia, Europe, and the us to take part within the scholarly alternate that any such infrequent chance offers. merely via interactions that remind us of the various issues of view and modes of knowing that artistic endeavors engender throughout area, time, and cultural history, can new perceptions and interpretive constructions evolve. [This ebook used to be initially released in 1996 and has long past out of print. This variation is a print-on-demand model of the unique book.]
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Additional info for Arts of the Sung and Yuan: Papers Prepared for an International Symposium Organized by the Metropolitan Museum of Art in Conjunction With the Exhibition Splendors of Imperial
The very idea of finding something wrong with the current state of criticism is itself historically determined. Why should October have a roungtable discussion on criticism, a kind of writing it has largely refrained from publishing, in the fall of 2001? Why does a text with the title What Happened to Art Criricism? appear in autumn 2003? It is important to understand why a problem comes to the surface at a given point in time, because we all ride currents of historical thinking of which we're only intermittently aware.
What stand, what position, could permit and orchestrate the lightning-fast changes of stances that comprise contemporary art criticism? Saltz is like a weather vane, spinning around to match the breeze at any given moment, and Fried is like a thermostat, either on or off, with no intermediate setting. Between the two there is a curious and unexplored territory. Clearly, if art criticism is to be reformed by requiring critics to take definite positions, they cannot be the kinds of positions Fried exemplifies because those can't be taken: and if criticism is to go on without positions, it cannot go the way Saltz goes without running into the problem of not having positions.
Saltz's judgments amount to more than just his own opinion, and they do so by sharing common ground with judgments that can be assigned to streams of modernist and postmodernist thinking. " He needs to connect, but not know too much about that connection: not to wony about it, not to get too serious or systematic about it. To keep the edge, stay nimble, and be able to make acute judgments, it is necessary not to think about other people's theories, but when the job is done--in the ninth clause-it is also important that the common ground is evident for those who choose to look.
Arts of the Sung and Yuan: Papers Prepared for an International Symposium Organized by the Metropolitan Museum of Art in Conjunction With the Exhibition Splendors of Imperial by N. Y.) Metropolitan Museum of Art (New York, Maxwell K. Hearn, Judith G. Smith, Guo Li Gu Gong Bo Wu Yuan