Art Criticism Online: A History

Front Cover
Gylphi Limited, May 16, 2019 - Art - 339 pages

The mainstream press often celebrates the ‘tweeting’, ‘facebooking’ and ‘gramming’ of art commentary. Yet online forms of art criticism have a much longer and more varied history than we think. Far preceding the art discussions happening on the likes of Twitter and Facebook. Before art discussions took place on social media, there were networked art projects and art critical Bulletin Board Systems, email discussion lists and blogs. Art Criticism Online: A History provides the first in-depth history of art criticism following the Internet. The book considers the core stages of development and considers where critical practice is heading in the future.


Charlotte Frost's Art Criticism Online provides a much needed account and indispensable survey of the ways in which Western art criticism has been profoundly affected and changed by the online environment. Building on the history of networked and participatory criticism predating the Internet, Frost traces three different phases of online art criticism unfolding in early discussion groups, on listservs, and within today's blogosphere and social media platforms. The book expertly captures nuanced transformations in art criticism's content, form and style, analyzing how approaches have shifted in response to the evolution of the art world terrain. Art Criticism Online successfully manages to provide readers with a map of the dynamic expressions of today's critical culture. --Christiane Paul, Adjunct Curator of Digital Art, Whitney Museum, Director/Chief Curator, Sheila C. Johnson Design Center, Parsons/The New School


So what happened to art criticism, anyway? This lively history is a vital resource for anyone interested in this question. Drawing on a half-century of examples, the book discusses the new, experimental writing practices the internet has made possible, and its destructive effects, making a persuasive case that art criticism hasn't gone away it's just changed radically. --Michael Connor, Artistic Director, Rhizome

 

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Contents

Chapter 4
141
Paddy Johnson article Richard Prince Sucks p
156
Chapter5
173
International Art English p
174
Chapter 6
193
The Personal Space Dress p
210
How To Be A Successful Black Artist p
223
Instagram account renoir_sucks_at_painting p
232

Whole Earth Catalog cover from 1969 p
56
Mute FT covers 124 and 7 199497 p
62
Classics of Net Art p
76
Chapter 3
101
60 wrdmin art critic p
102
The Curated DIWO Inbox p
135
Conclusion
241
Image of Patchwork Girl by Shelley Jackson p
253
Works Cited
257
Artworks Cited
289
Index
305
Copyright

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About the author (2019)

Dr Charlotte Frost is the Executive Director of Furtherfield, London's longest running art and technology centre. With a BA, PG Dip, MA and PhD in art history, contemporary and digital arts, and digital culture she has over 20 years' experience in arts research, publishing, curation, education, management, communications and marketing. Frost has held assistant professorships and research fellowships in Europe, the US and Asia and is the author of one book and countless chapters, articles, videos and podcasts on art and technology. She is the recipient of over £100,000 worth of individual research funding and her work is regularly shortlisted for writing and teaching awards.

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