Painting is a fine art: not merely because it gives us trees and faces and lovely things to see, but because paint is a finely tuned antenna, reacting to very unnoticed movement of the painter's hand, fixing the faintest shadow of a thought in color and texture.
What kinds of problems, and what kinds of meanings, happen in the paint? Or as one historian puts it, 'What is thinking in painting, as opposed to thinking about painting?' These are important questions, and they are very hard to answer using the language of art history.
Perhaps art criticism cannot be reformed in a logical sense because it was never well-formed in the first place. Art criticism has long been a mongrel among academic pursuits, borrowing whatever it needed from other fields.
It is as if only irrelevance can be promoted as art.
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