Before we talk further about art critique and talk about its connection to aesthetical experience, we should retreat and discuss the meaning of critique in general. Etymologically speaking, the critique was derived from the ancient Greek word krisis which means a form of tradition which consists of an uncompromising judgment of merchants and luxuries as God (Petrina, 2015). Aside from its etymological meaning, critique could mean a form of assessment marked by some defining qualities. Critique demands that the party who express their assessment to the very people responsible for their work (Soep, 2005). Thus critique could be described as a dialectic process to assess something and or to express something of their mind toward something.
Moving forward, when we talk about art we could define art as an object of aesthetics and art critique could mean writing or assessment that evaluates art. While it has no formal definition or agreed-upon meaning, the term art critique or art criticism was first used in western culture from Plato to the criticism of salons in Paris, and the most recent is Jonathan Richardson's definition of art criticism (Elkins, 1969). In short, art critique or art criticism is a form of assessment or writing that specifically evaluates or assesses the object of art in the context of aesthetic or theory of beauty.
Because of the nature of art criticism to assess or evaluate the object of aesthetics, I believe that art criticism or art critique itself is a part of the aesthetic experience. Aesthetics experience itself is a special state of mind when we feel a different experience than our daily experience (Markovi, 2012). It could also be defined as a psychological process where our attention is altered into a specific special object while our daily experience is being neglected (Cupchik, 1995).
In 2012, Slobodan Markovi in his scientific journal "Component of Aesthetic Experience: Aesthetic Fascination, Aesthetic Appraisal, and Aesthetic Emotion" Â proposed a model called "two-stage of functional relationships between cognitive, attentional, and emotional" to see how aesthetic experience work. As displayed in cover photo, the first level is identified as the perceptual level, where this stage is the beginning of the arrangement of an aesthetic experience. This experience is formed through three characteristics: cognitive, attentional, and affective. From that point forward, it goes to a higher level called the narrative level. These two levels of formation will then produce a complete aesthetic experience.
In that two-level, the process of aesthetic experience happens when the observer initially saw the objects of art and does the appraisal of interestingness. Later on, the attention increases, and excitement grow within the observer. After an excitement, the attention is increased again and then the appraisal of the narrative happens. The process continues with excitement and ends with exceptional feelings, but it continuously happens. While it is still uncertain and needs further research, I believe that the art critique is a by-product if not the main objective of the process of the aesthetical experience. It shows how we see the aesthetic in the object itself, then writes our assessment or evaluation and thoughts on the art objects in some form of writing.
While in the present moment, I am unable to depict further the connection between art criticism and aesthetic experience, and my article is still indistinguishable. This paper is served as a simple thought for future examination and thinking process.
Reference:
Cupchik, G. C. (1995). Emotion in aesthetics: Reactive and reflective models. Poetics, 23(1--2), 177--188. https://doi.org/10.1016/0304-422X(94)00014-W
Elkins, J. (1969). Art Criticism. Oxford Art Online, 1--15. https://jameselkins.com/art-criticism-encyclopedia-entry/
Markovi, S. (2012). Component of Aesthetic Experience: Aesthetic Fascination, Aesthetic Appraisal, and Aesthetic Emotion. I-Perception, 3(1), 1--17. https://doi.org/10.1068/i0450aap
