Is Aesthetics a Metatheory in Relation to Art Criticism?

Abstract

This article addresses the comparative analysis of aesthetics
and art criticism, as well as describes their special aspects and objectives,
considers different viewpoints on the interrelation of these areas – the ideas
of Beardsley and R.Barthes in particular. The article further develops Barthes’
ideas concerning radical changes that have taken place in contemporary art
criticism. In particular it deals with the assumption that art criticism has no
relation to truth. Thus, the viewpoint of Beardsley, who insists that aesthetics is
a metatheory in regards to art criticism, is subjected to argumentative scrutiny.
The article analyzes the idea that art criticism must be carried out on the basis
of aesthetic values only, without taking into account other social circumstances
of creation and functioning of any work of art. A work of art may have value
(cognitive, moral etc.) outside aesthetic categories and it can be assessed from
different points of view. According to Beardsley, objective aesthetic arguments
may be reduced to three universal canons: unity, complexity and intensity, – a
thesis, which is also subjected to argumentative scrutiny. It is also stated that
criticism cannot exist outside of ideology, which is proved by the entire history
of its development. The article also describes the evolution art criticism and
demonstrates that art critics can switch from the standpoint of artists’ defense
to that of the defense of public interests. The article puts forward the idea that
aesthetics as well as art criticism are drifting towards literary works rather than
philosophy. At the same time aesthetic, unlike art criticism, does not cease to be
a science, although imprecise and inexact.