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Critics’ response to three artists: Elizabeth Murray, Richard Tuttle and Oscar Bluemner

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  1. Introduction
  2. Elizabeth Murray
    1. Westfall is not the only author to appreciate Murray's unique style of painting.
    2. According to Horsley (2005) ?Despite her evolving artistic path, Murray's work consistently demonstrates fine painterliness, strong palettes and a slightly unfinished quality that make her work distinctive and interesting.
  3. Richard Tuttle
    1. In spite of the fact that Tuttle's work appears to have garnered heavier criticism than that of Murray, it is evident that Tuttle's work has been well received overall.
    2. Clearly, Tuttle's work has caused considerable controversy over its true overall worth.
  4. Oscar Bluemner
  5. Conclusion

Although an artist's work represents the culmination of an intensive effort to communicate a message, how the message is interpreted by others is often how the artist's work is remembered. Thus, even though a particular artist may believe that he or she has reached the apex of artistic expression, the critics' interpretation of the work typically carries more weight than the work itself. Thus, when examining new exhibits of artists it is important to consider not just the work that has been produced, but also to consider how the critics have responded to the work overall. Only though considering the critic's response is it possible to understand the larger public response to the work that will ultimately be produced.
With the realization that the critics' opinion of a particular artist and his or her work is critical for understanding public response to a particular artist and their work, there is a clear impetus to examine the overall methods that critics employ to examine a specific artist's work. Utilizing this as a basis for research, this investigation considers the critics' response to three artists: Elizabeth Murray, Richard Tuttle, and Oscar Bluemner. Through a careful consideration of what the critics have noted about the works of these artists, it will be possible to elucidate how critical opinion of artwork can shape how the individual views the artists' work even before actually observing it. Further, by exploring how the critics have responded to these artists, the variable nature of art criticism will be effectively illustrated.

[...] As noted by this author: Spanning some 40 years and weathering many ?-isms,' Tuttle has held steadfast to a specific intellectual axis around which he has experimented visually. The chronological layout here illuminates how works crated decades apart share, both formally (materials, line scale) and philosophically (language, dimension, boundaries, reality), central poetic and dynamic concern: the links and limits of written and spoken language (p. 10). Thus, despite the specific label that has been placed on Tuttle's work, Janku argues that Tuttle's work has been able to transcend the boundaries created by written and spoken language. [...]


[...] Overall, Westfall appears to be quite beholden with Murray's work and its perceived power to evoke a deep response on the part of the viewer. Westfall is not the only author to appreciate Murray's unique style of painting. Plagens (2005) notes that 35 years ago when the art world had declared that painting was dead Murray stepped forward with a new style of painting that literally revolutionized the practice. Today at the age of 65, Murray is still attempting to reinvent painting to maintain its appeal and luster. [...]


[...] Panero argues that while the show was a complete and total loss for both Tuttle and the Museum, a phoenix arose from the ashes, even more determined to make living art a reality. Since this time, Tuttle's work has occupied in-between position in the Reinhart dichotomy? (p. 50). Tuttle has enjoyed this position, as he has been able to capitalize on some degree of controversy as a central means to expand his work. In the end, Panero seems to believe that the failure of Tuttle's first show more than 30 years ago is what has spurred his development into the artist that he has become today. [...]

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