Repository | Book

An art criticism does not have to be just a solipsistic monologue, but it can work as a meaningful intersubjective cooperation. In order to demonstrate this one has to, firstly, show the invalidity or at least insubstantiality of the primitive subjectivism and relativism, often expressed by the well-known thesis de gustibus non est disputandum. Secondly, one has to introduce the criteria of evaluation of a work of art that could secure the possibility of art criticism as a meaningful intersubjectivediscourse in which it is possible to achieve – in a specific sense – valid and universal results. These are the main goals of this book. While realizing them, the author uses as philosophical starting points the phenomenological theories of Edmund Husserl and Roman Ingarden.

Full citation: