How Do Art Critics Critique? A Move Analysis of Art Reviews Written

LEARN Journal: Language Education and Acquisition Research Network

ISSN: 2630-0672 (Print) | ISSN: 2672-9431 (Online)

Volume: 16, No: 2, July – December 2023

Language Institute, Thammasat University

https://so04.tci-thaijo.org/index.php/LEARN/index

How Do Art Critics Critique? A Move Analysis of Art Reviews

Written by Professional Writers

Monthira Damrongmanee

, Seehhazzakd Rojanaatichartasakul

b,*

[email protected], Chulalongkorn University Language Institute, Chulalongkorn

University, Thailand

[email protected], Chulalongkorn University Language Institute, Chulalongkorn

University, Thailand

Corresponding author, [email protected]

APA Citation:

Damrongmanee, M., & Rojanaatichartasakul, S. (2023). How do art critics

critique? A move analysis of art reviews written by professional writers.

LEARN Journal: Language Education and Acquisition

Research Network, 16(2), 40-60

Received

08/03/2023

Received in

revised form

03/05/2023

Accepted

12/05/2023

ABSTRACT

The art review is a genre that describes the artwork under

discussion, educates its readers, as well as interprets and

evaluates the work. It is a genre that plays a crucial role in the

art community as it publicizes art, promotes artists, educates

the public and enhances their appreciation of art. This study

investigates this underexplored genre through the move

analysis of a 67,807-word corpus of 70 art review texts

collected from online art magazines and online newspapers

containing an art review section. The study reveals seven

moves and seven steps found in the art reviews in the corpus:

heading (Move 1), describing the work (Move 2), providing

external information (Move 3), providing the artist’s

background (Step 3.1), providing general knowledge (Step 3.2),

discussing a past event that influences the work (Step 3.3),

mentioning quotes (Step 3.4), mentioning other reviews (Step

3.5), interpreting the work (Move 4), judging the work (Move

5), providing evaluative comments (Step 5.1), recommending

or disrecommending the work (Step 5.2), expressing general

opinions and thoughts (Move 6), and sharing the writer’s

personal experience (Move 7). The results also show no

common move patterns, indicating that the genre allows

fluidity and creativity in structuring the content.

Keywords: art review, move analysis, genre analysis, art

writing

Damrongmanee & Rojanaatichartasakul (2023), pp. 40-60

LEARN Journal: Vol. 16, No. 2 (2023) Page

Introduction

The art review as a genre entails written exploration of a particular artwork or exhibition

of works. It generally provides a description of the art as well as the writer’s interpretation and

evaluation. Art reviews are usually written by art critics and can commonly be found in online

newspapers and online art magazines as well as on art websites and blogs. As art reviews contain

information about an artwork or exhibition, as well as the writer’s opinion regarding it, they assist

readers in forming their decision as to whether they should visit the exhibition of the work or

works. In addition, art reviews play a vital role in the art community. Down (2022), for instance,

states that art reviews can provide valuable feedback to the artists as well as provide expert

opinions to art enthusiasts who may wish to invest in a promising artwork. Cretiu (2002) points

out that the market value of the work of artists depends on them becoming known to the public

and art reviews can help them achieve this.

As for those who are not experts in the field, art reviews can provide them with a base on

which they can develop their understanding and appreciation of artwork (Ntone, 2019). It can be

said that art reviews play a crucial part in bringing the people in the art community together and

influencing the dynamic of the community.

Because of the important role art reviews play and “because there is a great deal of interest

in art, especially contemporary art, the potential readership for art criticism is enormous” (Carrier,

2022, p. 11). However, writing an art review can be a challenging task especially for novice writers

as it requires “masterly skills” (Cretiu, 2002). Although advice and guidelines for writing art reviews

can be obtained from general how-to websites, there is no evidence of whether an established

format for art reviews exists based on research-based analysis of the genre. Moreover, art reviews

written by professional critics tend to be much more complex than the guidelines given on those

websites.

In order to understand the art review genre in greater depth, this study conducts a move

analysis of art reviews written by professional critics with an aim to identify the moves and steps

commonly found in this particular genre. Furthermore, it aims to explore the common move

patterns which, for this study, refer to how moves and steps are sequenced. Thus, this study

addresses the two research questions, as follows:

1. What are the moves and steps commonly found in art reviews?

2. What are the common move patterns of art reviews?

The study aims to provide a number of benefits. First and foremost, it can help provide

research-based guidelines to novice writers, art critics, art students and teachers in writing reviews

more effectively as they understand more about the organization of the messages of this particular

genre. Second, the findings can provide insights into the teaching of the art review genre. Teachers

can be better able to develop more effective materials, give more insightful comments and evaluate

students’ work more precisely based on research-informed knowledge of the genre obtained from

the study. Lastly, the study will contribute to the existing ESP literature regarding art critique by

adding knowledge about this underexplored genre to the field.

Literature Review

Genre Studies and the Art Review

According to Swales (1990), “a genre comprises a class of communicative events, the

members of which share some set of communicative purposes” (p. 58). Based on Analysing Genre:

Language Use in Professional Settings by Vijay K. Bhatia (1993), the definition of genre can be

explained in the following aspects.

Damrongmanee & Rojanaatichartasakul (2023), pp. 40-60

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First of all, a genre is a recognizable communicative phenomenon possessing a set of

communicative purposes generally understood by the members of a certain discourse or academic

community where it often occurs. The internal structure of the genre is dependent on the

communicative purposes. Therefore, any significant change in the communicative purposes gives

rise to a new genre.

Secondly, a genre is a highly structured and conventionalized communicative event. Those

expert members of a certain discourse community have both the knowledge of the structure of

the genre of the community they are in and the communicative goals of their community.

Thirdly, a genre has constraints on allowable contributions with regard to their intent,

positioning, form and functional value. This means that even though there is some freedom for

any professional members of a certain community to make use of any linguistic resources of their

community, they need to adhere to the standard practices of the genre. This is the reason why a

personal letter can be distinguished from a business letter or a news report from an art review.

Fourthly, these constraints are utilised by the experts in a certain discourse community to

achieve their aims within the framework of socially recognized purposes. It is clear that the insiders

of the community are likely to have greater knowledge of the structure, communicative purposes,

and rules than those who are the outsiders to the community.

For the past several decades, genre studies have gained interest among language scholars

and researchers. Genre-based teaching has been adopted as it has beneficial pedagogical

implications such as offering students writing models (Kay & Dudley-Evans, 1998), providing

teachers with resources to assist their students in writing relevant texts, and helping teachers to

give more informed feedback and teach more confidently (Hyland, 2004; Hyland, 2007).

Studies involving genre analysis and move analysis have previously been conducted in a

wide range of fields and disciplines such as business (e.g., Bhatia, 1993; Hiranburana, 1996),

accountancy (e.g., Flowerdew & Wan, 2010), legislation (e.g., Bhatia & Han, 2012), tourism (e.g,

Ahmed, 2015; Panseeta & Watson Todd, 2014), journalism (e.g., Bonyadi, 2012;

Rojanaatichartasakul & Phoocharoensil, 2022), social sciences (e.g., Holmes, 1997), sociology (e.g.,

Brett, 1994), biochemistry (e.g., Kanoksilapatham, 2005), medicine (e.g., Jirapanakorn, 2013;

Nwogu, 1997), engineering (e.g., Gao & Pramoolsook, 2023; Maswana et al., 2015) and computer

science (e.g., Posteguillo, 1999).

In comparison with other disciplines, texts in the art field have been less investigated. A

few studies have focused on art writings, for example, artist statements (Damrongmanee, 2016;

Hocking, 2021), online painting exhibition overviews (Işık, 2023), and single image accounts

(Swales, 2016). With the growth of museums, galleries and museum studies programs, texts about

artworks are worthy of investigation and there is real potential for ESP development (Swales,

2016).

The art review, the focus of this study, is an important genre within the art community and

has multiple communicative purposes. Barnet (2005) states that an art review should deepen and

enhance the readers’ understanding of art history as well as their appreciation of works of art.

According to the Writing & Learning Centre, OCAD University, as stated in their Writing Art

Reviews publication (n.d.), art reviews possess two primary aims. First, they provide details about

the artwork or exhibition to those unfamiliar with it so that they can decide whether or not to go

experience the artwork firsthand. Second, they provide a record and give criticism of the artwork

exhibited.

In addition, art reviews written by critics or artists belonging to an artistic discourse

community have one common goal; that is, to make artists and artworks known to the general

public and other experts in the same discourse community. To make them known to the general

public, reviews of art exhibitions in galleries and museums are disseminated via different channels,

such as newspapers and magazines (Cretiu, 2002; IESA Arts & Culture, n.d.).

Based on the existing literature, it can be concluded that the main communicative purposes

of the art review can be categorized into two main functions: to inform about the work in focus

and to evaluate it.

Damrongmanee & Rojanaatichartasakul (2023), pp. 40-60

LEARN Journal: Vol. 16, No. 2 (2023) Page

The Components of the Art Review

A few articles on the rhetorical structures of the art review can be found in the existing

literature. Cretiu (2002) proposed a generic structure of the art review consisting of four parts,

namely, Introduction, Transition, Body, and Termination. The Introduction contains a short

biography of the artist, some sentences describing the artist’s career choice, general statements

about the art of that particular artist, and facts regarding the artist’s relevance to current artistic

trends and school of creation. Transition contains one or two sentences describing the occasion

when the art review was written and mentioning the venue, time, and the artist or artists of that

exhibition. The Body deals with the ‘what’ and the ‘how,’ following the common description and

interpretation pattern of art critique. Evaluation may be included in this part as well. Termination

contains a final or concluding evaluation of the artist, artwork, and exhibition. In this part, some

sentences mentioning future works might be present. Nevertheless, this generic structure of the

discourse of the art review may be limited to the Romanian context only, as the writer herself

suggests that the biography in the introduction part may take the form of an actual curriculum

vitae (CV) which is the Romanian practice. Moreover, she did not provide further information on

the data and research methodology involved in this academic article.

Barnet (2005) states that an art review usually consists of Description, Analysis and

Evaluation, with the following organization: The Description should include what the work looks

like, how big it is or how it is displayed. The Analysis explores how some aspects of the work

combine to produce a particular effect. The Evaluation reveals the critic’s opinion as to, for

instance, whether the work has artistic merit and whether or not it is worth seeing.

Alashari and Hamzah (2022) note that “one of the very appropriate methods for the

principles of art criticism at the educational and academic level” is Feldman’s (1992) method of art

criticism which offers a four-step framework including Description, Formal analysis,

Interpretation, and Judgement. According to Feldman, the critical process begins with describing

the facts about the work of art under discussion, for instance, the artist’s name, the work title and

the medium used. At this stage, the critic describes what is seen and must use language that is

neutral and value-free. The second step, Formal analysis, involves analyzing the facts by dealing

with visual evidence and studying the relation among art elements. The critic then moves on to

the third step, Interpretation. Here the critic offers the subjective interpretation of the work based

on the evidence gathered before progressing to Judgement, the last step, where an evaluation of

the work is presented. Feldman (1994) further explained the critical process using his method in

his book titled “Practical Art Criticism” where he gave more practical guidelines.

While art review components are referred to differently among Cretiu (2002), Barnet

(2005), and Feldman (1992), some components, nevertheless, are similar in terms of their

communicative purposes. For instance, Barnet’s (2005) Evaluation is called Judgement by Feldman

(1992). According to Cretiu (2002), information regarding the artist and the work title is included

in the Introduction and Transition parts while Feldman put this in the Description part.

Although art criticism frameworks and guidelines are available, a thorough move analysis

study that investigates how art reviews are actually written by professional art critics in the real

context is still lacking. The present study, therefore, aims to identify the moves and steps

commonly found in the art review genre and investigate in detail the common move patterns of

the genre.

Methodology

Data Collection and the Corpus

The art reviews for this study were collected from five newspaper websites and five online

art magazines. The rationale for focusing on online newspapers and online art magazines is that

they are easily accessible and have potentially wider readership. Moreover, the art reviews found

Damrongmanee & Rojanaatichartasakul (2023), pp. 40-60

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in online newspapers and online art magazines are of the same genre as they share audiences and

have similar communicative purposes. For example, Edward Hopper’s exhibition entitled “New

York” is reviewed in both online newspapers and online art magazines. Therefore, we assumed

that they share common writing conventions.

The selection process of these websites began with Google searches using the terms “most

read news websites,” “top art magazines,” and “most visited art websites” in order to identify the

popular websites with a wide readership. After that, it was found that only five newspaper websites

from the list contained an art review section. Therefore, all of the five were chosen from the list.

Five art websites that were recommended as top art websites for art news and art reviews more

than once from other websites and that had an art review section were also chosen from the list.

To identify the current writing trend, the seven most recent art reviews were then collected from

each of these ten websites regardless of the writer’s nationality. The only condition was that they

were required to be reviews of visual artworks, excluding film and architecture reviews. Visual

artworks included drawings, paintings, sculptures, assemblages, collages, photographs,

installations, ceramics, embroideries and prints. The writers of these art reviews were professional

writers and art critics who write for the chosen art magazines and newspapers.

The 67,807-word art review corpus (hereafter referred to as the AR corpus) comprises 70

art reviews. The lengths of the compiled texts vary widely with the longest one containing 1,762

words and the shortest one 418 words, while the average length was 969 words. The pilot coding

revealed that the varying lengths of the reviews did not influence their generic structures and move

patterns as they all contained the same obligatory moves. In longer texts, however, moves could

be recycled more. Regarding the corpus size, 70 art reviews was deemed appropriate for the scope

and aim of this current project for several reasons. Firstly, small corpora offer multiple advantages

as they allow the researchers to investigate the texts more thoroughly under their context and

manage the findings more effectively (Vaughan & Clancy, 2013). Secondly, in comparison with

previous research studies on move analysis of art texts, the corpus size is deemed appropriate. In

their studies of the artist statement genre, Damrongmanee (2016) and Hocking (2021) created a

corpus of 17,138 words and 32,493 words respectively. Işık (2023) investigated a 35,175-word

corpus of online painting exhibition overviews.

Data Analysis

We followed the analysis steps proposed by Biber, Connor and Upton (2007, p. 34) shown

in Table 1.

Table 1

General Steps Often Used to Conduct a Corpus-Based Move Analysis

Step 1: Determine rhetorical purposes of the genre.

Step 2: Determine rhetorical function of each text segment in its local context; identify the possible move types

of the genre.

Step 3: Group functional and/or semantic themes that are either in relative proximity to each other or often occur

in similar locations in representative texts. These reflect the specific steps that can be used to realize a

broader move.

Step 4: Conduct pilot-coding to test and fine-tune definitions of move purposes.

Step 5: Develop coding protocol with clear definitions and examples of move types and steps.

Step 6: Code full set of texts, with inter-rater reliability check to confirm that there is clear understanding of move

definitions and how moves/steps are realized in texts.

Step 7: Add any additional steps and/or moves that are revealed in the full analysis.

Step 8: Revise coding protocol to resolve any discrepancies revealed by the inter-rater reliability check or by newly

‘discovered’ moves/steps, and re-code problematic areas.

Step 9: Conduct linguistic analysis of move features and/or other corpus-facilitated analyses.

Step 10: Describe corpus of texts in terms of typical and alternate move structures and linguistic characteristics.

Note. Biber, Connor and Upton, 2007, p. 34

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After identifying the main communicative purposes of the genre, which were to inform

and to evaluate, we adopted the Feldman’s (1994) method as the initial analysis framework. In the

pilot coding, ten ARs, one from each of the ten websites, were manually analyzed by the two

researchers, who had more than five years of experience in teaching art writing to university

students who studied fine and applied arts.

After the pilot coding, names were developed and assigned to different moves and steps.

Some of the names were adjusted and changed so that they could more accurately describe each

move and step. Based on Feldman’s four-step approach which includes Description, Formal

analysis, Interpretation, and Judgement, we added and regrouped emerging moves and steps. We

decided to group Description and Formal analysis together as these two categories achieve the

same communicative purpose which is to inform the writer using internal information, or

information drawn from the elements seen in the work. Also, the writers tended to describe and

analyze alternately. This combined move was named Describing the work. The pilot coding

showed newly identified moves which were added to the codebook. These moves are: Heading,

Providing external information, Expressing general opinions and thoughts, and Sharing the

writer’s personal experience. Within the Providing external information move, there were five

steps: Providing the artist’s background, Providing general knowledge, Discussing a past event that

influenced the work, Mentioning quotes and Mentioning other reviews. Based on the results of

the pilot study, a framework for analyzing the moves and steps of the selected art reviews was

proposed for the main analysis of the present study (Table 2).

Table 2

The Move Structure of the Art Reviews Proposed by the Researchers

Move

Communicative goal

Source

Move 1: Heading

To grab attention

The pilot study

Move 2: Describing the work

To give the information about the artwork

Feldman

Move 3: Providing external information

Step 1: Providing the artist’s background

Step 2: Providing general knowledge

Step 3: Discussing a past event that

influences the work

Step 4: Mentioning quotes

Step 5: Mentioning other reviews

To educate the reader

To give further information about the

artist

To give general useful knowledge

To explain how the work is influenced by

a certain event

To mention someone’s speech to shed

more light on the work or artist

To provide other critics’ opinions on the

same work under review

The pilot study

Move 4: Interpreting the work

To suggest the meaning of the work

Feldman

Move 5: Judging the work

Step 1: Providing evaluative comments

Step 2: Recommending or

disrecommending the work

To evaluate the work

To offer judgement about the work

To recommend or disrecommend the

work to the reader

Feldman

The pilot study

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Move 6: Expressing general opinions and

thoughts

To share the writer’s general opinions and

thoughts with the reader

The pilot study

Move 7: Sharing the writer’s personal

experience

To share the writer’s personal experience

with the reader

The pilot study

We then drafted a codebook which detailed the definitions, purposes and examples of the

moves and steps found in the pilot coding. After that the full set of 70 ARs were independently

coded by the two researchers. The researchers then discussed all the moves and steps assigned to

the ARs of the entire corpus and any discrepancies were resolved. All of the move assignments

were finally agreed upon by the two researchers, which means the percentage of agreement is

100%. The rationale for using the percentage of agreement for move analysis is that percent

agreement is a valid and appropriate measure for this type of study (Rau & Shih, 2021).

After the moves were identified, we calculated their occurrences and their percentages. We

then explored the corpus to see whether there were any conventional move patterns, interesting

move cycles and move co-occurrences of certain moves.

Results and Discussion

The analysis of the corpus revealed the moves and steps found in the art review genre. To

answer Research Question 1, we present Table 3, which details the seven-move-seven-step

framework for art reviews and the number of ARs in which each move or step occurs. In this

study, we followed Kanoksilapatham’s (2015) criteria to determine the status of the move and step.

If a move or step occurs in 100% of the 70 ARs, it is considered obligatory. Occurrences of

between 60% to 99% and less then 60% are regarded as conventional and optional, respectively.

Table 3

The Move-Step Framework and the Number of ARs in which Move or Step Occurs

Move/step

No. of ARs

(AR = 70)

Status

1. Heading

2. Describing the work

3. Providing external information

3.1 Providing the artist’s background

3.2 Providing general knowledge

3.3 Discussing a past event that influences the work

3.4 Mentioning quotes

3.5 Mentioning other reviews

4. Interpreting the work

5. Judging the work

5.1 Providing evaluative comments

5.2 Recommending or disrecommending the work

6. Expressing general opinions and thoughts

7. Sharing the writer’s personal experience

100

8.57

48.57

8.57

84.29

4.29

92.86

15.71

Obligatory

Conventional

Obligatory

Optional

Conventional

Optional

Conventional

Optional

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Table 4

The Move-Step Framework and the Number of ARs in which Move or Step Occurs in Descending Order

Move/step

No. of ARs

(AR = 70)

Status

1. Heading

2. Describing the work

3. Providing external information

3.2 Providing general knowledge

6. Expressing general opinions and thoughts

4. Interpreting the work

5. Judging the work

5.1 Providing evaluative comments

3.1 Providing the artist’s background

3.4 Mentioning quotes

7. Sharing the writer’s personal experience

3.3 Discussing a past event that influences the work

3.5 Mentioning other reviews

5.2 Recommending or disrecommending the work

100

92.86

84.29

48.57

15.71

8.57

4.29

Obligatory

Conventional

Optional

Table 5

The Total Occurrences of All the Moves and Steps in the Corpus

Move/step

Occurrence (times)

1. Heading

2. Describing the work

3.1 Providing the artist’s background

3.2 Providing general knowledge

3.3 Discussing a past event that influences the work

3.4 Mentioning quotes

3.5 Mentioning other reviews

4. Interpreting the work

5.1 Providing evaluative comments

5.2 Recommending or disrecommending the work

6. Expressing general opinions and thoughts

7. Sharing the writer’s personal experience

Total

520

218

436

212

164

348

2083

3.36

24.96

10.47

20.93

0.34

4.03

0.29

10.18

7.87

0.19

16.71

0.67

100

Damrongmanee & Rojanaatichartasakul (2023), pp. 40-60

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Table 6

The Total Occurrences of All the Moves and Steps in the Corpus in Descending Order

Move/step

Occurrence (times)

2. Describing the work

3.2 Providing general knowledge

6. Expressing general opinions and thoughts

3.1 Providing the artist’s background

4. Interpreting the work

5.1 Providing evaluative comments

3.4 Mentioning quotes

1. Heading

7. Sharing the writer’s personal experience

3.3 Discussing a past event that influences the work

3.5 Mentioning other reviews

5.2 Recommending or disrecommending the work

Total

520

436

348

218

212

164

2083

24.96

20.93

16.71

10.47

10.18

7.87

4.03

3.36

0.67

0.34

0.29

0.19

100

Moves and Steps of the Art Review

Move 1: Heading

is an attention getter. As the title of an art review article, it usually attracts the

attention of the reading audience and gives the reader a glimpse of the work and its artist. This

move always appeared first and occurred in 70 out of 70 ARs in this corpus (100%) showing its

obligatory status. Examples 1 (an installation review) and 2 (a sculpture review) illustrate Move 1.

(1) Adrian Burrell Explores the Difficulty—and the Promise—of Escaping Black

American History (AR3)

(2) Jonathan Baldock Cultivates an Unearthly Garden of Delights (AR18)

Move 2: Describing the work

provides the reader with information about the work being

reviewed regarding the type of work (e.g. painting, sculpture, photography, installation), medium,

technique, title, artist and subject matter. The descriptive information also includes the details of

art elements visually present to the viewer such as line, color, shape and form. Words like depict,

portray, and feature can help identify this move. In some instances, similes were used when the critics

wanted to compare what is seen with something else. The words like and as signal this figurative

speech. This move occurred in 70 ARs or 100%, indicating its obligatory status. Example 3 is an

illustration of this move found in a review of an installation.

(3) Her 1986 project Les Aveugles (The Blind)

features

stark black-and-white photographs

of unnamed respondents to the question, many with disheveled hair, cracked lips, and

closed or blankly staring eyes. (AR6)

Move 3: Providing external information

educates the reader by offering information related to

the work or artist as well as other knowledge. This move can be achieved through five different

steps which are providing the artist’s background, providing general knowledge, discussing a past

event that influences the work, mentioning quotes, and mentioning other reviews. Move 3

occurred in 100 ARs or 100%, which demonstrates its obligatory status.

Step 3.1 Providing the artist’s background

gives further information about the artist of the

work being reviewed by the writer. This information can be about the artist’s childhood, personal

life, education, artistic style, influences, and inspiration. The artist’s background helps make the

reader understand and appreciate the work more. This step occurred in 56 out of 70 ARs or 80%,

Damrongmanee & Rojanaatichartasakul (2023), pp. 40-60

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suggesting its conventional status. Example 4, which is found in a painting review, illustrates this

step.

(4) Mohammed Sami was born in Baghdad in 1984, and was co-opted by the Ba’ath party

to produce murals until he managed to escape, first to Sweden and eventually Britain.

(AR51)

Step 3.2 Providing general knowledge

contextualizes the review and educates the reader by

offering useful related information that helps enhance the reader’s understanding. The general

knowledge presented in this step can be about people, society, politics, science, culture, history, as

well as art history and art movements. This step occurred in all of the ARs in the corpus and,

therefore, is recognized as an obligatory step. Examples 5 (from a photograph review) and 6 (from

a drawing and painting review) are illustrations of this step.

(5) The Black is Beautiful movement was simultaneously formed in a defensive posture,

and a progressive one, using the language of popular culture imagery to make the case

that Black people embody their own kind of allure. It has helped make African

Americans generally more visible in the mainstream culture: In 1968, one of the first

interracial television kisses (this one between a white man and a Black woman) took

place on “Star Trek,” between Captain Kirk and Lieutenant Uhura, though the scene’s

actress, Nichelle Nichols, wore her hair in a straightened style typical for the time.

(AR49)

(6) Although it is not generally remembered outside Scandinavia, what happened to

Denmark in the early years of the 19th century was also traumatic. In 1807, during the

Napoleonic Wars, the capital, Copenhagen, was heavily bombarded by the British for

the second time (the first was in 1801). (AR57)

Step 3.3 Discussing a past event that influences the work

explains how the work is influenced

by a certain event. This step is usually written in the past tense and recalls past events that directly

influenced the work’s creation. This step occurred in only 6 out of 70 ARs in this corpus or 8.57%,

suggesting its optional status. Example 7, which is found in a photograph review, demonstrates

this step.

(7) The scans were leaked after Mahsa Amini, a young Kurdish woman who also went by

the name Jina, died in Tehran in police custody in September. She had been detained

on the grounds that she was not properly observing Iran’s hijab law. Her death sparked

widespread protests in the country, and though pushback from government forces has

been severe, with hundreds reported killed and thousands more arrested, the protests

still haven’t stopped. (AR47)

Step 3.4 Mentioning quotes

refers to someone’s speech to shed more light on the work or artist.

This step is identified by the use of quotation marks together with the name of the speaker. The

speaker may comment on the work and/or the artist, or provide general thoughts and opinions.

This step occurred in 34 out of 70 ARs in the corpus (48.57%), indicating its optional status.

Examples 8, which is found in a painting review, and 9, which is found in a ceramics review, are

illustrations of this step.

(8) … Bowling wrote, “The structure of Black life has revealed, over centuries, a creative,

self-perpetuating process of anarchist, pro-life zeal which a study of the fine arts and

history alone, though helpful, can never fully define.” (AR4)

(9) “In the beginning, there was clay,” intones Gates,… (AR34)

Damrongmanee & Rojanaatichartasakul (2023), pp. 40-60

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Step 3.5 Mentioning other reviews

provides other critics’ opinions on the same work being

reviewed by the writer. Words and phrases like reviewers, critic and what the other critics said identify

this step. Found only in 6 out of 70 ARs in the corpus or 8.57%, this step is optional. Example 10,

found in an installation review, demonstrates this step.

(10)

Reviewers

initially called The Blind poignant, even moving. (AR6)

Move 4: Interpreting the work

posits the possible meaning of the work. In this step, the writer

presents his or her own interpretation of the work drawing from visible evidence. As this step

often deals with abstract ideas, it can be signalled by the words like represent, symbolize and suggest.

This move occurred in 63 out of 70 ARs in the corpus or 90%, which indicates its conventional

status. Examples 11, which is found in a sculpture and drawing review (the phrases in bold), and

12, which is found in a sculpture review, illustrate this step.

(11) Jacqui Crocetta stands an ivory cloak that

embodies

her White privilege within a

rock garden planted with text about racial issues. One of several artists who employ

found wood, Pierre Davis tops dried branches with three yellow umbrellas to

symbolize

change and growth. Among Zofie King’s offerings is “Final Thoughts,”

which places a glowing amber brain inside a partly cloaked cage to

represent

someone whose thinking is confined by preconceptions. (AR59)

(12) The artist’s oversized flowers at Stephen Friedman Gallery, London,

address

ideas

of inheritance and nurture. (AR 18)

Move 5: Judging the work

is the move in which the writer evaluates the work in terms of its

effectiveness, value, aesthetics and quality. The move can be accomplished by providing evaluative

comments and recommending or disrecommending the work.

Step 5.1 Providing evaluative comments

is the step where the writer offers judgement about

the work. This step is usually signaled by the use of superlative adjectives like greatest, most compelling,

most thorough, most effective, best, and most beautiful. Sometimes, the writer makes use of comparative

adjectives such as less engaging and less successful. Also prevalent is the use of evaluative adjectives like

magnificent, fascinating, fantastic, wonderful, brilliant, extraordinary, unmissable, gorgeous, masterful, dazzling,

ravishing, spectacular, impressive, unconvincing, skillful or a combination of an intensifying adverb and an

adjective such as extremely effective, utterly perfect, undeniably beautiful and absolutely lovely. This step

occurred in 59 out of 70 ARs in the corpus or 84.29%, which indicates its conventional status.

Examples 13-16 illustrate this step found in reviews of painting, ceramics, drawing and painting,

and painting, respectively.

(13) Crosthwaite

effectively

generates a deeply empathetic body of work that kindles a

faint flame of hope in a dark landscape. (AR19)

(14) As a celebration of clay’s strangeness and plasticity, the Hayward’s exhibition is a

fantastic

aesthetic trip. Yet as an intervention in the ongoing broader dialogue

between art and craft, what it does not do is reckon with contemporary ceramics’

complex relationship to labour, luxury and commerce…(AR29)

(15) The result is

visually striking

but also

metaphorically apt

. (AR61)

(16) A few sculptures and installations are included, but they’re

less engaging

. …

The

most effective

installation features images. (AR68)

Step 5.2 Recommending or disrecommending the work

is the step in which the writer

explicitly recommends or disrecommends the work to the reader. This step is generally signaled

by the word recommend or the use of imperative, for example, come decide for yourself. This step is not

commonly used as it occurred in only 3 out of 70 ARs or 4.29% indicating that the step is optional.

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LEARN Journal: Vol. 16, No. 2 (2023) Page

Examples 17 (a drawing and painting review) and 18 (a painting, assemblage and ceramics review)

are illustrations of this move.

(17) So I

recommend

“Beyond the Light: Identity and Place in Nineteenth-Century

Danish Art.” (AR57)

(18) Oh, God,

run, don’t walk

, to Regen Projects in Hollywood for Elliott Hundley’s

latest exhibition. (AR64)

Move 6: Expressing general opinions and thoughts

allows the writer to share his or her general

opinions and thoughts with the reader regarding the work. In this move, the voice of the writer is

heard; therefore, words and phrases such as I, I think, I believe, and I feel tend to be used to signal

this move. In some occasions, the writer makes use of a rhetorical question which is signaled by

the question mark. This move can also be speculative in tone and words like may, perhaps, seem, and

probably can help identify this move. This move occurred in 65 out of 70 ARs in this corpus or

92.86%, indicating its conventional status. Examples 19-21 are some illustrations of this move.

These examples are found in reviews of an installation and photographs, drawings and paintings

and paintings, respectively.

(19) How should we process the past

How can MoMA, the mausoleum of yesterday’s

radical art, stay relevant

(AR45)

(20) But

I think

it can be just as interesting to think about the way the pictures like his

slide away from such narratives, like truant schoolchildren. (AR57)

(21)

Perhaps

in his effort to freeze time, to hold on to an image of the city that was

disappearing, he froze out the sounds, too. (AR60)

Move 7: Sharing the writer’s personal experience

is the move in which the writer shares his or

her personal experience with the reader. This experience can be a general experience or the

experience of visiting the exhibition under review. This move is signalled by the words I, my, and

me. This move occurred in only 11 out of 70 ARs or 15.71%, which suggests its optional status.

Examples 22-24 demonstrate this move. These examples are found in reviews of paintings,

drawings and paintings, and ceramics, drawings and paintings, respectively.

(22) I went this past April to the little scuola, smushed between a canal and the Arsenale,

and am happy to provide this TripAdvisor-style update: The pictures remain

shadowy, but the crowds are zero! (AR46)

(23) My Swedish grandfather used to sketch ships passing through this very strait, then

send them to me in Australia. (AR57)

(24) When I saw the show at the Met in the spring, where its thin premise was stretched

interminably in room after room, my eyes soon glazed over. (AR67)

The results of the study reveal that the art reviews contained four moves previously not

identified in the existing literature, namely Move 1: Heading, Move 3: Providing external

information, Move 6: Expressing general opinions and thoughts, and Move 7: Sharing the writer’s

personal experience. Although Cretiu (2002) proposed that an art review includes the CV of the

artist and information regarding where and when the artwork is exhibited, which is similar to Move

3 of the present study, she did not cover the other elements of Move 3, including past events

influencing the artwork, mentioning quotes, and mentioning other reviews. As for Feldman (1994),

his art criticism model covered only the components of describing, analysing, interpreting, and

judging, which are similar to Move 2, Move 4, and Move 5 of the present study, respectively.

However, he did not mention Move 1, Move 3, Move 6, and Move 7 in his art criticism model.

It is interesting to note that M1: Heading is present in all the 70 ARs (100%, obligatory)

although the move was never mentioned in the existing literature. This can probably be explained

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by the fact that when art reviews appear in online newspapers or magazines, they are inevitably

influenced by the convention of the journalistic discourse. One characteristic of the newspaper or

magazine genres is that they often require writers to provide news headlines or article titles. Art

review writers, therefore, need to observe the norm of the genre as well. Also, the heading can

help writers attract the attention of their target audience and give their readers an idea of what the

review is going to be about.

Another unexpected finding is M3, another new move found in this study. M3: Providing

external information can also be considered an obligatory move since it was found in all the 70 art

reviews. It occurred 751 times or 36.06% of the total occurrences of all the moves and steps in the

corpus. This demonstrates that one of the goals or purposes of the art reviews is to educate the

reader, which is consistent with Barnet (2005). This is probably because art review writers have as

their audience the general public, who presumably do not have extensive expert knowledge in art.

With that in mind, one of the writers’ jobs is to provide their readers with relevant knowledge and

information to contextualize the art being reviewed in order to enhance the readers’ understanding.

External information can be about a number of subjects, for instance, the Black is Beautiful

movement (AR49), Denmark in Napoleonic Wars (AR 57) or an artist’s background (AR51).

In his art criticism model, Feldman (1994) did not mention M3 as a main component of

art reviews. This could possibly be attributed to the fact that he probably created his framework

based on the assumption that the art review writers and readers are in the inner circle of the art

community such as professional artists and art critics who have a background with extensive

knowledge of art. Therefore, providing external information may not seem strictly necessary in

that case.

M6: Expressing general opinions and thoughts, and M7: Sharing the writer’s personal

experience are the last two new moves found by this study. These two moves show that in art

reviews, apart from interpreting and evaluating the artwork, writers can and often express their

own voice regarding various other aspects. Through M6, writers can reveal their reflections,

feelings, concerns, doubts, or speculations. Through M7, they can share their personal experience

on various aspects with their readers. With the use of the first person pronoun “I”, art reviews are

comparable to artist statements in terms of tone as the artist statement is also characterized by

their subjective tone (Damrongmanee, 2016).

The last notable finding which may be contrary to the popular understanding of art reviews

is that they are generally not highly judgemental. Although M5: Judging the work was found in 59

out of 70 ARs (84.29%) making it a conventional move that should be included in an art review,

in terms of number of occurrences, M5 occurred only 168 times or 8.06% of total occurrences.

This number of occurrences is significantly lower than M2: Describing the work, which occurred

520 times or 24.96% and slightly less than M4: Interpreting the work, which occurred 212 times

or 10.18%. Based on these findings, it can be seen that more space in the ARs was dedicated to

art description and interpretation than evaluation. This finding is in agreement with Barrett (2008)

who states that the art review is more descriptive and interpretive rather than judgmental in nature.

Moreover, regarding making recommendations, Move 5 Step 2: Recommending or

disrecommending the work was rarely found in the current corpus. As an optional move, it is

present in only 3 art reviews, or 4.29% of all the ARs (4 times or 0.19% of the occurrences of all

the moves and steps in the corpus). This is also contrary to the common expectation or belief that

art reviews are mainly written to convince the readers to visit or not visit a certain art exhibition.

From the finding, it can be said that art critics tend to provide details, descriptions and a

great deal of external objective information to contextualize the art being reviewed rather than

bombard the reader with their evaluative comments and recommendations or heavily influence

the readers’ decision. They provide information and offer their interpretation more often than

evaluate or judge the work. The readers are mostly just invited to make their own informed

decision based on the information received from the review.

Damrongmanee & Rojanaatichartasakul (2023), pp. 40-60

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Common Move Patterns of the Art Review

To answer Research Question 2, which focuses on the move patterns of the art review,

the sequences of the moves in the 70 ARs were analyzed. The results revealed that no two ARs

shared an identical move pattern from the first position to the last position. All the ARs in the

corpus contained M1, M2, and M3, which are obligatory moves, but all of them also incorporate

some conventional and optional moves and steps in no specific pattern or sequence. For example,

AR23, which consists of the minimum number of moves of 10, has its moves sequenced as M1-

M3-M6-M3-M2-M5-M3-M6-M5-M3. AR46, which utilizes the maximum number of moves of 50,

has its move pattern of M1-M2-M3-M2-M5-M3-M6-M3-M6-M3-M6-M5-M3-M6-M5-M3-M2-

M6-M3-M2-M3-M6-M3-M2-M3-M6-M5-M2-M3-M2-M5-M3-M2-M5-M3-M5-M2-M6-M2-M5-

M2-M3-M7-M3-M5-M3-M6-M3-M2-M3. The average number of moves used by each AR in the

corpus was 26.94 moves. The longer an art review is, the more times certain moves and steps

reoccur.

Although move patterns vary considerably among the ARs, M1: Heading always comes

first. M2, M3, M4, M5 and M6 can be found in different positions including the second position

(after M1), in the middle, or the final position. M7, however, never appeared after M1 or at the

final position. There are some preferred patterns for the first three positions of the AR corpus as

shown in Table 7.

Table 7

The Move Patterns of the First Three Moves of the AR Corpus

Move patterns

No. of ARs

(AR = 70)

M1-M2-M3

21.43

M1-M3-M2

14.29

M1-M3-M6

11.43

M1-M4-M3

8.57

M1-M2-M6

7.14

M1-M5-M2

4.29

M1-M3-M5

4.29

M1-M4-M2

4.29

M1-M4-M6

4.29

M1-M6-M5

4.29

M1-M3-M4

2.86

M1-M6-M2

2.86

M1-M6-M3

2.86

M1-M6-M4

1.43

M1-M4-M5

1.43

M1-M2-M4

1.43

M1-M5-M3

1.43

M1-M5-M7

1.43

Total

100.00

Damrongmanee & Rojanaatichartasakul (2023), pp. 40-60

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From Table 7, it can be seen that M1 followed by M2 and M3 is the most frequently used

pattern as it was found in 15 ARs or 21.43%. The second and third most prevalent patterns are

M1-M3-M2 and M1-M3-M6, which were found in 10 ARs (14.29%) and 8 ARs (11.43%)

respectively. This shows that after the heading, it is very common to start a review by describing

the work as well as giving extra information and expressing an opinion before moving on to

interpret and evaluate the work, which usually comes later.

Another aspect worth noticing is that although the ARs follow no fixed move patterns,

certain moves tend to occur together more frequently than others in the study. The same pattern

of move co-occurrences often appears more than once in each AR. Table 8 shows the four most

common move co-occurrence patterns found in the corpus.

Table 8

The Most Common Move Co-Occurrence Patterns in the AR Corpus

Move co-occurrence

Occurrence (times)

Average occurrence per AR

M2 and M3

465

26.72

6.64

M3 and M6

314

18.05

4.49

M2 and M6

239

13.74

3.41

M2 and M4

190

10.92

2.71

M2 and M3 were very often used together by the writers, probably because when the

writers describe a particular artwork, oftentimes they need to provide the reader with general

knowledge about the work or the artist to enhance the reader’s understanding. By doing this they

can effectively contextualize the artwork and increase the reader’s appreciation of the art being

described. Example 25 shows how the two moves co-occur. (M3 is italicized.)

(25) The subject of Alice Neel’s painting Marxist Girl (Irene Peslikis) (1972)—a founder of

the New York Feminist Art Institute—presides over a worn purple chair like a self-

possessed sovereign of bohemia. (AR14)

As they provide general knowledge or describe art, the writers tend to express their

opinions and thoughts alternately as shown by the co-occurrences of M3 and M6 as well as M2

and M6. This signals the subjective tone of art review genre where the writers conventionally

express their voice. It can also highlight the writer’s individuality and unique opinions as far as

describing art and providing general knowledge is concerned. Examples 26-27 illustrate co-

occurrences of M3 and M6 as well as M2 and M6 respectively. (M6 is italicized.)

(26) For all that’s been said about the American painter Edward Hopper (1882-1967), the

artist still remains something of an enigma. Perhaps it is the strangeness of his paintings,

which often focus on quiet, ephemeral moments where little is happening and yet

some kind of revelation seems imminent. Perhaps it is the inscrutability of the man himself,

whose few statements revealed little of his inner life. (AR10)

(27) If this world has a deity, then perhaps it’s Mother Flower: a totemic, stuffed-fabric bloom

whose pink face is tattooed with green floral motifs borrowed from European folk

art. (AR18)

Regarding the co-occurrences of M2 and M4, this pattern is similar to Feldman’s approach

since it starts with describing and analyzing, followed by interpreting (Feldman, 1994). Art

description usually comes with interpretation, which is logical. By following this pattern, the writer

Damrongmanee & Rojanaatichartasakul (2023), pp. 40-60

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can create a smooth transition from an objective tone to a subjective tone progressing from

objective observation in the describing stage to subjective interpretation. Example 28 illustrates a

co-occurrence of M2 and M4. (M4 is italicized.)

(28) Layered with indeterminate forms, faint gestures evoking spray paint, and broad

strokes and dripping splatters of oil, the canvas is energetic and chaotic, reflecting its

turbulent times. (AR4)

The findings show that the move patterns are not as straightforward as the generic

structure proposed by Cretiu (2002), which consists of introduction, transition, body, and the

termination, and the art criticism model by Feldman (1994), which contains description, analysis,

interpretation, and judgement. One thing that can be said about the move patterns of the art review

is that although there are some preferred patterns at the beginning and some preferred move co-

occurrences, there is still plenty of room for writers to express their uniqueness through unique

employment of moves in a variety of patterns. They can draw from different moves and steps

among the moves and steps available and explore different possibilities of sequencing and

combining them the way they would like. By doing so, they can show their creativity through the

choice of moves used in no fixed pattern, and this is probably not beyond the reader’s expectation.

Compared to more highly academic genres, diverse styles and less predictable patterns appear to

be more acceptable in the art review genre. The art reviews likely reflect the nature of the art critic

who, as a member of the art community, may feel the need to be original, creative and expressive

in the way they write as writing is, after all, art in itself. In this sense, the art review genre is

comparable to the artist statement genre where writers also have great freedom to sequence moves

and steps as they wish as long as they include the obligatory moves (Damrongmanee, 2016). This

is not surprising because ultimately, the art community is supposed to be a community that invites

creativity, welcomes originality and cherishes individuality.

Conclusion and Implications

Our findings revealed a seven-move-seven-step framework for art review writing as the

answer to the first research question regarding what the moves and steps commonly found in art

reviews are. Drawing on the findings of this research, when writing art reviews, the writer should

do the following: begin the writing with a heading to attract attention (Move 1), describe the work

(Move 2), and educate the reader (Move 3) - all of which are obligatory moves. Also, it is

recommended that they offer interpretation by using Move 4, which is a conventional move.

Judgement (Move 5 Step 1) can be made, but recommendations (Move 5 Step 2) are not required.

Writers should grab the reader’s attention from the start by using an interesting heading

before moving on to describe the artwork and add external information to contextualize the art

and enhance the reader’s understanding and art appreciation. This can be done by providing

information about related knowledge on, for example, social issues, politics, the art movement or

artist’s background. After that, writers should offer their interpretation of the work as well as

evaluate the work. They are encouraged to share their opinions and thoughts throughout the

review since, as the finding suggests, M6 was used abundantly and in different positions across the

AR corpus.

Regarding pedagogical implications, when teaching art students to write an art review,

teachers can refer to the seven-move-seven-step framework of the art review proposed by this

study and explain the purposes and distinctive characteristics of each move and step. Whether

each move or step is obligatory, conventional or optional should also be taught to the students so

that they know and can conform to the conventions of this written genre. Moreover, with the

knowledge gained from this study, teachers can create better research-informed materials for their

students. Also, drawing on the findings of this study, teachers will hopefully be able to teach and

provide feedback more effectively and confidently.

Damrongmanee & Rojanaatichartasakul (2023), pp. 40-60

LEARN Journal: Vol. 16, No. 2 (2023) Page

To answer the second research question regarding the common move patterns of art

reviews, our findings showed that there are no fixed move patterns in writing art reviews. Writers

can have freedom to play with their choice and order of moves and steps in their writing as long

as they observe the writing convention of the genre. That is, if they include obligatory moves and

conventional moves in their review, they are free to demonstrate originality and creativity through

their writing.

However, writing without following a fixed pattern can be challenging for low-proficiency

writing students. In that case, teachers can provide them with an outline of how to structure an art

review. A possible structure, for instance, can consist of the heading and three paragraphs. The

first paragraph may provide an art description together with related knowledge and external

information. In the second paragraph, the writer can further the description and offer an

interpretation as these two moves tend to occur together based on our research. In the final

paragraph, they can evaluate the work as well as express the feelings and thoughts they have about

the work.

Ultimately, it is hoped that the findings of the present study can contribute new knowledge

in the field of art review, particularly for the visual arts, and that students or novice art critics

learning how to write effective art reviews can benefit from the research in various ways.

In order to further study the art review genre, additional research should be carried out.

For the benefit of Thai students or Thai writers wanting to excel at writing effective art reviews,

future research studies can be done on art reviews written in the Thailand context. Furthermore,

art reviews of other types of art, such as music and performance should also be explored in

additional research to extend the art review genre knowledge.

About the Authors

Monthira Damrongmanee: An assistant professor at Chulalongkorn University Language

Institute (CULI), Bangkok, Thailand. Her research interests include English for Specific Purposes

(ESP), genre analysis and active learning instructional strategies.

Seehhazzakd Rojanaatichartasakul: A full-time lecturer at Chulalongkorn University Language

Institute (CULI), Bangkok, Thailand. He holds a PhD in English Language Teaching from

Language Institute of Thammasat University (LITU), Bangkok, Thailand. His research interests

include Applied Linguistics, Corpus Linguistics, Teacher Professional Development, and

Language Testing.

Acknowledgements

We would like to express our gratitude to Chulalongkorn University Language Institute

(CULI) for funding our research study and CULI Research Department for great support

throughout. We are also deeply indebted to our mentor, Associate Professor Dr. Issra

Pramoolsook, who has provided us with valuable knowledge, and insightful suggestions from the

beginning to the very last step of our research journey. Last but not least, we would like to thank

Ajarn Richard Dennis Lemarie for being our kind language consultant for this research project.

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Appendix A

The List of Ten Websites

No.

Website

Title

Length

Type of art

AR1

www.artnews.com/c/art- in-

america/

Art in America

912

video and poster

AR2

www.artnews.com/c/art- in-

america/

Art in America

1,156

installation

AR3

www.artnews.com/c/art- in-

america/

Art in America

751

installation

AR4

www.artnews.com/c/art- in-

america/

Art in America

981

painting

Damrongmanee & Rojanaatichartasakul (2023), pp. 40-60

LEARN Journal: Vol. 16, No. 2 (2023) Page

AR5

www.artnews.com/c/art- in-

america/

Art in America

707

photograph

AR6

www.artnews.com/c/art- in-

america/

Art in America

910

installation

AR7

www.artnews.com/c/art- in-

america/

Art in America

853

painting

AR8

www.theartnewspaper.com

The Art Newspaper

1,303

painting

AR9

www.theartnewspaper.com

The Art Newspaper

577

installation

AR10

www.theartnewspaper.com

The Art Newspaper

1,141

painting

AR11

www.theartnewspaper.com

The Art Newspaper

1,077

painting

AR12

www.theartnewspaper.com

The Art Newspaper

761

painting and installation

AR13

www.theartnewspaper.com

The Art Newspaper

1,278

painting and photograph

AR14

www.theartnewspaper.com

The Art Newspaper

1,284

painting

AR15

www.frieze.com

Frieze

663

painting

AR16

www.frieze.com

Frieze

497

installation

AR17

www.frieze.com

Frieze

664

Installation, print and drawing

AR18

www.frieze.com

Frieze

650

sculpture

AR19

www.frieze.com

Frieze

622

painting

AR20

www.frieze.com

Frieze

657

photograph

AR21

www.frieze.com

Frieze

662

painting

AR22

www.apollo-magazine.com

Apollo

958

painting

AR23

www.apollo-magazine.com

Apollo

937

painting

AR24

www.apollo-magazine.com

Apollo

806

painting and sculpture

AR25

www.apollo-magazine.com

Apollo

875

painting

AR26

www.apollo-magazine.com

Apollo

1,012

painting and sculpture

AR27

www.apollo-magazine.com

Apollo

1,121

painting

AR28

www.apollo-magazine.com

Apollo

686

video installation

AR29

www.artreview.com

ArtReview

811

ceramics

AR30

www.artreview.com

ArtReview

428

painting

AR31

www.artreview.com

ArtReview

868

installation

AR32

www.artreview.com

ArtReview

441

embroidery

AR33

www.artreview.com

ArtReview

418

painting

AR34

www.artreview.com

ArtReview

848

ceramics

AR35

www.artreview.com

ArtReview

493

photograph

AR36

www.wsj.com

The Wall Street Journal

840

painting and drawing

AR37

www.wsj.com

The Wall Street Journal

765

photograph

AR38

www.wsj.com

The Wall Street Journal

911

painting

AR39

www.wsj.com

The Wall Street Journal

856

drawing

Damrongmanee & Rojanaatichartasakul (2023), pp. 40-60

LEARN Journal: Vol. 16, No. 2 (2023) Page

AR40

www.wsj.com

The Wall Street Journal

917

ceramics

AR41

www.wsj.com

The Wall Street Journal

961

painting

AR42

www.wsj.com

The Wall Street Journal

853

painting and sculpture

AR43

www.nytimes.com

The New York Times

1,682

photograph

AR44

www.nytimes.com

The New York Times

1,173

painting

AR45

www.nytimes.com

The New York Times

1,050

installation and photograph

AR46

www.nytimes.com

The New York Times

1,667

painting

AR47

www.nytimes.com

The New York Times

546

photograph

AR48

www.nytimes.com

The New York Times

686

photograph

AR49

www.nytimes.com

The New York Times

1,306

photograph

AR50

www.theguardian.com

The Guardian

919

painting

AR51

www.theguardian.com

The Guardian

1,198

painting

AR52

www.theguardian.com

The Guardian

975

painting

AR53

www.theguardian.com

The Guardian

1,050

painting and sculpture

AR54

www.theguardian.com

The Guardian

1,205

painting and sculpture

AR55

www.theguardian.com

The Guardian

804

painting

AR56

www.theguardian.com

The Guardian

928

sculpture and photograph

AR57

www.washingtonpost.com

The Washington Post

1,481

drawing and painting

AR58

www.washingtonpost.com

The Washington Post

1,042

Installation, sculpture and

photograph

AR59

www.washingtonpost.com

The Washington Post

1,024

sculpture and drawing

AR60

www.washingtonpost.com

The Washington Post

1,292

painting

AR61

www.washingtonpost.com

The Washington Post

1,046

drawing and painting

AR62

www.washingtonpost.com

The Washington Post

1,762

drawing, painting and sculpture

AR63

www.washingtonpost.com

The Washington Post

1,046

drawing, painting, assemblage

and print

AR64

www.latimes.com

Los Angeles Times

1,100

painting, assemblage and ceramics

AR65

www.latimes.com

Los Angeles Times

1,217

painting

AR66

www.latimes.com

Los Angeles Times

1,344

installation

AR67

www.latimes.com

Los Angeles Times

1,240

ceramics, drawing and painting

AR68

www.latimes.com

Los Angeles Times

1,278

painting

AR69

www.latimes.com

Los Angeles Times

1,650

painting, sculpture and collage

AR70

www.latimes.com

Los Angeles Times

961

painting