h responses. Critics too look at these aspects of art, although usually for different reasons (to provide a sense of how well the artist has performed in each case rather than to provide a therapeutic context) and in greater specificity. Unlike the psychologist and most definitely different from the 'sthetician, the critic confines herself or himself to particular works of art, analyzing their structures, meanings, and problems, comparing them with other works, and evaluating them. Critics talk about art; 'stheticians about Art.
Victor Cassidy in his review of an exhibit titled "Daoism and the Arts of China" (which focused on landscape painting) at the Art Institute of Chicago relies upon a reader-response critical approach, in which the primary focus falls on the reader and the process of reading rather than on the author or the text. This reader may be the critic, she may be a member of the audience, or she may be the critic serving as a proxy for members of the audience. Gesterkamp considers himself to be the "reader" while Cassidy serves more as the reader-as-proxy-for-the-audience, for Gesterkamp takes on a certain authority to determine for others the meaning of the landscape "texts".
Lennert Gesterkamp, in his review of the same show, relies more on a model of meaning inherent not so much solely within the work of art itself as within both artwork and the artworld that produced it.
In other words, Gesterkamp is arguing that art is not, as we have so often been told, in the eye of the beholder. Or rather it may be in the eyes of
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