“Leading with a discussion of food and wine criticism, Ross shows how debates about objectivity of taste provide a clue to the role of critics in the appreciation of art. She demonstrates encyclopedic knowledge of the main figures and arguments regarding aesthetic properties and opens up the material with her accessible style and concise summaries of the central topics.”
— Alan Goldman, author of Life's Values: Pleasure, Happiness, Well-Being, and Meaning
“At a time when philosophers of art are paying more attention to criticism, Two Thumbs Up offers an excellent contribution. It covers every aspect of the Humean tradition of criticism as well as pertinent debates, such as on the nature of aesthetic properties, supplementing the philosophical discussion with a valuable overview of the literature, all written in language clear to both general readers and philosophical specialists.”
— Noël Carroll, author of Beyond Aesthetics
“Two Thumbs Up offers a persuasive argument that experienced critics can importantly aid our appreciation of works of art. Stephanie Ross defends Hume’s famous view of the development of taste, addressing a host of philosophical questions regarding the subjectivity of aesthetic preferences. Her sophisticated solution is convincingly presented in an enjoyable, readable style.”
— Carolyn Korsmeyer, author of Savoring Disgust: The Foul and the Fair in Aesthetics
“One surprising delight is that Ross considers a tremendous variety of art forms that include architecture and landscape, not only visual or literary art forms that are comparatively easier to theorize. . . . my overall evaluation of Two Thumbs Up is that it is indeed a worthy work of art, and I recommend that you appreciate it.”
— PopMatters
"An expansive and witty examination of the usefulness of criticism... Ross cites the Latin 'de gustibus non est disputandum' ('there is no disputing of tastes'), a maxim that, in the age of social media, has never seemed more relevant. Opinions about newly-released films, books and television shows are like Twitter accounts: almost everybody has one. Stephanie Ross does not seem to be on Twitter, which perhaps explains how she found both the time and the enthusiasm to produce such an exhaustively researched book about critical assessment. One elegantly recursive passage in particular does a perfect job of summing up the value of the critic: in it, Ross quotes Lev Grossman’s review of James Wood’s How Fiction Works (2008), in which Grossman likens reading Wood to going bird-watching 'with somebody who has better binoculars than yours and is willing to share.' Ross recognizes this as the illuminating metaphor it is, and in doing so – and drawing our attention to it – offers up her own binoculars to the reader, giving us the pleasure of seeing clearly what might otherwise have remained out of sight.”
— Times Literary Supplement