Rant 73: The function of art criticism

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Rant 73: The function of art criticism

After the press and journalism in general have had a grilling via the News of the World scandal this year, it seems pertinent to consider the role of the art press in creating value. Do art critics validate artists or is it the other way round, asks Helen Kaplinsky?

Contributed by: Helen Kaplinsky

The views expressed in The Rant are those of Helen Kaplinsky and forum contributors and unless specifically stated are not those of Axis. See Axis terms of use
Of All the Things I Could Have Done 013, 2008 - 2010
EJ MajorOf All the Things I Could Have Done 013, 2008 - 2010

Ten years ago there was a worry that, where before critics were seen as gatekeepers, the rampant and unregulated contemporary art market now dominated the critic, who seemed increasingly to act as its advocate and copywriter. Then came the idea that the curator had hi-jacked the position of the critic, with the shift towards self-conscious and critical curatorial practices.

So where have we got to today?

A couple of months ago I went to a discussion at the ICA in London, 'The Trouble with Art Criticism'. It included a panel who sit on different sides of the fence when it comes to many issues: JJ Charlesworth (Art Review), Adrian Searle (The Guardian), Tom Morton (Frieze) and Melissa Gronlund (Afterall).

However, in the most interesting part of the talk the idea of 'judgement' came to the fore and all the panellists took the same position. Judgement is the historical root of criticism, yet the relationship between judgement and value was a touchy issue which every member of the panel dodged as if their lives depended on it.

The function of art criticism is to make value judgements, on the assumption that this creates value for those artists who are favoured. But could the current generation of journalists be using artists as content in order to create value for themselves?

With the expansion of the art market has come the expansion of art training and professionalism. At the same time we increasingly consume journalism through the internet, which relies on ‘keywords’ and consequently foregrounds content.

As I review my own visibility as an art writer, it seems to me that my readership first and foremost relies on the status of the artists I work with. Success has always been partially about association. But this is more than ever the case today.

If 'content' is the new 'judgement', do writers make use of artists to validate their own career, creating value for themselves by strategic association?

 

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Posted by
jenny meehan
Post #1
Posted on 04 March 2012

Let me just slit my throat here...

YES

and, in a moment of doubt, Probably.

"the current generation of journalists be using artists as content in order to create value for themselves"

and, in a moment of hopefulnes, Maybe not all of them?

"If 'content' is the new 'judgement', do writers make use of artists to validate their own career, creating value for themselves by strategic association?"

and, then back to "YES, probably".

I think this a very interesting "rant" and I cannot wait to see what else comes up.  Sorry my contribution is a bit whimsical, I'm getting increasingly convinced that verbal and visual communication should keep well apart, but that's another matter! It's just so tempting to join the "rant"! 


Posted by
jenny meehan
Post #2
Posted on 04 March 2012

"yet the relationship between judgement and value was a touchy issue which every member of the panel dodged as if their lives depended on it."

Just read this again, and cannot stop myself inwardly laughing.  Of course they did!

Is there anywhere I can get a copy of that discussion, it sounds very interesting?


Post #3
Posted on 05 March 2012

 Thanks for your comments. I don't think the ICA have made recording of their events available yet, but I believe they plan to. I'm making an equiry and will keep you posted. Meanwhile here's the link to the event description http://www.ica.org.uk/?lid=30934


Posted by
jenny meehan
Post #4
Posted on 05 March 2012 as a reply to #3

Thank you very much Helen, I will take a look at that, I appreciate it, and thank you for writing such a good "Rant"!


Post #5
Posted on 08 March 2012

Given that so few critics are prepared to haul their lazy arses beyond Zone One, they are a complete irrelevance to most artists working in the UK today.


Post #6
Posted on 14 March 2012 as a reply to #5

I think it was Barnet Newman who once said that critics are as relevant to artists as ornithologists are to birds.


Post #7
Posted on 14 March 2012

Value, validation, worth, status... do they not exist for artists who aren't written about? At an art auction, value is attributed for a particular moment in time in a particular space without anyone writing a word. Other barters and exchanges also bestow value, worth etc.


Post #8
Posted on 18 April 2012

I have just been reading Agamben on taste and its appearance in the mid 17th century. I wonder if judgement is still attached to taste and whether the cristicism of taste can hold for judgement? 

Great rant sorry to be so late on the uptake!



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