The critics second function that of evaluator who filters out bad art from the worthwhile is one that we must be very wary of. History supports this caution. In the role of judge, critics have failed us repeatedly. Consider, for example, Voltaires rejection of Shakespeare as barbaric because he did not conform to neo-classical principles of unity. Or, consider the complete dismissal of Beethovens music by the esteemed critics of his time. The art critics judgment is limited by the narrow confines of old and established parameters for evaluation. Moreover, critical judgment is often misguided by the ego; thus its value is questionable in any event.
I turn finally to the critics third function: to provide useful feedback to artists. The value of this function is especially suspect. Any artist, or anyone who has studied art, would agree that true art is the product of the artists authentic passion, a manifestation of the artists unique creative impulse, and a creation of the artists spirit. If art were shaped by the concern for integrating feedback from all criticism, it would become a viable craft, but at the same time would cease to be art.
In sum, none of the ostensible functions of the critic are of much value at all, let alone of lasting value, to society. On the other hand, the artist, through works of art, provides an invaluable and unique mirror of the culture of the time during which the work was produced a mirror for the artists contemporaries and for future generations to gaze into for insight and appreciation of history. The art critic in a subordinate role, more often than not, does a disservice to society by obscuring this mirror.
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