However, reflecting on these three functions makes clear that the art critic actually offers very little to society.
The first function is better accomplished by docents and teachers, who are more able to enhance a layperson s appreciation and understanding of art by providing an objective, educated interpretation of it. Besides, true appreciation of art occurs at the moment we encounter art; it is the emotional, even visceral impact that art has on our senses, spirits, and souls that is the real value of art. A critic can actually provide a disservice by distracting us from that experience.
The critic s 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, Voltaire s rejection of Shakespeare as barbaric because he did not conform to neo-classical principles of unity. Or, consider the complete dismissal of Beethoven s music by the esteemed critics of his time. The art critic s 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 critic s 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 artist s authentic passion, a manifestation of the artist s unique creative impulse, and a creation of the artist s 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.
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