"It is the artist, not the critic, who gives society something of lasting value."
This statement asserts that art, not the art critic, provides something of lasting value to society. I strongly agree with the statement. Although the critic can help us understand and appreciate art, more often than not, critique is either counterproductive to achieving the objective of art or altogether irrelevant to that objective.
To support the statement the speaker might point out the three ostensible functions of the art critic. First, critics can help us understand and interpret art; a critic who is familiar with a particular artist and his or her works might have certain insights about those works that the layperson would not. Secondly, a critic's evaluation of an art work serves as a filter, which helps us determine which art is worth our time and attention. For example, a new novel by a best-selling author might nevertheless be an uninspired effort, and if the critic can call our attention to this fact we gain time to seek out more worthwhile literature to read. Thirdly, a critic can provide feedback for artists; and constructive criticism, if taken to heart, can result in better work.
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.
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 artist's 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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