Angela Vettese on the State of Art Criticism: Power Shift to Curators and Gallerists

In an interview with Artribune, art historian and critic Angela Vettese argues that art criticism has not ceased but has lost its power to determine artists' fortunes, a role now held by curators and gallerists. She notes that critics like Roberta Smith can still impact careers, but generally, curators and dealers act through exhibitions and production rather than words. Vettese emphasizes that criticism should serve as a free counterpoint, often failing and becoming mere approval. She traces the enduring link between art and capital, citing historical patrons like the Borghese family, Correr, and Rockefeller, and contemporary examples such as Steve McQueen, Isaac Julien, and El Anatsui funded by corporations. The curator-gallerist alliance, she says, has existed since the 20th century, with figures like Leo Castelli and Ileana Sonnabend financing neo-avant-gardes. Vettese observes that academic paths now favor curators over critics because critics earn less and are less needed, surviving only as editors or rare influential voices. She dismisses the notion that criticism is more commercial today, recalling courageous critics like Lucy Lippard and Carla Lonzi who lived through linguistic revolutions. She asserts that texts serve to explain exhibitions, not launch careers; success comes from exhibitions, not criticism. Vettese concludes that critics lack the power to produce or exhibit works, a power held by gallerists and curators.