First-Person Exhibition Reviews Become Mainstream in Contemporary Art Criticism

The first-person exhibition review has become mainstream in art criticism, a significant shift within living memory. This trend contrasts with earlier editorial practices where first-person copy was typically rejected. Younger writers now routinely place themselves at the center of their texts. The phenomenon connects to broader cultural movements, including the personal essay's rise through blogs and social media. Historical precedents exist in Victorian-era first-person journalism and the New Journalism of the 1960s and 1970s, exemplified by Joan Didion. Didion's death last month prompted widespread reflection on her influence within the art world. Some critics now embark on lengthy, subjective accounts of how exhibitions make them feel, often published online without strict word limits. This approach implicitly acknowledges the subjectivity inherent in the critical act. The shift has created editorial challenges, such as determining when personal anecdotes or artist quotes become excessive. While results vary in quality, this personal refraction of art is now pervasive. The trend represents a move away from potentially compromised criticism found in gallery-owned publications. Other narrative perspectives, like second-person writing practiced by Didion and Peter Schjeldahl, also exist within the critical landscape.