What Makes Good Art Criticism?

A 2021 article by Janice Mills examines the qualities of effective art criticism, drawing on historical and contemporary studies. William Schack's 1942 critique lamented a lack of astute critics, emphasizing that art must be experienced directly. Philipp Strobl's 2018 case study of critic Gertrude Langer highlights her PhD in Art History and Ethnology, which she used to build a respected reputation in Australia after fleeing Nazi Austria in 1939. Langer's acerbic critiques of Modernism faced resistance but established her credibility. Maarit Jaakola (2015) distinguishes art journalism by the journalist's accumulated cultural capital and aesthetic legitimacy. Jenifer Fulton (2005) argues that postmodernism, exemplified by Andy Warhol and endorsed by Rosalind Krauss in the 1970s, blurred the line between artist and critic, requiring new critical frameworks. In Australia, the decline of print newspapers, especially in regional areas since 2012, has reduced coverage of local artists. Lawrie Zion et al. (2016) note that closures and centralization have left rural artists without representation, despite the potential of digital platforms. Phillipa Chong (2019) advocates for 'analytical subjectivity' as a tool for reader engagement, balancing emotional response with expertise. The article questions whether larger news publishers will return to specialized art criticism, suggesting independent publications may fill the gap.