Consequently, the dominant critical approach becomes that of the art historian, a specialised academic approach devoted to ‘discovering the meaning’ of art within the cultural context of its time. This is in perfect harmony with the museum’s function, since the approach is dedicated to seeking out and conserving ‘authentic’, original, readings of the exhibits. Again, this seems to put paid to that spontaneous, participators criticism which can be found in abundance in criticism of classic works of literature, but is absent from most art history.
The displays of art museums serve as a warning of what critical practices can emerge when spontaneous criticism is suppressed. The museum public, like any other audience, experience art more rewardingly when given the confidence to express their views. If appropriate works of fine art could be rendered permanently accessible to the public by means of high-fidelity reproductions, as literature and music already are, the public may feel somewhat less in awe of them. Unfortunately, that may be too much to ask from those who seek to maintain and control the art establishment.
4/5, band 7
4/5
2/5
3/5 (just don’t ask why it’s like that and keep going teacher)
3/5
3/5