If there’s one thing I despise, it’s haughtiness. And also unwashed dishes, seltzer water, and whoever picks the Game of the Year (Witcher 3? Really?). But those aren’t exactly as relevant. But before I delve into why the very condescension and existence of haughtiness make my fists curl, you should know that I am, by nature, a calm and indifferent human when it comes to things I’m not a fan of– the aforementioned examples are the rare exceptions that break through my typical indifference. I find this only makes my aversion all the more poignant, but take this as you will.
As I’ve grown older, I’ve found an emerging passion for accessibility in the arts, and this stems from my incredible opportunities and privileges that I’ve been given to learn and experience arts of all forms. As I realized and learned to appreciate my circumstances, I’ve witnessed others– namely those who ascribe to the idea of ‘high culture’– use their privileges to distinguish and discriminate those around them. I’ve seen opera goers laud themselves for being ‘cultured’, celebrate their circumstances as if they were something they deserved rather than something they were blessed with, and, to be frank, shit on all those who were not like them. And this is what infuriates me.
Art exists to share and create human experiences with one another. Art brings us together, makes us talk, think, and grow. And yet, this socioeconomic distinction between cultured and not exists and thrives and strips ‘high’ art of its very purpose. Attending an institute like Northwestern breeds so many chances to witness both this art that I love and the mentality I hate, and I’ve long grappled with the question, “How can I make this art accessible once more?”
Thankfully, I don’t have to answer this question, because Daniel Mendelsohn already did. In his piece “A Critic’s Manifesto”, Mendelsohn unravels the purpose and brilliance of a cultural critique, and gave to me the sweet reprise of knowing that there are others out there who strive to share the beauty of this art with all who want to see it. Mendelsohn proposes that a proper critic uses their place of privilege to educate others in a way that does not patronize but instead fosters a sense of inclusion and understand. He refers to the work of Andrew Porter and notes that “…by the time [Porter] described what he’d seen on stage, you—the reader—had the background necessary to appreciate (or deprecate) the performance as he had described it.” When I read this line I realized that an entire field already exists and is actively working to undo the arbitrary cultural boundaries I’ve come to loathe.
Although I believe one can appreciate art without any sort of precedence, the notion exists in our society that this high art requires it, so Porter and other critics are here to offer it to all. And that’s enough for me right now. But you know what I’m not still not satisfied about?
Seltzer. It’s just disgusting, folks.
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When I read Mendelsohn’s essay, I also really appreciated the educational aspects of criticism he was celebrating. I didn’t necessarily think about this in terms of accessibility, but as someone also frustrated with art’s inaccessibility, I completely agree with you. Granted, one still has to have access to the publications, but because the internet has become so much more accessible things may be looking up.
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i understand your prespectiveb and agree with the points you mentioned. Mendelsohn’s essay and the celebration of the educational aspects of criticism highlight the importance of making art and cultural criticism more accessible to a wider audience. https://www.myccpay.vip/
Traditionally, access to publications and specialized art criticism could be limited to those who had access to specific publications or resources. However, with the advent of the internet and digital platforms, there has been a significant increase in accessibility to art criticism and cultural discourse.
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I’m glad you resonated with Mendelsohn’s perspective on the educational value of criticism! At VOS Consulting Group, we similarly aim to demystify complex business challenges, making strategic insights more accessible to everyone. Indeed, with the increasing availability of the internet, access to such valuable resources is improving, opening up more opportunities for learning and engagement.
When I read Mendelsohn’s article, the question of accessibility in the arts did cross my mind. But while I agree with you that his idealized version of nonjudgemental judgement is a superb ideal, I am not sure that critical writing serves the purpose that he says it does for the general public. While he might be hoping to teach the masses with his criticism (apparently without them realizing it?), people tend to come to criticism to learn *what* an expert thinks about a certain art object, not *how* that expert thinks. So his goal, at least to me, seems to be to using a secondary result of his criticism as the basis for criticism’s value in general. Not the strongest argument, if you asked me.
And this isn’t even to mention how Mendelsohn believe his opinions more valuable because of his “knowledge” and “taste” (a little high on your horse there, Daniel?). But none of this is to say that criticism cannot be a bridge towards accessibility, because it can and should be! I just think that perhaps this accessibility is not the reason that we have criticism in the first place, and that this is an important distinction to make.
Also, as a sidetone, just wanted to mention that I loved how funny (and accessible) your essay is! The ending is great.
This is a thoughtful response to Mendelsohn’s article. I appreciate your point about the accessibility of critical writing to the general public. While Mendelsohn’s aspirations for “nonjudgmental judgment” and educating the masses are commendable, it’s true that many readers might primarily seek informed opinions on specific works, rather than the intricacies of the critical process itself.
Highlighting the distinction between the immediate “what” and the long-term “how” of criticism is valuable, and it sparks an interesting conversation about the primary purpose and intended audience for various forms of critical writing.
Your critique of Mendelsohn’s emphasis on “knowledge” and “taste” is also fair, raising questions about the inherent subjectivity and potential elitism within the field of criticism.
Overall, your comment offers a balanced perspective on the role of criticism, acknowledging its potential for accessibility while recognizing the need for wider discussions about its goals and audience engagement.
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This is a great essay. I think that you are completely right, that the human experience is my favorite aspect of art. I think the argument and discussion that results from inclusivity, something the art community severely lacks. One thing I struggle with, is does the critic owe anything to the art itself? Is there an obligation for the critic, whilst stimulating discussion for a wider audience, to improve the art as well? Or is that a totally separate sphere. I am not really sure personally. Very engaging essay tho
I agree that arbitrary, or even intentional barrier to hinder understanding in art is a great vice. After all, art does not exist to “filter” the “cultured” from the “uncultured:” instead, it comes to be in order to convey human emotions that we all share, to educate (perhaps in a more accessible way than words ever could, crossing the boundaries posed by language), and to deliver important messages by directly touching people’s souls.
Art, like criticism as you said, should be for the sake of love, and love includes rather than excludes.
There is one point that I have been thinking as I read through your post, though. It does not contradict with anything you said, but addresses the same topic under a slightly different light.
There are some art works more difficult to understand than others, not because the author/artist intentionally confuses its audience, but because it draws upon a vast background that is hard to elaborate in the artwork itself. For example, in Nietzsche’s work, he constantly refers to Greek mythologies and epic poems (e.g. Bacchae in Birth of Tragedy). Other examples such as the Bible being referred to all the time, and such as earlier art work being reflected in later works. Understanding is deepened by these references, and insights can be drawn if the reader has learned the work referred to before, but a “barrier” for understanding is so set up by the additional requirement of knowledge.
That said, I was trying to make the point that art should be as accessible as it can be. In other words, “unnecessary” confusion that can be avoided should be avoided, whereas necessary difficulty should require more work on the part of the audience.
Kinsey —
Your essay positions accessibility as a key theme to explore when it comes to cultural criticism: what cultural criticism is, what it does, what it should do?
This made me think more about accessibility in relation to art: are we talking about accessibility to art for audiences or accessibility to the role of the critic? Is a critic supposed to edify audiences as an expert, or does this ironically become a kind of gatekeeping in which the critic makes the audience feel its lesser expertise and authority? How does one foster accessibility in whatever respect without slipping into condescension? Is critique necessarily condescending or are there different modes of expressing judgment, of weighing in? Many, many questions here because you have arrived at an important topic.
I would link your interest in accessibility to questions of democracy. If art is no longer made in a court context (although one could argue that the visual and performing arts, even in a more commercial context the popular arts, still function through various modes of patronage), what does it mean for art to be democratic, both in its making and its receiving? Does this require a need for different kinds of accessibility—do we need to consider accessibilities, plural, of different sorts?
Nice start here. There’s a great literature on these questions of accessibiility if you continue to be interested in the topic.
Prof. Kramer
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