HOW DO WE TALK ABOUT ART? A SEMINAR ON CRITIQUING THE “CRIT” by Dagmara Genda

“What happens in a crit? Does it echo the machinations of the art world or is it an insular conversation?

The art critique forms an integral part of not only art education, but a variety of professional or semi-professional arts programs, of which artist residencies are one. However, the function of a critique is misty at best. There is no exhaustive history of the so-called „art crit,“ nor is there a particular methodology to how it should be conducted. Despite the fact that art has diversified into many sub-classifications—performance, conceptual, activist, archival, to name a few—and the evaluation of quality has been relativized by the introduction of new mediums and non-European traditions, the crit still forms the backbone of many art academies. Yale is famous for its „pit crits“ while CalArts became synonymous with the more free flowing marathon sessions introduced by Michael Asher. One of the more prominent observers of the crit structure is James Elkins, who has published numerous texts on how crits are run, and what they aim to do. Recently an independent arts organisation in the UK, Q-Art, published a booklet with statements about the crit from educators and art world professionals in London. In the Canadian online magazine Momus, artist-educator Josh Thorpe asks if the crit remains relevant today, and offers suggestions to reinvigorate the practice. With increasing frequency is the crit itself facing critique.

At the Berlin Art Institute, the notion and historical roots of the crit as pedagogical approach will be introduced and critiqued. Thereafter individual crits will be conducted in an attempt to yield feedback that is more directed or creative, depending on the needs of the participants.” (Text by courtesy of Dagmara Genda)

More information on the Dagmara Genda Website.