A small conference that focuses on the very notion of criticism and on various understandings of criticism, ranging from 'cultural critique' to 'celebration.' Among the speakers are: Yve-Alain Bois, Benjamin H. D. Buchloh, Helmut Draxler, Tim Griffin. The conference wants to challenge the wide-spread verdict on criticism as a more or less obsolete practice, without any real function or impact in a highly commercialized and corporate art world.
The Institute for Art Criticism at Frankfurt's Staedelschule, founded in
2003 by Daniel Birnbaum and Isabelle Graw, has regularly been arranging
lectures by leading critics and art historians.
December 18, the institute organizes a small conference that focuses on
the very notion of criticism and on various understandings of criticism,
ranging from "cultural critique" to "celebration." Among the speakers are:
Yve-Alain Bois, Benjamin H. D. Buchloh, Helmut Draxler, Tim Griffin.
Titled "The Power of Criticism," the conference wants to challenge the
wide-spread verdict on criticism as a more or less obsolete practice,
without any real function or impact in a highly commercialized and
corporate art world.
Throughout the last decades, new theoretical approaches have attempted a
fundamental critique of the traditional understanding of Modernism. The
prevailing canon of art history and the conventional tools for
interpreting art have been put into question. Does such a critique always
result in a new consensus, even new hegemonies (a new canon, a new
formalism)?
The question of what criticism can do or be when faced with the normative
power of the market will be approached not only from a journalistic point
of view but also in relation to a model of criticism as "Kulturkritik."
For a journalistic model of criticism, it seems necessary to ask, how one
can disagree with the value-judgments of the cultural industry while
operating from its center? And what notion of criticism would result from
claiming a distance whilst acknowledging an essential entanglement? The
cultural critical approach often raises another problem: while it insists
on the possibility of a fundamental critique of society, it tends to
neglect the specificity of its object. How can one reconcile the need for
a more general analysis with the necessity of doing justice to one's
object?
What does criticism mean today? We invite art historians, practicing
critics, editors, artists and academics from other fields to discuss these
problems, to re-negotiate the predicaments of a critical approach today.
Intitute for Art Criticism
Staedelschule, Duererstrasse 10
D-60596 Frankfurt am Main