October 2004
An artistic lesson is based on the criticism of the artistic work, namely the expression of a positive or negative attitude towards it, and its analysis, meaning the support and explanation of its various dimensions. Critique and analysis are two complementary but not identical concepts. Thus, the teacher is both a judge (i.e., critic) who delivers verdicts and praise, and an anatomist (i.e., commentator-analyst) who seeks causes and reasons.
Journalism usually favors criticism and eschews analysis. Unlike the teacher-critic, the journalist-critic does not have the privilege of communicating with the recipients of his criticism, and therefore cannot claim or certify legitimacy, both for himself and his critique. Unlike the teacher-analyst, he lacks the space and knowledge for a substantive analytical approach. However, like the teacher, the journalist's right to exercise his critical role is granted only by "external good testimony," based on how well he has convinced the unknown and broad audience he addresses that he possesses the necessary knowledge, quality, and integrity to judge.
If the journalist-critic expresses a critical opinion, it can be easily countered that the artist in question did his sincere best, which justifies him, and that the artist did not seek the critic's opinion. However, such critical criticism is the only kind that makes sense to articulate, as it necessarily leads to the development of arguments to support the rejection claims, arguments that, at best, will help the artist himself and enlighten the public. Conversely, laudatory criticism should be limited to a simple and almost monosyllabic expression of praise. Any attempt to justify the praise and support it with arguments ends in vagueness, verbosity, and exaggeration, which ultimately harm the artist, even if he rejoices in the praise. In the end, journalistic criticism wounds when negative (and thus useful) and flatters when positive (and thus useless). This realization can inhibit the critical disposition of any journalist-critic.
The only fully free and automatically legitimized criticism concerns the behavior of the artist and the functioning of the artwork. In this case, the artist's artistic prowess is not judged, but rather how he treats and manages his art. This criticism is necessary because, whether it refers to dishonesty or misbehavior, the issue transcends the judgment of the artistic work's quality.
Plato Rivellis