There is some confusion in the public and artists about the role of a critic. One confusion, that even exists amongst critics, is that they have power to influence the opinions of people. This is very unlikely, critics are amongst the most least powerful people in the art world, the music world and other areas that critics write about. (Number 9 on Hyperallergic’s 20 Most Powerless People in Art World.)
Another confusion occurs about what the critic chooses to write about. Reviewers rate and critics write. (Unlike film reviews you don’t see art reviews even with star ratings for even art reviewers like to think of themselves as art critics.) Criticism is writing about the subject and everything else. It is about thinking hard to see the connections between the subject and everything else.
Art, tv, museums, food vans are all aspects of our culture and therefore appropriate subjects for critiques. There are no-unworthy subjects for criticism, this is not to argue for cultural relativism any more than the claim that all minds can be psychologically examined is an indication that all minds are relatively equal.
On the subject of what critics write about conservative commentators scoff at the idea of studying popular culture. The study of Buffy, the Vampire Slayer is often mocked, as it is a commercial television series aimed at a youth audience. Yet it is, according to Elana Levine and Lisa Parks, “the most studied television series in the medium’s history” Undead TV, Essays on Buffy the Vampire Slayer, edited by Elana Levine and Lisa Parks (Duke University Press, 2007, Durham) (p.10) and point out the multiple critical issues in the series, “including the construction of a youth audience, teen stardom, generic hybridity, television narrative, media conglomeration, gender, sexual, racial and ethnic representation, and the nature of television criticism itself.” (p.11)
The critic acknowledges the appeal but doesn’t lose their analytical perspective. In Anelie Hastie’s “The Epistemological Stakes of Buffy the Vampire Slayers: Television Criticism and Marketing Demands” she argues that television criticism can attempt to resist market logics only by being fully cognisant of them. Hastie writes: “To be just another ancillary text would make scholarly studies complicit in a primarily consumerist economy rather than an epistemological one”. (p.91)
Hastie points out that “criticism does not have to exist in the same self-enclosed world of either the Buffy texts or television more broadly. In the context of Buffy’s own logic, this might mean that criticism can see alternative ‘dimensions’ to the world of Buffy as not inherently threatening.” (p.93) It is worth pointing the non-threat that critics pose to out to everyone who find critics threatening.
It is not just the role of the critic that can be confusing but who is the intended or implied reader of the critic. Critics are writing for the artist, they are not writing to change the artist, it is not personal. Critics, unlike reviewers are not advertising the product, the critic is discussing a product that the audience is already consumed. I wouldn’t be reading Undead TV if I hadn’t watched and enjoyed Buffy.