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criticism without vocation of carping bait. Suggestive

Dear Readers:

Motivated by the opinions and assessments arising out of dynamic and enthusiastic discussions among friends, as well as comments received in my email, readers and supporters this blog, referring to the unique way I have in this space, making the scoring of the works of painters (not to) that exhibit in the public schools of our city and a far cry from the way he makes official criticism, today I share with you a thoughtful opinion on this difference, especially as regards painting and mainly by some (not all) critics 'official' who exercise regularly in the press and in different media and wider public dissemination of Castellón, something that certainly should demand greater accountability and rigor in their emphases and approaches. (In picture, "The Art Critic" by Raoul Hausmann.1919) .

It goes without say that I am of they think to comment about something, it's always better to have a good understanding of what is said. And by that I mean not only to academic knowledge, as everyone knows, there is one university that spends most of its time in college, enjoying the center's cafeteria, smoking the odd cigarette and making laughter bulls, I mean something that is sometimes as important or more, that hold a bachelor's degree or doctorate in art, I mean the career factor, which provokes and largely determines the degree of depth, commitment, sincerity and clarification of the judgments made, and that the bigger and better is this link to knowledge everything we say goes from being a mere opinion, to be accepted as standard and therefore greater weight and interest to all.

Since my arrival in Castellón for more than 16 years, I've noticed some errors of form and content in the analysis and assessments made by some art critics of our city, especially on issues relating to the results artistic creation, specializing in painting. Here are some examples.

one hand, and responding to what I understand as a clear ignorance of the technical meaning of the language of this art form, some critics seem not to understand yet, the great difference between the ease of a touch vague and neglect treatment, including the color domain of a painter with a letter, and the aberrant use of color that makes one in a box, where more than "color", we find Infant explosion "bunting" or expressive character that can transmit formal recreation of an object, which shows a clear mastery of drawing, the other, which is blurred by lack of knowledge and lack in this aspect, and to talk about the most used and all recurring features that refer in their writings!, the "strength", which incidentally is to say, that has nothing to do with the movie "Star Wars", but may be attributable to both the property of the brushwork, composition, color, or use of treatments and artistic resources, among others, and that can only be provided that it responds to control and mastery of these aspects of the painter, not a weakness that expresses the clear disregard of the structure that exists in the color, the color itself, compositions, textures and other visual resources expressive.

And I think that all these deficiencies in the use of the concept of plastic and technical resources that are referred to the criticism, are given for even being able to have This specialist endorsement of academic knowledge, often illustrated by a degree or a doctorate in art, they lack the necessary culture to a perception of clear and effective reading of the image, sometimes closely linked to the technical and specialized of the artistic discipline that are criticizing something that can be found in the intrinsic notion of discourse, which contain plastic resources. That is why sometimes used in critical analysis, a subjective perception and more or less simplistic, based on your particular taste (sometimes deficiency, other trends) rather than placing it consciously or unconsciously as a specialist in a position very limited and partisan author, language and specific or unique trends, inappropriate for someone who must analyze the true value of quality and also have a comprehensive and universal of the study, both the works and of the proposals.

I recently read a "critical", where the only interest that could have written, was the anecdote, testimonial of a frivolous and insubstantial experience that tells us how critical a friendly "war stories" from his years boys while working at another newspaper, but strangely, this "nice" story, bore no direct relation to the alleged work that he was criticizing, maybe things like that happen, because Mr. critic had not had time to talk with the author, and thus have at least a closer and more objective idea of \u200b\u200bthe intentions and characteristics of the work process that the artist had followed in his work, something that for me (and I think everybody else), not only is elementary common sense, but also respect and consistency with their work and the artist himself, I suppose, would have preferred to that sympathetic kind and beautiful words of the letter, a more serious view, deep and weighed about his work.

addition and purpose of words "nice" and "pretty", I must admit that sometimes, despite the banality of the analysis, I find in these critical, high literary values, with exquisite views involved in language more or less poeticized, sometimes indecipherable, recalling an eighteenth-century baroque, Heavily sweetened, not suitable for diabetics and I can say against him, (basing on recidivism with which this happens), which is always favorable to the artist, regardless of the quality, experience and expertise they own, which never missing juicy adjectives to soar to the "operator" which carefully shows his works in public spaces. Thus, all of them are great, exceptional great, virtuous, with great force, (is this the kind) expressiveness, originality, and so much more. critical that we always enjoy exclusive predispose, something supposedly one-off, but when tested in reality, sometimes we see that such accolades are not well matched, let alone justify, with the quality of the work and that So we realize that it is not so bad, really feeling cheated and above all, misled by those who in theory are the experts and managers to cultivate our aesthetic taste and cultural.

no shortage in these criticisms, provided temporary refuge to comparisons with dedicated teachers of art, equating the results of the beginning, and have not yet said or done anything in the art, which are already part of her story on her own merits. And all this advertising in the media, I understand an act of great irresponsibility professional, which states both that without leaving the shell, nor did it prove anything, or being just a humble teacher, and feel you have reached an important place in the art scene, thanks to the comment that has published a "specialist" in the subject. As is also deceived the public attending the exhibitions to see, that by so much praise from those we recognize as "experts" have no choice but to accept as good the ratings to make what is no more valuable than that which can be awarded to an amateur or a professional begins.

I am of the opinion that good professional critique must always be honest, responsible, educational, objective, equitable and fair result, and putting these qualities as a premise, is a priority, healthy, constructive, and doubtless necessary in the exercise of criticism. The highest kindness and generosity repeatedly in court that is made of the results of all those who put in public spaces is not only counterproductive to the painter himself, (which has kindly been deceived) but a clear act of injustice to artists who have as a reference. Because if you qualify for a brilliant critique the results that may be even substantially improved, What shall we call then that makes a teacher who acts as a technical reference and proposal? I honestly think it's not just an imbalance and lack of objectivity of the analysis, but also a clear injustice for those who have really quality work.

Some once told me that critics in this city, had their "hands tied" because Castellón was a place where everyone knew everyone and if it was too frank in criticism, they could get to insult and change attitudes discord and had no the intention of collecting enemies.

I sincerely believe that if that's why we have in our city, an official criticizes such deficiency and / or dishonest, little or no respect you have for art, the public, by painters and especially by own sense of professional responsibility, and I find no possible justification for acting this way because the game has always been clear and decisive. When an artist shows his work outside his studio in a public space, it is subjected to trial and sincere appreciation of all those who contemplate it, are industry professionals, experts, fans or just public art, and this is something that the artist must assume consistency, normality and self-criticism and if not, it can make use of their work to decorate your home.

Consistent with this principle, this blog will continue analyzing and evaluating the work freely (not the authors) that are exposed in public spaces (not in private galleries) from the honesty and openness that I always been characterized to art, giving reasons and arguments in each of my criticisms as before, and as is logical and fair as well, are likely to be shared and discussed by others, but always with respect and weighted analysis which lead to arguments. And that is angry about it, you can always change channels from your control, or conversely, make good use of my words, because experience has shown me (also with this blog) that a professional critic, but may be a sometimes overwhelming, if substantiated, is didactic, honest and fair opinion and always creates rich. And in this sense, I appreciate the growing support for this blog, by its readers that apparently, here are a "truth" more sincere and convincing, that this reading of art criticism in newspapers.

to the next installment. Amaury Suárez