We appreciate it’s a little late in the day but now that we know that you’re awake, look at the following. An attempt at offering a way of going about criticism, a Nazi quote from 85 years ago to the month and some open questions looking towards the artwork that surrounds you. {00:21}
Try this. {00:22}
A. The critic must help people see reality more clearly.
B. The critic must help them determine [synchronically] its breadth and implications.
C. The critic must help them determine [diachronically] why it is what it is.
D. The critic must help them understand what their relationship towards it is, how they are involved in and shaped by what is ‘out there.’
E. The critic must encourage them to explore their subjective attitudes toward reality, especially social reality.
F. The critic must suggest possibilities for overcoming those aspects of reality which are judged to be wanting.
G. The critic must encourage others to begin to act as subjects with respect to this new totality, i.e., induce them to engage themselves in the world as social actors in order to realize their individual and collective needs. {01:32}
An attempt to state what criticism might do. Upon removing the synchronic/diachronic opposition, could the word ‘critic’ be replaced with the word ‘artwork’? {01:46}
Does this lack of specificity automatically preclude any value in the statement? {01:53}
Points A to G? Repeat after me. {01:57}
The following quote is an attack on the criticism of art. It champions reverence, description and appreciation and seeks to irrevocably obviate attempts to judge or evaluate, i.e: to criticise art. The quote is included here from the point of view of contemporary cultural conditions that bear little comparison other than being conspicuously hostile to criticism; however the nature of the current art system’s hostility to criticism is more insidious though probably less invidious. {02:35}
Decree Concerning Art Criticism
Joseph Goebbels
November 11 1936
I granted German critics four years after our assumption of power to adapt themselves to National Socialist principles… since the year 1936 has passed without any satisfactory improvement in art criticism, I am herewith forbidding, from this day on, the conduct of art criticism as it has been practiced to date. From today on, the art report will replace art criticism, which, during the period of Jewish domination of art, totally violated the meaning of the word ‘ criticism’ and assumed the role of judging art. The art critic will be replaced by the art editor. {03:26}
The art report will be less an evaluation than a description and appreciation… The art report of the future presupposes reverence for artistic activity and creative achievement. It requires an informed sensibility, tact, purity of mind and respect for the artist’s intentions. In the future, only those art editors will be allowed to report on art who approach the task with an undefiled heart and National Socialist convictions… I therefore decree that in the future every art report will be signed by the author’s full name. The professional regulations of the German press will require a special approval for the position of the art editor, and this approval will depend in turn on proof of truly adequate training in the art field in which the editor in question will work. {04:25}
One is left to a contemporary grunt to appreciate at what point Goebbels' decree was acceded to. When did idiot reverence become simple idiotic celebration? {04:36}
On 27th November, 1936, Goebbels issued the following decree: "On the express authority of the Führer, I hereby empower the President of the Reich Chamber of Visual Arts, Professor Ziegler ["Reich Master of Pubic Hair"] of Munich, to select and secure for an exhibition works of German Degenerate Art since 1910, both painting and sculpture, which are now in collections owned by the German Reich, by provinces, and by municipalities. You are requested to give Professor Ziegler your full support during his examination and selection of these works." {05:21}
We've listed some questions to put the surrounding artworks [and ours], under a modicum of stress. {05:29}
In each case a word such as ‘painting', ‘sculpture’, 'project’, ‘film’, ‘experiment' etc. can be inserted.. {05:42}
Try this. {00:22}
A. The critic must help people see reality more clearly.
B. The critic must help them determine [synchronically] its breadth and implications.
C. The critic must help them determine [diachronically] why it is what it is.
D. The critic must help them understand what their relationship towards it is, how they are involved in and shaped by what is ‘out there.’
E. The critic must encourage them to explore their subjective attitudes toward reality, especially social reality.
F. The critic must suggest possibilities for overcoming those aspects of reality which are judged to be wanting.
G. The critic must encourage others to begin to act as subjects with respect to this new totality, i.e., induce them to engage themselves in the world as social actors in order to realize their individual and collective needs. {01:32}
An attempt to state what criticism might do. Upon removing the synchronic/diachronic opposition, could the word ‘critic’ be replaced with the word ‘artwork’? {01:46}
Does this lack of specificity automatically preclude any value in the statement? {01:53}
Points A to G? Repeat after me. {01:57}
The following quote is an attack on the criticism of art. It champions reverence, description and appreciation and seeks to irrevocably obviate attempts to judge or evaluate, i.e: to criticise art. The quote is included here from the point of view of contemporary cultural conditions that bear little comparison other than being conspicuously hostile to criticism; however the nature of the current art system’s hostility to criticism is more insidious though probably less invidious. {02:35}
Decree Concerning Art Criticism
Joseph Goebbels
November 11 1936
I granted German critics four years after our assumption of power to adapt themselves to National Socialist principles… since the year 1936 has passed without any satisfactory improvement in art criticism, I am herewith forbidding, from this day on, the conduct of art criticism as it has been practiced to date. From today on, the art report will replace art criticism, which, during the period of Jewish domination of art, totally violated the meaning of the word ‘ criticism’ and assumed the role of judging art. The art critic will be replaced by the art editor. {03:26}
The art report will be less an evaluation than a description and appreciation… The art report of the future presupposes reverence for artistic activity and creative achievement. It requires an informed sensibility, tact, purity of mind and respect for the artist’s intentions. In the future, only those art editors will be allowed to report on art who approach the task with an undefiled heart and National Socialist convictions… I therefore decree that in the future every art report will be signed by the author’s full name. The professional regulations of the German press will require a special approval for the position of the art editor, and this approval will depend in turn on proof of truly adequate training in the art field in which the editor in question will work. {04:25}
One is left to a contemporary grunt to appreciate at what point Goebbels' decree was acceded to. When did idiot reverence become simple idiotic celebration? {04:36}
On 27th November, 1936, Goebbels issued the following decree: "On the express authority of the Führer, I hereby empower the President of the Reich Chamber of Visual Arts, Professor Ziegler ["Reich Master of Pubic Hair"] of Munich, to select and secure for an exhibition works of German Degenerate Art since 1910, both painting and sculpture, which are now in collections owned by the German Reich, by provinces, and by municipalities. You are requested to give Professor Ziegler your full support during his examination and selection of these works." {05:21}
We've listed some questions to put the surrounding artworks [and ours], under a modicum of stress. {05:29}
In each case a word such as ‘painting', ‘sculpture’, 'project’, ‘film’, ‘experiment' etc. can be inserted.. {05:42}
- If the _____________ is outside the home, will it be voluntarily discussed later on at home?
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Are others encouraged to try the _____________?
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Is the _____________discussed with others, especially contemporaries?
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Do people recognize the association between the _____________ and other experiments which are similar or related in use or principle?
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Do people have the desire to individually ‘possess’ the _____________or one similar to it?
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Do outsiders make inquiries about the _____________?
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Does the _____________become a nucleus around which other knowledge was sought or made evident?
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Do many different people incorporate their ideas into the _____________?
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Do people try to improve the _____________ by altering it or adding foreign objects of their choice?
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Do people try to make the _____________ do something it will not do?
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Is there spontaneous talk about the _____________?
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Is the most talked about aspect of the _____________ the instructional aspect?
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Do people recommend the _____________ to their friends or just complain? If not, why not? Does this mean they are not involved?
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Do the people ignore the concept which was presented by the ________ right after arriving at the concept: do people ever think about the concept or __________?
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Can people take home the idea and make a similar _____________ themselves?
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Do people attempt to build another ________ using the same materials or the same __________ out of another material?
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While participating with the _________ , are people conscious of other people around them?
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Do people remain interested while others try the ___________?
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Do people investigate the inner workings and construction of the __________ and its materials?
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Do people discuss what is the value of …?
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Are people’s curiosity aroused by the _____?
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Is there exploration with the __________?
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Does the ___________ allow for experiment?
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Does the ___________ suggest improved alternatives?
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Do people enjoy themselves, laugh at and openly discuss the ____?
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Do people readily help newcomers to the ____?
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Do people discuss the _____ with their friends and relatives?
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Do people revist a particular … more than any other?
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Are there restrictions in the __________ as to the number of people who can be involved at one time?
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What is the ratio of __________ participants to observers?
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What type of interactions occur between __________ and participant; _______ and observer; and participants and observers?
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How are changes made from role of participant to role of observer of the _______, or vice versa?
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Are misuses with the _____, put to advantage?
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Are there verbal discoveries made with the _____?
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While interacting with the _____ do people get frustrated, hurt or have an argument?
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What questions does the ________ lead people to ask?
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Is there evidence of absorption of the experience with the _______ into life?
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Do people enjoy cooperating with each other with the ______?
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Which … do people look good looking at?
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Is the … a good conversation starter?
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Does the … improve society?
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Are the institution’s priorities conducive to the …?
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Does the … provoke others to act proactively? {11:27}