Comments on: For Discussion “At the Table” — What Is the Responsibility of the Critic?

By: Gregory The Fish

Gregory The Fish — Fri, 26 Jun 2015 17:06:34 +0000

It’s cool that you would support your son this way, Al. My dad does stuff like this at his job whenever I publish articles on my research, but technical mathematics do not make for interesting reading for many.

I think the role of the critic is as subjective as the art he or she reviews. Sounds like a lot of critics could take a lesson from you. It is very important to understand the difference between intent and perception. Plenty of people dislike black metal, for example, because of the chaos, and the cold, isolated production. But that’s the whole point! The artist has succeeded!

Good on you.

By: Al

Al — Fri, 26 Jun 2015 16:26:08 +0000

Keith — wow! Thank YOU! You definitely made my day. — al

By: keith

keith — Fri, 26 Jun 2015 15:49:05 +0000

i lived in Syracuse from 1969-1973.10th grade through my first 2 years in college, SUNY@ Morrisville. I was a faithful reader of the New Times and your articles spurred me to explore jazz recordings, I didn’t know this until i read your most recent piece. At the time i was a real record fan but since have branched out and have accumulated a lot of jazz lps. With a collection of 20,000+. Anyway please consider this a much belated thank you note for your early work and know that it had an effect on a high school kid! Thanks.

By: ebiye

ebiye — Fri, 26 Jun 2015 07:11:28 +0000

Dear sir,your ability to reflect prior to publication is a genuine rarity;the fact that you were able to accept your own musical abilities allowed a freedom from prejudice seldom seen from critcs of any genre.
I salute the essence of your message
as it speaks to the main flaws of artistic critique,without denegrating the perp’.
Bravo and fair tidings.
VH

By: Clifford Allen

Clifford Allen — Thu, 25 Jun 2015 21:48:16 +0000

Hopefully can make it to the play in July.

As to the role of the critic, I believe it is to place the work in context, both historically and among current fellow practitioners’ art, and give people a sense of what’s happening within the work. If one needs to discuss why it may not hold up particularly well, one should say so, but only AFTER trying to place the work in relation to its environment, the artist’s oeuvre as it stands, and so forth. At least that’s what I try to do when I review records and books.