Why is diversity in arts criticism important?
“It’s 2019 and we are in the middle of a Renaissance in black artistic production. And you are telling me the best people to evaluate that are the same ones who basically ignored black artists for decades?” (Sargent, 2019). Author and art critic, Antwaun Sargent’s tweet was referring to the dismissive reviews of the Whitney Biennial exhibition that year. Yet, it could also denote the wider arts world and not solely modern art, since the viewpoint is pertinent to the criticism in this industry. I propose a discussion on the importance of diversity in arts criticism and examine how white privilege in males still exists, today. It will rationalise why individuals from different backgrounds, and women, should be entitled to the same opportunities as white men. Before analysing diversity in arts criticism, it is necessary to acknowledge the distinction between a critic and a reviewer. Andy Plaice (2017) notes that a critic will often specialise in their field, honing their skills over many years of practice, which support their evaluation of art they are confronted with. In contrast, ‘reviewing suggests a quicker response’ and the term critic ‘sounds more qualified’ (Plaice, 2017, pg. 5). Compared to the fast reviewers, critics have deeper considerations over time while analysing and dissecting an art piece. Thus, critics play a valuable role in the industry, as their experience and skillset can help guide the audience to fathom a piece and decide whether it is worth viewing. The arts world is an assortment of music, theatre, film and television. In such a free and creative realm, it poses the question, why is arts criticism dominated by white, old men? In the modern age we live in, why do ethnic minorities and women remain less entitled to sharing their criticisms and judgement? According to Faughnder (2017) “Rotten Tomatoes has become an increasingly influential -- and feared -- player in the film and television industry.” Another journal supporting this statement explains that “Rotten Tomatoes has become a powerhouse in film marketing in the last decade” (Ates, 2018). The 2017 critics’ choice report revealed that of Rotten Tomatoes 19,559 film reviews, 77.8% were written by male critics and 22.2% by female critics (Choueiti et al, 2018). It also disclosed that 82.1% of the writers were white critics whilst 18% were ethnic minorities. A startling ratio of 27 to 1 is indicated in the 'Top Critics' section, where white males contributed 67.3% of the reviews, while women of colour made up only 2.5% of the reviews (Ayan, 2021). These statistics uncover the continuing imbalance of diversity. “If white men are the dominant voices in criticism, then they are the gatekeeps of the industry and the tastemakers of film history” (Goh, 2018). Evidently, Rotten Tomatoes is one of the biggest and most influential reviews platforms. Being predominantly made up of white, male critics, signifies the lack of diversity within the industry, as well as the power of influence and privilege white males possess. It enables them to share their criticism and reviews to a mass audience which gives this group the advantage of getting their points across. As majority of the people from the same demographic are providing their view, the lack of diversity and gender may lead to biased reviews. Diversity within this industry is essential as it mirrors society’s cultural merits and without it, society is limited to a well-informed and balanced dialogue. Focusing on more recent studies, the 2020 Thumbs Down Report revealed that white male reviewers continue to dominate the arts criticism industry. It reports that males outnumber women by approximately 2 male reviewers for every 1 female reviewer. Of these males, 73% are from white backgrounds while only 18% are men of colour (Lauzen, 2020). Evidently, white male privilege remains an ongoing issue as critics of colour and women are underrepresented. Depriving the arts criticism world of diversity, poses a risk of neglecting valuable perspectives which can uplift different arts genres and expose audiences to distinctive themes and categories.
Hunt (2019) stated that “white men are still considered the primary consumer, creator and central character throughout the genre, neglecting women and characters of colour.” He elaborates on the idea that black women are perceived as having increased sexual tendencies (Hunt, 2019). This statement is proven true as American music critic, Stephen Thomas Erlewine, reviewed Janet Jackson’s album ‘The Velvet Rope’ as implying “sexuality with its teasing cover and seductive groove” (Erlewine, 2021). It emphasises the point that diversity is crucial in arts criticism, as it is proven that critics can be sexist and, in this case, are unable to comprehend the concept of certain music genres. The lack of comprehension inhibits the connection between the artist’s work and the critic, which ultimately causes white critics to be dismissive of black artists’ work. Their opinions can often appear flippant and fall into cultural blindness. Reviews written by the intended audience (ethnic minorities or women) will notably clash and contradict to a white male’s critic opinion. The neglection and discouragement of coloured artists, and women, can cause these categories to become increasingly under-resourced, with little chance to opportunities and greater success.
David Elstein’s review of the film Wonder Woman is another example of a white male’s sexist opinion. He started his review by stating the only grace note about Wonder Woman is “its star, the five-foot-ten-inch Israeli actress and model Gal Gadot, who is somehow the perfect blend of superbabe-in-the-woods innocence and mouthiness” (Edelstein, 2017). Rather than focusing on the actresses’ body and constantly mentioning her sex appeal, he could’ve pointed out the fact she is one of the few female-led superheroes in an action movie. The dismissal of this represents the issue of a white male led industry. The imbalance of gender and backgrounds contribute to the lack of appropriate reviews. Diversity can provide cultural competence and insightful criticism which creates well-informed conversations.
Puente’s study (2020) finds that male critics still overwhelmingly outnumber female critics. In early 2020, men made up 65% and women 35% of print, broadcast, and online film reviewers. Men wrote 66% and women 34% of reviews, an increase of women by just 2 percentage points, from 32% in 2019 (Puente, 2020). This illustrates that there is little progress with regards to diversifying the sector and it remains a continuing failure. People are aware that criticism remains pale, male and stale, as Oscar winner Brie Larson used her Women in Film award acceptance speech to comment on the lack of diversity among film critics. She expressed that she didn’t need a “white dude” to tell her what didn’t work for him about A Wrinkle in Time. She clarified she wasn’t imposing she hates “white dudes” as she said “it wasn't made for him! I want to know what it meant to women of colour, biracial women, to teen women of colour” (Puente, 2020). Brie’s speech illuminates that females and ethnic minorities must be given more opportunities to assess art culture. Specifically, when it is pieces aimed at them as the audience, as it will enable an insightful and fair interpretation. “The quality of information is uncertain because they lack a broad perspective, or because they are biased and self-interested” (Blank, 2007, pg. 12). White men are the main group to critiquing art culture, but as Blank explains, having a lack of broad perspective can result in unfair and narrow reviews.
The question of why white males lead the industry remains unanswered. Jose Solís, a gay Latinx critic, expressed that “white men and white women who went to private schools and who are upper-middle-class or higher are the ones who get to be critics” (Aguilar, 2021). This suggests that there is an idea of systematic racism, which persists and contributes to the white privilege within this field as many institutions are built on Imperialist racism. However, the arts criticism sector, as well as wider institutions, must challenge the continued foundations of whiteness and acknowledge the marginalised communities to promote diverse voices (Montserrat, Wee and Gamaker, 2020). If the demographics of critics are limited, the conversations they produce are too, hence the necessity for diversity in this area.
According to art critic Aruna D’souza, the issue is not that white critics lack connection with coloured people, “it’s that many of them simply are not familiar with the intellectual, conceptual and artistic ideas that underlie the work” (Aguilar, 2021). However, this is not to say that white critics cannot comment on black films. Bigsby (2017) supports this statement as he notes that it is “not to say that the white critic has no function with regard to black writing”. He explains that the “white critic will continue to be tempted to venture an opinion, and to do so without even a sympathy pain for Liberal anguish (Bigsby, 2017). Freelancer, Naveen Kumar, states “a Black critic is going to bring a different lens, a different set of experiences, and different value judgments” (Aguilar, 2021). In essence, white critics should not be dismissed from reviewing black art, however the requirement for black voices, as well as other demographics, help to provide diverse and more in-depth outlooks.
It is recognisable that the art critic world is overwhelmingly white and male. The situation implies that the judgements and perceptions of ethnic minorities, and women, are not prevalent nor required. In reality, this is quite the contrary. Diverse voices are critical to creating accurate and appropriate reflections of art genres for diverse audiences. The opportunity to interpret and judge various forms of art and culture cannot be solely given to white males, as individuals from marginalised groups also have particular viewpoints to offer. Segregating women and ethnic minorities from these discussions will result in a lack of in-depth and versatile conversations. Thus, arts criticism must diversify by featuring a range of voices to ensure everyone is valued. It will broaden perspectives and help break through the glass ceiling.
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