Personal Style: Review of Three Art Critiques' Writing Styles

        

        While reading and analyzing the case studies, all of them felt more like brainstorming. To me, these felt more like advocates and allies than judges or mediators. They did not tell the audience their fondness for each artist but their thoughts leading up to witnessing the piece. Adding their initial actions leading up to seeing them as well. Each art critic had their own flare with their writing.

        For instance, Lydia Davis was writing as though she had lost her memory and had to retrace her steps of the place and activities she endured that day to remember Les Bluets. Her critique could not have been harsh for she never saw it in a gallery. Although, she recalls it in the studio of the artist. Lynne Tillman wrote as though she had a transcript of the events, recalling every feeling, smell, and thought leading up to the event and yet lacking to grasp the event itself. Finally, Jill Johnston writes as though she is a poet, expressing connections left and right while praising the artist. Reliving each moment again and allowing the reader an inside without a notion of how they should perceive the art. 

        All three art critics re-emphasize that critiques have no boundaries. There is no need to be harsh or final on their words. Their thoughts, words, and associations can be heard and understood by the public without sounding like old writers who confuse their audiences more than entertain them. In conclusion, I found each of their writings bite-sized and personal without influencing emotions and feelings onto the reader. Leading to the final understanding that they are advocates and allies.