Who is Arlene Croce and how did she affect arts criticism in the late 20th century? How do her statements reflect her values?

Arlene Croce, dance critic for the New Yorker, gained national prominence when she refused to view and write about the dance piece "Still/Here," by the black, gay and HIV positive choreographer Bill Jones. According to her article "Discussing the Undiscussable," Croce objects to Jones' style of work known as "victim art" which incorporated ... "video-and audiotapes of real people with cancer and AIDS" in to his performance that were neither dancers nor dancing within the piece (Berger 1). Consequently, Croce's article is not a review/critique of the dance piece in particular but about the genre this type ... Showed first 120 words of 861 Size (words) ...

... Continuing with another 115 out of 861 Size (words) ...to acknowledge it. In some ways, Croce may have felt the audience would marry the identity of a particular cultural or political issue with the dance piece/choreographer. Croce saw this as a collective representation of both. In doing so, she went too far in presuming to know what was best for the audience.

From another perspective, Maurice Berger argues in the opening of his book "The Crisis of Criticism," that "Criticism must strive to be as resonate as the art it interprets, but not condescending" (Berger 10). Some critics forget this important point and lose sight of the bigger picture. Most art is a reflection of cultural ideologies, a marriage ...Essay still continues 100 more words...