This is a sortable list of Australian art critics who wrote for newspapers in the nineteenth [1] and twentieth centuries, a period in which such periodicals carried the majority of current, contemporaneous art criticism, [2] before most such papers ceased art reviews in the 21st century. [3]
Of the role of the critic Baudelaire [4] in the chapter A quoi bon la critique in Le salon de 1846, published posthumously in Curiosités esthétiques in 1868, declared:
As for criticism itself, I hope that philosophers will understand what I am going to say: to be just, as its very reason for being, criticism must be partial, passionate, political, as made from an exclusive point of view, but from the point of view which opens the most horizons."
Australian sculptor and academic, Judy Hamilton [5] writes to distinguish this genre:
...criticism that appears in newspapers is written for a general audience, and the real substance of newspaper art criticism can best be summed up as providing an antidote for the 'vernacular glance'. This term, coined by art historian Brian O'Doherty in 1974, [6] refers to the modern phenomenon of viewing an exhibition casually, with eyes darting indiscriminately from object to object in an ineffectual effort to take in the entire exhibition at once. The work of the critic is effectively to map an exhibition for an audience, and thereby transform the vernacular glance into an informed glance that is capable of discerning either meaning or emptiness in the work on show.
Barker and Green, noting the number of art critics writing for Australian newspapers in the 1970s, consider that 'this writing was essentially ephemeral, based on the assessment of the wide spectrum of ... exclusively local, art exhibitions. It was essentially a form of reportage. [7]
In 2012 Osborne, writing in the Australian Art Monthly, noticed a general devaluing and disparagement of the newspaper critic and warned that:
... the progressively weakened position of newspaper art criticism and the threat of it disappearing altogether from mass market newspapers ... could have far-reaching repercussions ... a nodal rupture in the network of relationships between the art world and the wider public. The complex ecology of the art world needs this link with the wider public. It needs a healthy balance between critical writing in art journals and newspapers. [8]