Spoiler: The dominance of the white male critic is not a good thing.
Elizabeth Méndez Berry and Chi-hui Yang bring it at The New York Times. Just a taste of the excellence to be found here:
This matters because culture is a battleground where some narratives win and others lose. Whether we believe someone should be locked in a cage or not is shaped by the stories we absorb about one another, and whether they’re disrupted or not. At a time when inequality and white supremacy are soaring, collective opinion is born at monuments, museums, screens and stages — well before it’s confirmed at the ballot box.
Yet those who have for decades been given the biggest platforms to interpret culture are white men. This means that the spaces in media where national mythologies are articulated, debated and affirmed are still largely segregated. The conversation about our collective imagination has the same blind spots as our political discourse.
Think of cultural criticism as a public utility, civic infrastructure that needs to be valued not based just on its monetary impact but also on its capacity to expand the collective conversation at a time when it is dangerously contracting. Arts writing fosters an engaged citizenry that participates in the making of its own story.
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