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William Haskins passed on this article in the New Republic. I find it quite interesting. It's about what aspects of a piece of art cause critics to take diametrically opposed viewpoints of worth and meaning. The article discusses dance and writing mostly, but it could apply to any work of art. From the article:
"The works that make people violently disagree are often the ones that push the boundaries of a genre in one way or another. Boundary-pushing, obviously, is no guarantee of greatness: Jonathan Littell’s The Kindly Ones, beloved and prize-bedecked in France and almost universally hated elsewhere (including by me), is the best recent example. But historically, it’s happened over and over that the critics who fail to see the merit in an unconventional artistic form—who found Impressionism vulgar or judged Lady Chatterley’s Lover as pornography—turn out to have been wrong, no quotation marks required. They were too small-minded, too bound within their own parameters, to be capable of a new way of understanding art."
"The works that make people violently disagree are often the ones that push the boundaries of a genre in one way or another. Boundary-pushing, obviously, is no guarantee of greatness: Jonathan Littell’s The Kindly Ones, beloved and prize-bedecked in France and almost universally hated elsewhere (including by me), is the best recent example. But historically, it’s happened over and over that the critics who fail to see the merit in an unconventional artistic form—who found Impressionism vulgar or judged Lady Chatterley’s Lover as pornography—turn out to have been wrong, no quotation marks required. They were too small-minded, too bound within their own parameters, to be capable of a new way of understanding art."