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	<h1><a href="http://arthistorynewsletter.com/blog/">Art History Newsletter</a></h1>
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       <h1><font face="Garamond" color="#FF0099" style="line-height:101%">The Art History Newsletter</font></h1>
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	<h2 id="post-2367"><a href="http://arthistorynewsletter.com/blog/?p=2367" rel="bookmark" title="Permanent Link: Art Critics &#038; Historians For Hire">Art Critics &#038; Historians For Hire</a></h2>
	<p class="posted">by <a href="http://arthistorynewsletter.com/blog/?author=1" title="Posts by Jon Lackman" rel="author">Jon Lackman</a> | 29 July 2010 | <a href="http://arthistorynewsletter.com/blog/?cat=6" title="View all posts in Contemporary" rel="category">Contemporary</a> 
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	<p>On <em>The Huffington Post</em>, Daniel Grant <a target="_blank" href="http://www.huffingtonpost.com/daniel-grant/should-artists-publish-th_b_662215.html">writes</a>:</p>
<blockquote><p>For some time, the ground has been shifting, moving the line between what is and is not considered acceptable for artists to pay for &#8230; Critics, museum curators and art historians regularly are approached by artists to write catalogue essays; for some of them, it is a lucrative sideline, since the going rate is one or two dollars per word and essayists often require a minimum of 1,000 words (critic Peter Frank claimed that also may be &#8220;an extra charge if the writing needs to be turned around quickly&#8221;). The New York City-based artist career development company, Katharine T. Carter &#038; Associates, has formalized his process, placing on retainer a number of New York area art critics who for two dollars per word, 600 words minimum, will write catalogue essays &#8230; Artists need to keep their hopes and expectations in check, when hiring a noted critic. Just because Richard Vine, the managing editor of <em>Art in America</em> and another of Katharine T. Carter&#8217;s critics, wrote about a given artist does not mean that artist has any &#8220;in&#8221; with the magazine &#8212; in fact, none of the artists he has written up as part of his association with Katharine T. Carter has ever been reviewed or profiled in <em>Art in America</em>. &#8220;You have to realize that you haven&#8217;t bought this person body and soul for the price of an essay,&#8221; Eleanor Heartney said, adding that &#8220;all of us who write these catalogue essays are trading on our reputations.&#8221;</p></blockquote>
<p>I&#8217;ve heard the rumor, several times, that some art critics accept free or discounted works from artists (or their galleries) whom they review favorably, although I&#8217;ve never seen the proof to back it up.</p>
	<h3 id="comments">2 Comments</h3>
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	<li id="comment-139198" class="alt">
	<span class="posted"><cite><a href='http://katycrocker.com' rel='external nofollow' class='url'>Katy Crocker</a></cite> said on	<a href="http://arthistorynewsletter.com/blog/?p=2367#comment-139198" title="">31 Jul 2010 at 6:57 am</a>:
	</span>
	<p>Can critics, who offer services for hire, still consider themselves critics? What then is the distinction between writing a critical essay, and getting paid $2/word to write about an untalented artist?</p>
	</li>

	<li id="comment-139218" class="">
	<span class="posted"><cite>Karen Leader</cite> said on	<a href="http://arthistorynewsletter.com/blog/?p=2367#comment-139218" title="">1 Aug 2010 at 12:09 am</a>:
	</span>
	<p>Although there is no real means of enforcement, art historians accepting works of art from artists about whom they have written are breaching professional ethics. Here is what CAA&#8217;s Standards and Guidelines <a target="_blank" href="http://www.collegeart.org/guidelines/histethics.html" rel="nofollow">says</a> on the matter:</p>
<blockquote><p>C. A more difficult situation is one in which an art historian is offered the gift of a work of art by an artist who is a friend, or about whom he or she will be writing or has written. There is no question but that in most cases the art historian’s publication about the artist will contribute to the increased value of his or her work, as well as of the art historian’s gift. The art historian is then placed in a situation where questions of conflict of interest can be legitimately raised. The tactful but outright refusal of gifts from artists may be frustrating, but such practice insures integrity of the process and should not incur loss of respect from the artist. To have works of art given by artists to members of your family similarly creates a conflict of interest.</p></blockquote>
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