What great news—Sebastian Smee, art critic for the Boston Globe, has won the Pulitzer Prize for criticism. Hats off!
Smee is the first art writer at the Globe whose opinion has mattered to me. His reviews are carefully crafted and thoughtful. And as knowledgeable as he is about contemporary art, his writing is engaging for anyone to read. With the current oversupply of mandarin, self-referential, “for the cognescenti only” art criticism, Smee goes against that trend. In their announcement of his selection, the Pulitzer board pointed to Smee’s “vivid and exuberant writing about art’’ and his knack for “bringing great works to life with love and appreciation.’’ All true. Refreshingly so.
On a more personal note, I have been carrying on my own “dialogue” with Smee over the past few years on Slow Muse. So much of what he has written has been noteworthy to me, and the following posts all make reference to his writings:
Chilhuly at the MFA
Mark Bradford: Silent Strength
Stella, Smee and Subjectivism
Bad Art Poisoning
Liang at the ICA
The Intuition Deliminator
The Fundamental Geometries
Fascination of Feeling: Pick One
That Damned Underbelly
Fairey: The Conversation Continues
Elizabeth Peyton: In Between
For those of you who are not familiar with Smee, here’s his bio from the Globe:
Sebastian Smee is the Globe’s art critic. He joined the paper’s staff from Sydney, where he served as the national art critic for The Australian. Before that he worked in London, where he was art critic at the Daily Telegraph and a contributor to The Guardian, The Times, The Financial Times, The Independent on Sunday, The Art Newspaper, Modern Painters, and Prospect magazine. In 1994 he received a bachelor of arts degree, with honors, in fine arts from Sydney University. He reviews books regularly for the Spectator and is himself the author of books and essays on the British painter Lucian Freud as well as “Side by Side: Picasso v. Matisse.”