‘Money! Glamour! Yachts! But not for me!’ Adrian Searle relives 30 glorious years as our chief art critic

TL;DR

The author reflects on 30 years as an art critic for The Guardian, noting the difficulty of articulating what has been learned versus what has been seen.
Memorable exhibitions include Vermeer at the Rijksmuseum, Goya at the Royal Academy, Manet at the Prado, and various Documentas and Venice Biennales.
Personal experiences, such as encounters with Pipilotti Rist's underwear, Fiona Banner's fighter jet, and Gregor Schneider's immersive installations, are vividly recalled.
The process of criticism is described as subjective, often involving making up stories for withheld information, and the author admits to imposter syndrome and not having a strict methodology.
The art world has seen a significant increase in money and glamour, but the author suggests these aspects haven't personally benefited him.
He notes that some artists evolve while others remain consistent, and that his own perception of art, like Cézanne's, has changed over time.
The article concludes by emphasizing that both the art and the critic change, and that quiet contemplation of art, like Goya sketches or Seurat drawings, is often preferred.
The author has had to adapt to immersive and experiential art, contrasting it with earlier times when explanations were needed.

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