Accademia Apulia UK has asked Lia De Venere the following questions:

What is the role of an Art Critic?
The role of the critic is to make value judgments about works of art, analyzing the creative process of artists who made them and the cultural contexts in which they were produced.

To what extent the work of a Critic can influence the evolution of the art market? Should this aspect be considered positive or negative?
If an Art Critic is influential and if he or she has a good relationships with both gallerists and museum directors, then his or her influence can be very decisive.

What would you say to those who say that Art Critics are almost feared by emerging artists?
More than feared we could say that Art Critics are courted by emerging artists; being included in a major exhibition with the help of a powerful critic can give artists greater visibility and broaden their chances of success.

Is beauty is in the eye of the beholder?
What I recommend to collectors is not to overrate the commercial value of a work, instead enjoy whatever it is the art piece that you like. Anyone purchasing a work of art, should virtually fall in love with it first.

How would you rate the relationship between artists and critics?
Is like a 'love - hate' relationship. Some years ago, a sociologist conducted a survey which gathered many definitions that referred to Art Critics: there were those who hailed them, calling them the benefactors and others who criticized them in every way, in some cases even calling them parasites.

You teach History of Contemporary Art at the Accademia di Belle Arti in Bari, you are also a Journalist and an Art Curator. How do you manage to fulfill these roles, and how do you find the motivations to work in different fields?
In the Anglo-Saxon world, there is no distinction between art writers and curators, the first writes in magazines and newspapers, the second organises exhibitions and other initiatives. In Italy, there isn’t a sophisticated art system that may justify the presence of two different figures, often resulting in one person covering all roles, like writing, organising and even teaching classes.  
As a professional, I use my experience to help local young artists (and old) to emerge. Unfortunately, there are many limitations that local artists must overcome because in Puglia there is no real art market that could promote their work. To this end, in 2004 I helped setting up the Young Artists Biennial Award (GAP), with an exhibition that seeks to highlight Puglia’s artistic innovations.

What was a rewarding moment of your career?
The positive comments expressed by more than 2500 visitors that came to the Nine artists for Side exhibition (an exhibition I organized with Fabrizio Vona)  was indeed a rewarding experience.

Please describe hope.
For me hope is waking up in the morning to live new experiences.

Does the future of an artist depend on a positive assessment of Art Critic?
No, because there will be always another Art Critic who will make a negative assessment.
For example, once I decided not to review an artist’s work because I did not find it interesting enough, but then I saw pictures of the very some work in the press accompanied by another Art Critic’s positive review.

As an art expert what do you look for in an artist?
Reliability and consistency. Unfortunately, very often artists will change their path in order so they can follow fashions and trends. Artists need to be coherent in what they do.

Who is Puglia’s most popular emerging artist at the moment?
Francesco Arena. This artist is receiving prestigious awards in recognition of his interesting work, which is not merely an expression of good craftsmanship.
Carlo Schirinzi is yet another artist who’s developed whose video productions have received awards and great reviews. Other young artists, like Joseph Theophilus and Michael Giangrande, are working hard and are being recognised for their efforts beyond Puglia.  

What is the future of the Accademia di Belle Arti (Bari)?
The future of the whole university sector in Italy is very uncertain, as the Ministry of Education has significantly reduced funding. With regards to the Accademie di Belle Arti a reform is needed, one that begun 10 years ago. Nonetheless, in recent years, our Academy has launched interesting initiatives such as masters degrees and advanced courses which have helped many talented young people to find employment.

What is your next project?
It’s a planned exhibition that will include a selection of works from the 19th century which are in Puglia’s private collections. The title of this exhibition is The Secret Garden.

What is your message for the artists are around the world in search of affirmation?
Nothing is free. You will need to work with earnestness and perseverance, cultivating your talents. Often you will want to give up.

My advice?

Resist, resist, resist.