The New Criterion
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| Editor and publisher | Roger Kimball |
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| Categories | Literary journal |
| Frequency | Monthly |
| Circulation | 6500 |
| Publisher | The Foundation for Cultural Review |
| First issue | 1982 |
| Country | United States |
| Based in | New York City |
| Language | English |
| Website | www |
| ISSN | 0734-0222 |
The New Criterion is a New York-based monthly literary magazine and journal of artistic and cultural criticism, edited by Roger Kimball (editor and publisher) and James Panero (executive editor). It has sections for criticism of poetry, theater, art, music, the media, and books. It was founded in 1982 by Hilton Kramer, former art critic for The New York Times, and Samuel Lipman, a pianist and music critic. The name is a reference to The Criterion, a British literary magazine edited by T. S. Eliot from 1922 to 1939.
The magazine is described as influential, and describes itself as a "monthly review of the arts and intellectual life [...] in the forefront both of championing what is best and most humanely vital in our cultural inheritance and in exposing what is mendacious, corrosive, and spurious." It evinces an artistic classicism and political conservatism that are rare among other publications of its type.
It regularly publishes "special pamphlets," or compilations of published material organized into themes. Some past examples have been Corrupt Humanitarianism; Religion, Manners, and Morals in the U.S. and Great Britain; and Reflections on Anti-Americanism.
The New Criterion has been running The New Criterion Poetry Prize, a poetry contest with a cash prize, since 1999. In 2004, The New Criterion contributors began publishing a blog, known as Dispatch (previously known as ArmaVirumque).
The New Criterion was founded in 1982 by The New York Times art critic Hilton Kramer. He cited his reasons for leaving the paper to start The New Criterion as "the disgusting and deleterious doctrines with which the most popular of our Reviews disgraces its pages," as well as "the dishonesties and hypocrisies and disfiguring ideologies that nowadays afflict the criticism of the arts, [which] are deeply rooted in both our commercial and our academic culture [...]"
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