This document discusses the complexities that arise in art critiques when a teacher evaluates a student's artwork while also interacting with the student artist directly. It notes:
1) A teacher inherently forms assumptions about the artist based solely on viewing their artwork, though these assumptions are often incorrect.
2) When the student is present, the teacher must reconcile their assumptions about the artist based on the artwork with their impressions of the student's personality.
3) Having a discussion with the student adds another layer of complexity, as the teacher now has three different impressions to consider - what the artwork implies, what the student looks like, and what they say about their work.
4) Alignment or disconnect between these three
How to create a photography artist statement, bio, resume and CValexandra copley
The document provides guidance on creating an effective artist statement. It explains that an artist statement is a short document written by the artist to give insight into their work and creative process. It should be informative but not a resume or biography. Having an artist statement is important as it helps viewers understand the artist's work and message, building a connection between artist and audience. The document provides tips on what to include in a statement and recommends keeping it concise, between 100-300 words. It also offers exercises to help artists overcome a blank page when starting their statement.
The document provides guidance on how to critique a work of art using a four-step process: description, analysis, interpretation, and evaluation. It explains that the description step involves objectively describing formal qualities without opinions. Analysis examines design principles and composition. Interpretation considers themes, emotions, and meanings elicited. Evaluation judges the work's success in communicating its purpose based on the previous steps. The document argues that art criticism opens discussion of the human experience and allows examination of cultural values over time.
The document provides an overview of how to analyze and interpret artworks through a four step process: description, analysis, interpretation, and judgment. It discusses how art historical research helps provide context and external evidence to analyze what cannot be gleaned just from looking at the artwork. Interpretation involves uncovering what the artwork may mean based on description and analysis, though there are no definitive answers as artworks can mean different things to different people. The document also cautions that the artist's intention is not always a fixed idea and artworks are often meant to provoke thought rather than state a single meaning.
The document discusses how artists develop daily studio practices and workspaces. It provides examples of the studios and working methods of artists such as Alexander Calder, Jackson Pollock, and Frida Kahlo. Several contemporary artists then describe their own studio practices and the importance of routines, rituals and being present in creating their work. They discuss using sketchbooks, collaborating with others, and allowing their workspaces to become messy in the creative process.
The document provides tips for students taking the IB Visual Arts examination to achieve the highest score. It emphasizes developing a theme for one's artworks, thoroughly researching topics in an investigation workbook (IWB), and ensuring artworks show personal connection, increasing depth and skill over time. Key aspects the IB examiners look for include a balanced IWB with both writing and visuals, artwork that demonstrates student progress and challenges themselves, and pieces that convey a deep, focused theme.
The document provides guidance on describing and analyzing artworks. It outlines Edmund Feldman's 4-step technique for art criticism: description, analysis, interpretation, and judgment. Description involves objectively noting details like subject, colors, shapes without analysis. Analysis examines relationships within the description. Interpretation derives meaning based on description and analysis. Judgment evaluates the work based on the previous steps. The document emphasizes the importance of thorough description before analyzing, interpreting, or judging a work of art. It offers examples of descriptive techniques and perspectives to help effectively communicate an artwork in writing.
Art and Significant FormFrom Art, 1913. Clive Bell.docxdavezstarr61655
Art and Significant Form
From Art, 1913.
Clive Bell
www.denisdutton.com
It is improbable that more nonsense has been written about aesthetics than about anything else: the literature of the subject is not large enough for that. It is certain, however, that about no subject with which I am acquainted has so little been said that is at all to the purpose. The explanation is discoverable. He who would elaborate a plausible theory of aesthetics must possess two qualities — artistic sensibility and a turn for clear thinking. Without sensibility a man can have no aesthetic experience, and, obviously, theories not based on broad and deep aesthetic experience are worthless. Only those for whom art is a constant source of passionate emotion can possess the data from which profitable theories may be deduced; but to deduce profitable theories even from accurate data involves a certain amount of brain-work, and, unfortunately, robust intellects and delicate sensibilities are not inseparable. As often as not, the hardest thinkers have had no aesthetic experience whatever. I have a friend blessed with an intellect as keen as a drill, who, though he takes an interest in aesthetics, has never during a life of almost forty years been guilty of an aesthetic emotion. So, having no faculty for distinguishing a work of art from a handsaw, he is apt to rear up a pyramid of irrefragable argument on the hypothesis that a handsaw is a work of art. This defect robs his perspicuous and subtle reasoning of much of its value; for it has ever been a maxim that faultless logic can win but little credit for conclusions that are based on premises notoriously false. Every cloud, however, has its silver lining, and this insensibility, though unlucky in that it makes my friend incapable of choosing a sound basis for his argument, mercifully blinds him to the absurdity of his conclusions while leaving him in full enjoyment of his masterly dialectic. People who set out from the hypothesis that Sir Edwin Landseer was the finest painter that ever lived will feel no uneasiness about an aesthetic which proves that Giotto was the worst. So, my friend, when he arrives very logically at the conclusion that a work of art should be small or round or smooth, or that to appreciate fully a picture you should pace smartly before it or set it spinning like a top, cannot guess why I ask him whether he has lately been to Cambridge, a place he sometimes visits.
Edwin Landseer, Monarach of the Glen (1851)
On the other hand, people who respond immediately and surely to works of art, though, in my judgment, more enviable than men of massive intellect but slight sensibility, are often quite as incapable of talking sense about aesthetics. Their heads are not always very clear. They possess the data on which any system must be based; but, generally, they want the power that draws correct inferences from true data. Having received aesthetic emotions from works of art, they are in a position to see.
How to create a photography artist statement, bio, resume and CValexandra copley
The document provides guidance on creating an effective artist statement. It explains that an artist statement is a short document written by the artist to give insight into their work and creative process. It should be informative but not a resume or biography. Having an artist statement is important as it helps viewers understand the artist's work and message, building a connection between artist and audience. The document provides tips on what to include in a statement and recommends keeping it concise, between 100-300 words. It also offers exercises to help artists overcome a blank page when starting their statement.
The document provides guidance on how to critique a work of art using a four-step process: description, analysis, interpretation, and evaluation. It explains that the description step involves objectively describing formal qualities without opinions. Analysis examines design principles and composition. Interpretation considers themes, emotions, and meanings elicited. Evaluation judges the work's success in communicating its purpose based on the previous steps. The document argues that art criticism opens discussion of the human experience and allows examination of cultural values over time.
The document provides an overview of how to analyze and interpret artworks through a four step process: description, analysis, interpretation, and judgment. It discusses how art historical research helps provide context and external evidence to analyze what cannot be gleaned just from looking at the artwork. Interpretation involves uncovering what the artwork may mean based on description and analysis, though there are no definitive answers as artworks can mean different things to different people. The document also cautions that the artist's intention is not always a fixed idea and artworks are often meant to provoke thought rather than state a single meaning.
The document discusses how artists develop daily studio practices and workspaces. It provides examples of the studios and working methods of artists such as Alexander Calder, Jackson Pollock, and Frida Kahlo. Several contemporary artists then describe their own studio practices and the importance of routines, rituals and being present in creating their work. They discuss using sketchbooks, collaborating with others, and allowing their workspaces to become messy in the creative process.
The document provides tips for students taking the IB Visual Arts examination to achieve the highest score. It emphasizes developing a theme for one's artworks, thoroughly researching topics in an investigation workbook (IWB), and ensuring artworks show personal connection, increasing depth and skill over time. Key aspects the IB examiners look for include a balanced IWB with both writing and visuals, artwork that demonstrates student progress and challenges themselves, and pieces that convey a deep, focused theme.
The document provides guidance on describing and analyzing artworks. It outlines Edmund Feldman's 4-step technique for art criticism: description, analysis, interpretation, and judgment. Description involves objectively noting details like subject, colors, shapes without analysis. Analysis examines relationships within the description. Interpretation derives meaning based on description and analysis. Judgment evaluates the work based on the previous steps. The document emphasizes the importance of thorough description before analyzing, interpreting, or judging a work of art. It offers examples of descriptive techniques and perspectives to help effectively communicate an artwork in writing.
Art and Significant FormFrom Art, 1913. Clive Bell.docxdavezstarr61655
Art and Significant Form
From Art, 1913.
Clive Bell
www.denisdutton.com
It is improbable that more nonsense has been written about aesthetics than about anything else: the literature of the subject is not large enough for that. It is certain, however, that about no subject with which I am acquainted has so little been said that is at all to the purpose. The explanation is discoverable. He who would elaborate a plausible theory of aesthetics must possess two qualities — artistic sensibility and a turn for clear thinking. Without sensibility a man can have no aesthetic experience, and, obviously, theories not based on broad and deep aesthetic experience are worthless. Only those for whom art is a constant source of passionate emotion can possess the data from which profitable theories may be deduced; but to deduce profitable theories even from accurate data involves a certain amount of brain-work, and, unfortunately, robust intellects and delicate sensibilities are not inseparable. As often as not, the hardest thinkers have had no aesthetic experience whatever. I have a friend blessed with an intellect as keen as a drill, who, though he takes an interest in aesthetics, has never during a life of almost forty years been guilty of an aesthetic emotion. So, having no faculty for distinguishing a work of art from a handsaw, he is apt to rear up a pyramid of irrefragable argument on the hypothesis that a handsaw is a work of art. This defect robs his perspicuous and subtle reasoning of much of its value; for it has ever been a maxim that faultless logic can win but little credit for conclusions that are based on premises notoriously false. Every cloud, however, has its silver lining, and this insensibility, though unlucky in that it makes my friend incapable of choosing a sound basis for his argument, mercifully blinds him to the absurdity of his conclusions while leaving him in full enjoyment of his masterly dialectic. People who set out from the hypothesis that Sir Edwin Landseer was the finest painter that ever lived will feel no uneasiness about an aesthetic which proves that Giotto was the worst. So, my friend, when he arrives very logically at the conclusion that a work of art should be small or round or smooth, or that to appreciate fully a picture you should pace smartly before it or set it spinning like a top, cannot guess why I ask him whether he has lately been to Cambridge, a place he sometimes visits.
Edwin Landseer, Monarach of the Glen (1851)
On the other hand, people who respond immediately and surely to works of art, though, in my judgment, more enviable than men of massive intellect but slight sensibility, are often quite as incapable of talking sense about aesthetics. Their heads are not always very clear. They possess the data on which any system must be based; but, generally, they want the power that draws correct inferences from true data. Having received aesthetic emotions from works of art, they are in a position to see.
This document outlines the four-step process of art criticism: description, analysis, interpretation, and judgment. It provides examples of questions to consider for each step, such as describing the visual elements, analyzing the use of color and form, interpreting the artist's message, and making a personal evaluation. The goal is to teach students how to effectively critique art using correct terminology and by considering the formal qualities and potential meanings.
The document provides guidance on how to critically analyze and evaluate a work of art using a three-stage process of description, analysis, and interpretation. It emphasizes developing an objective understanding of the formal elements and composition, examining how these relate to design principles, and interpreting the work's meaning and value within historical, social and personal contexts. Critiquing art involves more than just personal opinions - it opens discussion about human experiences and cultural values that can shift over time.
The document discusses the theme of "Out of Place" from multiple perspectives. It explores what it means to feel out of place, providing examples of feeling like a "fish out of water" or like one doesn't fit in due to traits like ADHD. The writer wants to explore this theme by creating a cartoony character who can't seem to fit in no matter what. Research on artists who have depicted feelings of not belonging, such as The Blue Umbrella by Pixar and works by Edvard Munch, are discussed as inspiration for showing how a character stands out and feels anxiety or panic from not fitting in. The goal is to convey these emotions in a lighthearted, child-friendly way while also
The document provides instructions and tips for an assignment to write a descriptive paragraph about a paperclip. Students are asked to closely observe and "defamiliarize" the ordinary object of a paperclip through sustained visual attention in order to restore the strangeness of perceiving it. The assignment is due by July 6th, with further papers due on July 7th and 14th. Guidelines for the descriptive paragraph emphasize showing the reader what is seen in vivid language, focusing on describing the object itself without reactions or speculation, and using richly descriptive words to convey the object's appearance.
This document provides a summary of Melissa Mudd's portfolio from 2010, including examples of her creative writing experiments and art projects from an institute course. It contains 3 short pieces of creative writing focused on imagery from her surroundings. The document also describes 2 seedling projects - booklace necklaces combining images and text, and a painting with embedded headlines exploring hope. Graphic narrative storyboards and a self-portrait triptych investigating roles and identities are presented as additional examples of works started in the course.
Binaries, boxes, the grid and sorting—an exploration through habit, form, fun...Jess Mitchell
This document provides an overview of a presentation about binaries, boxes, grids and sorting. It discusses the speaker's experience taking a graduate-level philosophy seminar as an undergraduate that explored the works of Heidegger and Mondrian. The seminar, led by Professor Gregory Schufreider, analyzed Heidegger's philosophy of being using Mondrian's artworks. This pivotal experience exposed the speaker to new ways of thinking beyond Western metaphysics and expanded their mind. The document then discusses the history and imposition of grids on landscapes and societies, and questions their impact.
Digital art technology allows for art to be created digitally using computer tools and software. This has opened up new possibilities for art that can appear unbelievable. There are two main types of computer-based art - computer-assisted art which uses applications like Photoshop as a tool, and computer-created art which is generated algorithmically. While classical and digital art both start with an artist's idea, they use different media - classical uses tools like paintbrushes while digital uses software.
1. The document discusses the concept of perspective and how our individual perspectives shape how we see and interpret the world.
2. It introduces a "Let It Go" game to help people shift perspectives by looking at images or situations from different points of view.
3. The goal is to learn that there are multiple ways to interpret any person, thing, or event, and shifting perspectives can help us be less attached to fixed judgments or beliefs.
This essay should be 1,000 words and the instructions are below.blossomblackbourne
This essay should be 1,000 words and the instructions are below.
PART I. DESCRIBE in detail the art works from an objective standpoint. Act as if you are writing for an audience who hasn’t seen or experienced the artwork(s). Your reader (me) is only able to experience the work(s) through your words. It is your responsibility to look at the work(s) as objectively as possible and articulate these findings to me. Your reader depends on YOU to make the appropriate word choices, to consider what the artist may or may not be doing. Use descriptive words and significant details to create a mental picture for your reader. The more specific, objective, and clearer you are, the better. Avoid clichés (“beauty is in the eye of the beholder”) and sweeping generalizations. You should avoid reading anything about the work other than: the title, the artist’s name, and the material used (for visual art works). The whole purpose of this assignment is to help you to learn how to trust your own abilities to observe, using your own senses, and make conclusions as these are essential skills for any life work.
PART II. ANALYZE the aspects of the work(s) you choose to describe. Interpreting means that you attempt to understand what the work is communicating, using the elements from the work to back up your points. Basically, you are acting like detective who uses the clues to figure out what it means. Remember to be careful to not assume something that isn’t there. The evidence (aspects of the work) tells you what you think it is conveying. There is no perfect interpretation; however, you must be careful that the work described fits with your analysis. Think about the choices the artist made and why he/she did it that way. What may have been the point? To educate? To inspire? To make you feel a certain way? To get you to see better? To make you uncomfortable? To stimulate your imagination?
PART III. EVALUATE the work(s). Now, be subjective. Tell your reader how you felt or thought about the work(s). If you like or dislike some aspect of it, do not simply state this, give reasons for why the works of art affected you the way it did. In other words, think about how the artistic choices influenced your experience of the event. It is your job to convince the reader of your aesthetic judgment using evidence; mere statements of the experience being "bad" or "good" do not tell your reader why it is worth seeing or not. Remember, you are being responsible to your reader by considering that she does not have your same perspective, so you must consider that as well. This is an important aspect of the essay, so don’t forget to write about it!
PART IV. CONCLUDE with a paragraph or two that addresses the arts in general as agents of cultural change, as purveyors of ideas and emotional states, or as communicators of values. In YOUR OWN WORDS, tell your reader how any artist’s choices and actions (the work itself being an active form of ...
Characteristics Of A Descriptive Essay.pdfTina Hudson
Descriptive Essay: Definition, Examples & Tips for Writing a .... How to Write a Descriptive Essay: 14 Steps (with Pictures). FREE 9+ Descriptive Essay Examples in PDF | Examples. Descriptive Essay Examples, Definition, Characteristics and Functions .... Descriptive Essay Examples - 27+ Samples in PDF | DOC | Examples. Descriptive Essay Examples: What to Write, And What Not To!. Descriptive Essay | Purpose, Elements and Descriptive Essay Meaning .... College essay: Descriptive essay meaning.
The artists develop individual workspaces and processes to support their daily artistic practice. Their studios contain elements that both inspire their work and allow them to build upon ideas from one session to the next. While routines and environments differ, common themes are a dedicated private space, important reference materials, and an ability to be creative anywhere to spark new ideas.
This document provides advice to IB Visual Arts students on how to achieve a high score on their examination. It emphasizes developing a broad theme that unites all of your artwork. Students are advised to thoroughly document their artistic process, technical skills development, and ideas exploration in their Investigation Workbook to demonstrate their understanding of concepts and progress over time. Personal expression and challenging oneself with increasingly complex concepts and techniques also contribute to a high score. Regular feedback and critique of one's own work is recommended.
This document provides an overview and instructions for an art appreciation course. It introduces the professor and assigns students to get into groups based on clothing color and gender. The document outlines expectations for group behaviors and activities where groups will analyze portions of the syllabus and participate in discussions about what defines art and beauty. It also provides an overview of chapter 1 which covers what art is, its functions, categories of visual arts and styles. Students are assigned an activity analyzing artwork from a memorial website.
Assignment Topic 1Choose a contemporary painting, sculpture, o.docxlynettearnold46882
Assignment Topic 1
Choose a contemporary painting, sculpture, or piece of art that captures your interest. This should be a piece created between the end of World War II (about 1945) and today. You may choose one of the illustrations or color inserts in the textbook, or try a virtual museum (check the links in this week's My Humanities Kit).
Before you begin writing your post, view the “Closer Look” art critiques from the unit My Humanities Kit resources. Consider what features are discussed in the piece you select. Aim for an evaluation that notes small details in a work, considers the purpose of various elements, and perhaps investigates the artist’s life.
In the post, begin by introducing the piece of contemporary art created between 1945 and present. What is the title? Who created it and when? What is the style? How would you describe it to someone who had not seen it? Finally, explain why viewing this work is a valuable experience. Connect the Unit 5 reading material in your response; include APA formatting.
Student 1
Hello Class and Professor,
For my piece of Art I have chosen Andy Warhol’s painting “Diamond Dust Shoes 1980”. I not only love the colors that are presented in the piece but the meaning to me signifies how many shoes women fill in our daily lives such as a mother, a friend, a lover, a daughter and etc. I fell a since of gratitude when I look at this colorful piece.
Andy Warhol was born in 1928; he left a huge legacy behind when he passed away in 1987 (Janaro & Altshuler, 2012, p. 142). From drawings, paintings and prints to videography, publishing and performance, he produced more than art -- he was essentially his own brand. From haunting black and white self-portraits to Polaroid snapshots of celebrities, many of the photos in the collection later became the inspiration for Warhol's most well-known Pop Art pieces (Janaro & Altshuler, 2012, p. 142).
Warhol's focus on consumer goods and pop-culture icons, as well as his own taste for money and fame, suggest a life in celebration of the very aspects of American culture that his work criticized (A & E Television Networks, 1996-2013). When looking at this piece of work you have a sense of what life is everyday!
Please look at the link provided below to take a look at this peice of Art. (The last reference below)
Margaret
A & E Television Networks, L. (1996-2013). bio.true story. Retrieved from Andy Warhol Biography: http://www.biography.com/people/andy-warhol-9523875?page=2
Student 2
Hello Class and Professor,
For some reason many of the illustrations in our text I cannot view. So I decided to search for contemporary art photos. There were quite a few interesting images but I found a sculpture or performance piece by Rook Floro that really caught my eye. Oddly, there is no title; at least I have not been able to locate one. Parts of this three-dimensional art look like it has some kind of wiry texture. The piece seems to be an imitation of human emotion. .
This document provides guidance for using investigation workbooks (IWBs) to document art research and creative exploration. Key points include: making the IWB your best friend by using it daily; including sketches, experiments, research findings, plans and self-assessments; giving credit to sources; and focusing content on an in-depth investigation of an artist's life, techniques, cultural context and the significance of their work. Mistakes are part of learning, and neat documentation is important for grading.
Gallery of Student WritingShernel WoodmanPrinciples of Design.docxshericehewat
This document provides an analysis of the film "Train of Thought" by Leo Bridle. It discusses the filmmakers, the basic film structure, and analyzes the content and themes of the film. The student believes the film is about love based on the main character searching for a woman he loves on a train. The character uses drawings as a map to find her. When he doesn't find her on the train, he returns to the station and finally sees her there. The student praises the filmmakers' use of animation and cutouts to give the film a cartooned yet realistic style.
Essay art gallery ABOUT DESCRIBE islandIntroduction to eleanorabarrington
Essay art gallery
ABOUT DESCRIBE
island
Introduction to Humanities Personal Response Paper Guidelines
Also known as this is NOT a Research paper
(100 points total)
Purpose
The purpose of this assignment is for you to have a
face to face
experience with an artistic work and then write about your response to it. This means that you must witness something live, i.e., in bodily form rather than in virtual form (a movie, book, internet site would not work).
You must attend this experience this semester
. Possible experiences you could pursue:
Art museum or established art gallery exhibit, including the Collin Arts Gallery
Dance concert at college level or professional
Theater performance at college level or professional
Requirements:
Use good judgment in choosing an art experience. Your little niece’s ballet recital is not going to give you an experience that relates to the content of this course. A natural history museum, science museum, or historical exhibit is
not
appropriate. Do not write about work by a person who you know personally. Do not write about works on campus, which are not in the Arts Gallery. You must visit an art museum, art gallery, or theater or dance performance space!!!!
Format:
Your paper must be typed!
You must turn in a paper copy to me and submit a copy to turnitin via Canvas.
I will not grade a paper unless I have a paper copy and a turnitin submission. The recommended number of words is
850 words minimum
. Grammar and spelling count and are worth 20 points of the paper. Use double spacing in your paper!
***NOTE:
The final page of your personal response paper
must
include a photograph of you inside the gallery or museum. Do
not
include a photograph of the work or works you wrote about. Attendees of a theater or dance performance
must
include a program.***
Content:
Act as if you are writing for an audience who hasn’t seen or experienced the artwork(s) or performance. Your reader (me) is only able to experience the work(s) through your words. It is your responsibility to look at the work(s) as objectively as possible and articulate these findings to me. Your reader depends on YOU to make the appropriate word choices, to consider what the artist may or may not be doing. You should avoid reading anything about the work other than: the title, the artist’s name, and the material used. The whole purpose of this assignment is to help you to learn how to trust your own abilities to observe, using your own senses, and make conclusions.
You must tell your reader where you saw the work(s), who created it, and the title. If it is a performance, you must give the name of the theater or dance company, the place where you saw it, and the director/choreographer.
Paper Format:
It is your personal responsibility to do
four
things, which are each worth 20 points:
1. Describe
in detail the art works, dance pieces, or theater performance under consideration from an objective standpoint ...
This document provides strategies for helping 9th grade math students effectively manage their time. It recommends incorporating daily review activities at the start of class to minimize wasted time. Students should be taught self-monitoring skills to stay on-task during independent work periods. Establishing routines and providing a syllabus can help students prioritize assignments. Frequent praise and rewards can also encourage students to meet deadlines. Overall, these time management strategies are aimed at enhancing learning for 14-year-old students.
The document discusses the primary steps and process for requesting and obtaining writing assistance through the HelpWriting.net website. It outlines 5 main steps: 1) Creating an account with valid email and password. 2) Completing a 10-minute order form providing instructions, sources, and deadline. 3) Reviewing bids from writers and choosing one based on qualifications. 4) Receiving the paper and authorizing payment if pleased. 5) Having the option to request revisions to ensure satisfaction, with a refund offered for plagiarized work. The document promotes the website's writing assistance services.
Thesis Statement Structure. Thesis And Purpose StateBecky Gilbert
The document provides instructions for creating an account on HelpWriting.net in order to request writing assistance. It outlines a 5-step process: 1) Create an account with a password and email. 2) Complete an order form with instructions, sources, and deadline. 3) Review bids from writers and choose one. 4) Receive the paper and authorize payment if satisfied. 5) Request revisions until fully satisfied, with a refund option for plagiarized work. The goal is to ensure students receive original, high-quality content through a simple online process.
How To Write A Good Personal Essay For Scholarships - SoBecky Gilbert
This document provides instructions for creating an account and submitting assignment requests on the HelpWriting.net website. It outlines a 5-step process:
1. Create an account by providing a password and email.
2. Complete an order form with instructions, sources, and deadline to request a "Write My Paper For Me" assignment.
3. Review bids from writers and select one based on qualifications and reviews.
4. Review the completed paper and authorize payment if satisfied. Free revisions are allowed.
5. Request multiple revisions to ensure satisfaction. Plagiarized work will be refunded.
This document outlines the four-step process of art criticism: description, analysis, interpretation, and judgment. It provides examples of questions to consider for each step, such as describing the visual elements, analyzing the use of color and form, interpreting the artist's message, and making a personal evaluation. The goal is to teach students how to effectively critique art using correct terminology and by considering the formal qualities and potential meanings.
The document provides guidance on how to critically analyze and evaluate a work of art using a three-stage process of description, analysis, and interpretation. It emphasizes developing an objective understanding of the formal elements and composition, examining how these relate to design principles, and interpreting the work's meaning and value within historical, social and personal contexts. Critiquing art involves more than just personal opinions - it opens discussion about human experiences and cultural values that can shift over time.
The document discusses the theme of "Out of Place" from multiple perspectives. It explores what it means to feel out of place, providing examples of feeling like a "fish out of water" or like one doesn't fit in due to traits like ADHD. The writer wants to explore this theme by creating a cartoony character who can't seem to fit in no matter what. Research on artists who have depicted feelings of not belonging, such as The Blue Umbrella by Pixar and works by Edvard Munch, are discussed as inspiration for showing how a character stands out and feels anxiety or panic from not fitting in. The goal is to convey these emotions in a lighthearted, child-friendly way while also
The document provides instructions and tips for an assignment to write a descriptive paragraph about a paperclip. Students are asked to closely observe and "defamiliarize" the ordinary object of a paperclip through sustained visual attention in order to restore the strangeness of perceiving it. The assignment is due by July 6th, with further papers due on July 7th and 14th. Guidelines for the descriptive paragraph emphasize showing the reader what is seen in vivid language, focusing on describing the object itself without reactions or speculation, and using richly descriptive words to convey the object's appearance.
This document provides a summary of Melissa Mudd's portfolio from 2010, including examples of her creative writing experiments and art projects from an institute course. It contains 3 short pieces of creative writing focused on imagery from her surroundings. The document also describes 2 seedling projects - booklace necklaces combining images and text, and a painting with embedded headlines exploring hope. Graphic narrative storyboards and a self-portrait triptych investigating roles and identities are presented as additional examples of works started in the course.
Binaries, boxes, the grid and sorting—an exploration through habit, form, fun...Jess Mitchell
This document provides an overview of a presentation about binaries, boxes, grids and sorting. It discusses the speaker's experience taking a graduate-level philosophy seminar as an undergraduate that explored the works of Heidegger and Mondrian. The seminar, led by Professor Gregory Schufreider, analyzed Heidegger's philosophy of being using Mondrian's artworks. This pivotal experience exposed the speaker to new ways of thinking beyond Western metaphysics and expanded their mind. The document then discusses the history and imposition of grids on landscapes and societies, and questions their impact.
Digital art technology allows for art to be created digitally using computer tools and software. This has opened up new possibilities for art that can appear unbelievable. There are two main types of computer-based art - computer-assisted art which uses applications like Photoshop as a tool, and computer-created art which is generated algorithmically. While classical and digital art both start with an artist's idea, they use different media - classical uses tools like paintbrushes while digital uses software.
1. The document discusses the concept of perspective and how our individual perspectives shape how we see and interpret the world.
2. It introduces a "Let It Go" game to help people shift perspectives by looking at images or situations from different points of view.
3. The goal is to learn that there are multiple ways to interpret any person, thing, or event, and shifting perspectives can help us be less attached to fixed judgments or beliefs.
This essay should be 1,000 words and the instructions are below.blossomblackbourne
This essay should be 1,000 words and the instructions are below.
PART I. DESCRIBE in detail the art works from an objective standpoint. Act as if you are writing for an audience who hasn’t seen or experienced the artwork(s). Your reader (me) is only able to experience the work(s) through your words. It is your responsibility to look at the work(s) as objectively as possible and articulate these findings to me. Your reader depends on YOU to make the appropriate word choices, to consider what the artist may or may not be doing. Use descriptive words and significant details to create a mental picture for your reader. The more specific, objective, and clearer you are, the better. Avoid clichés (“beauty is in the eye of the beholder”) and sweeping generalizations. You should avoid reading anything about the work other than: the title, the artist’s name, and the material used (for visual art works). The whole purpose of this assignment is to help you to learn how to trust your own abilities to observe, using your own senses, and make conclusions as these are essential skills for any life work.
PART II. ANALYZE the aspects of the work(s) you choose to describe. Interpreting means that you attempt to understand what the work is communicating, using the elements from the work to back up your points. Basically, you are acting like detective who uses the clues to figure out what it means. Remember to be careful to not assume something that isn’t there. The evidence (aspects of the work) tells you what you think it is conveying. There is no perfect interpretation; however, you must be careful that the work described fits with your analysis. Think about the choices the artist made and why he/she did it that way. What may have been the point? To educate? To inspire? To make you feel a certain way? To get you to see better? To make you uncomfortable? To stimulate your imagination?
PART III. EVALUATE the work(s). Now, be subjective. Tell your reader how you felt or thought about the work(s). If you like or dislike some aspect of it, do not simply state this, give reasons for why the works of art affected you the way it did. In other words, think about how the artistic choices influenced your experience of the event. It is your job to convince the reader of your aesthetic judgment using evidence; mere statements of the experience being "bad" or "good" do not tell your reader why it is worth seeing or not. Remember, you are being responsible to your reader by considering that she does not have your same perspective, so you must consider that as well. This is an important aspect of the essay, so don’t forget to write about it!
PART IV. CONCLUDE with a paragraph or two that addresses the arts in general as agents of cultural change, as purveyors of ideas and emotional states, or as communicators of values. In YOUR OWN WORDS, tell your reader how any artist’s choices and actions (the work itself being an active form of ...
Characteristics Of A Descriptive Essay.pdfTina Hudson
Descriptive Essay: Definition, Examples & Tips for Writing a .... How to Write a Descriptive Essay: 14 Steps (with Pictures). FREE 9+ Descriptive Essay Examples in PDF | Examples. Descriptive Essay Examples, Definition, Characteristics and Functions .... Descriptive Essay Examples - 27+ Samples in PDF | DOC | Examples. Descriptive Essay Examples: What to Write, And What Not To!. Descriptive Essay | Purpose, Elements and Descriptive Essay Meaning .... College essay: Descriptive essay meaning.
The artists develop individual workspaces and processes to support their daily artistic practice. Their studios contain elements that both inspire their work and allow them to build upon ideas from one session to the next. While routines and environments differ, common themes are a dedicated private space, important reference materials, and an ability to be creative anywhere to spark new ideas.
This document provides advice to IB Visual Arts students on how to achieve a high score on their examination. It emphasizes developing a broad theme that unites all of your artwork. Students are advised to thoroughly document their artistic process, technical skills development, and ideas exploration in their Investigation Workbook to demonstrate their understanding of concepts and progress over time. Personal expression and challenging oneself with increasingly complex concepts and techniques also contribute to a high score. Regular feedback and critique of one's own work is recommended.
This document provides an overview and instructions for an art appreciation course. It introduces the professor and assigns students to get into groups based on clothing color and gender. The document outlines expectations for group behaviors and activities where groups will analyze portions of the syllabus and participate in discussions about what defines art and beauty. It also provides an overview of chapter 1 which covers what art is, its functions, categories of visual arts and styles. Students are assigned an activity analyzing artwork from a memorial website.
Assignment Topic 1Choose a contemporary painting, sculpture, o.docxlynettearnold46882
Assignment Topic 1
Choose a contemporary painting, sculpture, or piece of art that captures your interest. This should be a piece created between the end of World War II (about 1945) and today. You may choose one of the illustrations or color inserts in the textbook, or try a virtual museum (check the links in this week's My Humanities Kit).
Before you begin writing your post, view the “Closer Look” art critiques from the unit My Humanities Kit resources. Consider what features are discussed in the piece you select. Aim for an evaluation that notes small details in a work, considers the purpose of various elements, and perhaps investigates the artist’s life.
In the post, begin by introducing the piece of contemporary art created between 1945 and present. What is the title? Who created it and when? What is the style? How would you describe it to someone who had not seen it? Finally, explain why viewing this work is a valuable experience. Connect the Unit 5 reading material in your response; include APA formatting.
Student 1
Hello Class and Professor,
For my piece of Art I have chosen Andy Warhol’s painting “Diamond Dust Shoes 1980”. I not only love the colors that are presented in the piece but the meaning to me signifies how many shoes women fill in our daily lives such as a mother, a friend, a lover, a daughter and etc. I fell a since of gratitude when I look at this colorful piece.
Andy Warhol was born in 1928; he left a huge legacy behind when he passed away in 1987 (Janaro & Altshuler, 2012, p. 142). From drawings, paintings and prints to videography, publishing and performance, he produced more than art -- he was essentially his own brand. From haunting black and white self-portraits to Polaroid snapshots of celebrities, many of the photos in the collection later became the inspiration for Warhol's most well-known Pop Art pieces (Janaro & Altshuler, 2012, p. 142).
Warhol's focus on consumer goods and pop-culture icons, as well as his own taste for money and fame, suggest a life in celebration of the very aspects of American culture that his work criticized (A & E Television Networks, 1996-2013). When looking at this piece of work you have a sense of what life is everyday!
Please look at the link provided below to take a look at this peice of Art. (The last reference below)
Margaret
A & E Television Networks, L. (1996-2013). bio.true story. Retrieved from Andy Warhol Biography: http://www.biography.com/people/andy-warhol-9523875?page=2
Student 2
Hello Class and Professor,
For some reason many of the illustrations in our text I cannot view. So I decided to search for contemporary art photos. There were quite a few interesting images but I found a sculpture or performance piece by Rook Floro that really caught my eye. Oddly, there is no title; at least I have not been able to locate one. Parts of this three-dimensional art look like it has some kind of wiry texture. The piece seems to be an imitation of human emotion. .
This document provides guidance for using investigation workbooks (IWBs) to document art research and creative exploration. Key points include: making the IWB your best friend by using it daily; including sketches, experiments, research findings, plans and self-assessments; giving credit to sources; and focusing content on an in-depth investigation of an artist's life, techniques, cultural context and the significance of their work. Mistakes are part of learning, and neat documentation is important for grading.
Gallery of Student WritingShernel WoodmanPrinciples of Design.docxshericehewat
This document provides an analysis of the film "Train of Thought" by Leo Bridle. It discusses the filmmakers, the basic film structure, and analyzes the content and themes of the film. The student believes the film is about love based on the main character searching for a woman he loves on a train. The character uses drawings as a map to find her. When he doesn't find her on the train, he returns to the station and finally sees her there. The student praises the filmmakers' use of animation and cutouts to give the film a cartooned yet realistic style.
Essay art gallery ABOUT DESCRIBE islandIntroduction to eleanorabarrington
Essay art gallery
ABOUT DESCRIBE
island
Introduction to Humanities Personal Response Paper Guidelines
Also known as this is NOT a Research paper
(100 points total)
Purpose
The purpose of this assignment is for you to have a
face to face
experience with an artistic work and then write about your response to it. This means that you must witness something live, i.e., in bodily form rather than in virtual form (a movie, book, internet site would not work).
You must attend this experience this semester
. Possible experiences you could pursue:
Art museum or established art gallery exhibit, including the Collin Arts Gallery
Dance concert at college level or professional
Theater performance at college level or professional
Requirements:
Use good judgment in choosing an art experience. Your little niece’s ballet recital is not going to give you an experience that relates to the content of this course. A natural history museum, science museum, or historical exhibit is
not
appropriate. Do not write about work by a person who you know personally. Do not write about works on campus, which are not in the Arts Gallery. You must visit an art museum, art gallery, or theater or dance performance space!!!!
Format:
Your paper must be typed!
You must turn in a paper copy to me and submit a copy to turnitin via Canvas.
I will not grade a paper unless I have a paper copy and a turnitin submission. The recommended number of words is
850 words minimum
. Grammar and spelling count and are worth 20 points of the paper. Use double spacing in your paper!
***NOTE:
The final page of your personal response paper
must
include a photograph of you inside the gallery or museum. Do
not
include a photograph of the work or works you wrote about. Attendees of a theater or dance performance
must
include a program.***
Content:
Act as if you are writing for an audience who hasn’t seen or experienced the artwork(s) or performance. Your reader (me) is only able to experience the work(s) through your words. It is your responsibility to look at the work(s) as objectively as possible and articulate these findings to me. Your reader depends on YOU to make the appropriate word choices, to consider what the artist may or may not be doing. You should avoid reading anything about the work other than: the title, the artist’s name, and the material used. The whole purpose of this assignment is to help you to learn how to trust your own abilities to observe, using your own senses, and make conclusions.
You must tell your reader where you saw the work(s), who created it, and the title. If it is a performance, you must give the name of the theater or dance company, the place where you saw it, and the director/choreographer.
Paper Format:
It is your personal responsibility to do
four
things, which are each worth 20 points:
1. Describe
in detail the art works, dance pieces, or theater performance under consideration from an objective standpoint ...
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Chapter wise All Notes of First year Basic Civil Engineering
Syllabus
Chapter-1
Introduction to objective, scope and outcome the subject
Chapter 2
Introduction: Scope and Specialization of Civil Engineering, Role of civil Engineer in Society, Impact of infrastructural development on economy of country.
Chapter 3
Surveying: Object Principles & Types of Surveying; Site Plans, Plans & Maps; Scales & Unit of different Measurements.
Linear Measurements: Instruments used. Linear Measurement by Tape, Ranging out Survey Lines and overcoming Obstructions; Measurements on sloping ground; Tape corrections, conventional symbols. Angular Measurements: Instruments used; Introduction to Compass Surveying, Bearings and Longitude & Latitude of a Line, Introduction to total station.
Levelling: Instrument used Object of levelling, Methods of levelling in brief, and Contour maps.
Chapter 4
Buildings: Selection of site for Buildings, Layout of Building Plan, Types of buildings, Plinth area, carpet area, floor space index, Introduction to building byelaws, concept of sun light & ventilation. Components of Buildings & their functions, Basic concept of R.C.C., Introduction to types of foundation
Chapter 5
Transportation: Introduction to Transportation Engineering; Traffic and Road Safety: Types and Characteristics of Various Modes of Transportation; Various Road Traffic Signs, Causes of Accidents and Road Safety Measures.
Chapter 6
Environmental Engineering: Environmental Pollution, Environmental Acts and Regulations, Functional Concepts of Ecology, Basics of Species, Biodiversity, Ecosystem, Hydrological Cycle; Chemical Cycles: Carbon, Nitrogen & Phosphorus; Energy Flow in Ecosystems.
Water Pollution: Water Quality standards, Introduction to Treatment & Disposal of Waste Water. Reuse and Saving of Water, Rain Water Harvesting. Solid Waste Management: Classification of Solid Waste, Collection, Transportation and Disposal of Solid. Recycling of Solid Waste: Energy Recovery, Sanitary Landfill, On-Site Sanitation. Air & Noise Pollution: Primary and Secondary air pollutants, Harmful effects of Air Pollution, Control of Air Pollution. . Noise Pollution Harmful Effects of noise pollution, control of noise pollution, Global warming & Climate Change, Ozone depletion, Greenhouse effect
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1. Palancharmy, Basic Civil Engineering, McGraw Hill publishers.
2. Satheesh Gopi, Basic Civil Engineering, Pearson Publishers.
3. Ketki Rangwala Dalal, Essentials of Civil Engineering, Charotar Publishing House.
4. BCP, Surveying volume 1
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Art Critiques A Guide (Chapters 13-16)
1. 13
Student + Teacher + Artwork = Confusion
Consider three hypothetical scenes: A, a teacher wanders into your classroom or
studio when you’re not there, and sees your work. B, you walk in, but you don’t say
anything. C, you start explaining your work.
A. Teacher + Artwork. An artwork implies a creator. As viewers we construct—
often without trying, or being aware of what we are doing—entire personalities for
artists based on what we see of their works. It’s not necessarily that we try to picture
how the artist works or what kind of a person she is when she’s at home: it’s that our
response to a work involves a story of some sort, a story we tell ourselves, about the
kind of person who would make such a work. After poststructuralism, people have
been wary of saying they care too much, or know to much, about what the artist
intended. But art that doesn’t give us some sense of the artist’s intention will seem
random, irresponsible, or unaccountable. Some aestheticians say that an artwork
without a notion of the maker’s intention cannot even appear as an artwork: it will
look like a random configuration of marks.1
Whatever guesses we make about the
artist’s thinking are probably wrong, but that is what enables us to understand work
to begin with. What I mean to emphasize here is that a version of the artist is already
present in every teacher’s mind when she looks at an artwork, even if she hasn’t seen
the student who made the work.
B. Teacher + Artwork + Student (no sound). The situation is complicated when
the teacher sees you, because it is a natural human reaction to form an idea of a
person even before she speaks. Just by looking at you, your teacher will immediately
have some sense of you as a person, and even a vague notion of what kind of work
you might make. In a critique, when it’s clear you made the work, your teacher has to
square her notion of you with the sense of you that she gets from the artwork itself.
Two implied personalities that have to be correlated: the one implied by the work,
and the one you project just by being in the room. It is simpler, by comparison, to
look at art in a museum, because then you only have one kind of intention to think
about, the one apparently embodied in the work. The artist isn’t usually around
2. 56
to confound your assumptions. It’s a cliché to say that the impression you have of
someone based only on their appearance is bound to be wrong: but the fact remains
that we all have such ideas floating in our heads. It’s the same with point A: I know
that my notion of the kind of artist that would make a work is bound to be wrong:
but without some notion, I can’t actually continue perceiving the work as an artwork.
This can also happen in reverse: the teacher meets you first, and then sees the
work. A few years ago I was in a critique with a very quiet, neatly dressed student,
and I guess I had a kind of idea about the work he probably did. I had seen some
of his pictures based on paint-by-numbers kits, but they didn’t prepare me for the
work he showed, which was Polaroids of toilets in the men’s rooms of gay clubs. He
hadn’t even taken those pictures himself—he had loaned his camera to men who
were on their way into the washroom, telling them to photograph whatever they
chose. The studio was full of large pictures of toilets, some of them full. The student
was clean and quiet. When there is a strong disparity between the student himself
and the kind of person implied by the work, it can be hard to get a good critique
started. Unconsciously, we all require at least a minimal sense of a single, coherent
personality—an intentionality—behind the work. (In that case, it was easy for me to
tell myself a story about the repressed, button-down person I saw in the studio and
his gross-out artwork.)
C. Teacher + Artwork + Student (with sound). So it can already be confusing
for a teacher when you don’t seem to look or behave like the person whom your
teacher thinks might plausibly make your work. In addition students usually speak
in critiques. The moment you say a few words the critique is decisively changed.
Your teacher then has three versions of you to contend with: the reconstructed
intention implied by the works, the persona implied by your appearance, and
whatever explanatory narrative you offer. When the critique gets underway the
situation is compounded by the fact that everyone in the room is working with
slightly (or wildly) different ideas of the kind of person who would make such an
artwork, of the kind of person who would look like you do, and of the kind of ideas
you’re actually expressing.
Everything in a critique matters. It matters where you stand, how you look,
what tone of voice you have. In addition to what’s actually said, there are all the
subliminal accompaniments of speaking—your offhanded gestures, your sighs
and nods, your pose and attitude. I’ve even seen dancing and miming in critiques:
gesturesenrichthecritique—afterall,they’renonverbalelementsofcommunication,
just like the visual art that is under consideration.2
(Critiques aren’t the same as
reading or listening to a lecture, and all the differences count.3
) A shy artist, for
example, might make panelists gentle and earnest in their reading of the work, or
it might make them think the work itself is antisocial. An artist who speaks about
3. 57
family relationships will make panelists think of their own family relationships, and
might prompt them to bring in themes and images from family life. I had a student
a few years ago who painted lovely landscapes, interiors, and vases of flowers. One
of his paintings was a lesbian couple making love. It was obviously lifted from a
pornographic magazine. The student insisted it wasn’t pornographic, but just a
lovely composition with two blondes. When he said that, my whole idea about him
fell apart: I realized I had to rethink my idea of him as a person, and also reconsider
my interpretations of his other paintings. For a teacher it can be hard enough to
achieve a coherent sense of the student, her words, and her work.
I don’t mean to say you have to script every word you say and choreograph
every move you make: you couldn’t do that anyway, and even if you could you
couldn’t predict what a teacher would make of it. My moral is simple: critiques are a
heady mix of invented and projected meanings, and it helps to be aware of just how
complicated that mixture is.
4. 14
All the Ways to Fail
Strangely, there are many more words for failed artwork than for successful artwork.
Here are some I gathered at the School of the Art Institute one year. It’s a long list,
just for fun:
Didactic
Anachronistic
Fancy
Pretty
Merely pretty
Vague
Just fun
Easy
Almost insulting
Boring
Bland
Dull
Painfully dull
Unintelligent
Stupid
Trite
Doesn’t make sense
Has useless additions
Uninvolved
Dishonest
Immoral
Stupidly, gratuitously immoral
Unreflective
Over-controlled
Uncontrolled
Impersonal
Careless
Makeshift
Thoughtless
Been there, done that
Poor composition
Maudlin
Melodramatic
Too sci-fi
Schlocky
Garish
Kitsch
Not close enough to kitsch
Its only thrill is how close it can get to
kitsch
Not kitschy enough
Unaware it’s humorous
Distracting use of medium
Obvious
Blunt
In your face
Gratuitous appropriations
Obscure
Obscure, bordering on obtuse
Condescending
5. 59
Weak
Thin
Odd
Not odd enough
Too much
Self-serving
Too amiable
Simple
Simplistic
Literal-minded
Corny
Ridiculous
Awful (“bloomin’ awful,” etc.)
No motivation
Sexist
Silly
Too light
Too dark
Finicky
Unstable
Neither accessible to all, nor accessible
to none
Colors dissonant
Colors too harmonious
No congruence between artist, aim, and
result
Cute
Too cute
Cutesy
Sweet
Campy
Stale
Mismatched styles
Half-hearted
Disengaged
Less than overwhelming
Too overwhelming
Just too much
OTT
Heartless
Repetitive
Incoherent
Too satisfying
Plays to the audience
Manipulative
Looks lousy
Commercial
Overly commercial
Subject matter and idea are disconnect-
ed
Form and content are disconnected
Too serious
Too corporate
Too manly
Unfocused
Pointless
Aimless
Hopeless
Senseless
Mindless
Painless
Apathetic
Lacks apathy (too committed)
Wash-out
Unconvincing
Unconfident
Waste of time
Hypocritical
Happy
Amiable
Easy
Funny, but so what?
Self-censored
A one-liner
An ad
Too slick
Cheesy
Smooth
6. 60
Cultish about the avant-garde
Looks like art
Too trendy
Wrong medium
Propaganda
Illustrates a theory
Too systematic
Formulaic
Makes no sense, but seems like it should
Just tossed off
Badly done
Mystical
Spiritual
Not spiritual
Intentions unclear
Intentions too clear
Meaningless
Empty
Bullshit
Lets the critics dictate its meanings
Implies a meaning, but has none
Not in control of possible meanings
Indecisive
Not sick enough
Fake-o psychotic
A cliché
Propaganda
A slogan
A message
Intrusive
Heavy-handed
Contrived
Merely aesthetic
Not aesthetic enough
Tries too hard
Lost
Naïve
Cloying
Sentimental
Romantic
Romanticizing
Just plain ugly
Junky
Offensive
Disgusting
Not disturbing enough
Not extreme enough
Not weird enough
Derivative
Interesting
Notice the last word on the list. Even interesting work can be a failure! You’ve
probably heard a line like this:
“Hmm, yes, that’s very interesting.”
You can hear the boredom. It might mean, “I have next to nothing to say about
this,” or it might mean, “Hmm, no, that’s not really interesting at all,” or it might
mean, “That’s just interesting, not really compelling,” or it might mean, “God, I wish
I was at home watching TV,” or, if you’re lucky, it might mean, “I can’t see much in it
at the moment, but you’ve got my attention. I might think of something in a while.”
Philosophers know that “interesting” is an especially interesting word, because it
tends to replace older aesthetic criteria such as “good” or “successful.”1
It’s value-
neutral. But in this context, it’s less a matter of what in the world “interesting” might
signal in relation to aesthetic, as it is a matter of what in the world it might cover up.
In 2011, I posted this list of failure words on Facebook, asking if people had any
to add. I got lots more:2
7. 61
Sucks hard
Depraved
Risqué
Jejune
Over-ambitious
Under-ambitious
Arch
A knock-off
Predictable
Shambolic
Traditional
Conventional
Counter-productive
Esoteric
Mild
Complacent
Safe
Insincere
Savvy
Cynical
Plagiarized
Lacks rigor
Lacks discipline
Lacks commitment
Artsy
Too artsy
Not artsy enough
Doesn’t sing
Hackneyed
Ham fisted
Sloppy
Cold
Tone deaf
Too uptight
Anal
Doctrinaire
Doctor in the house?
Academic
Stiff
Stuffy
Stolid
Oppressive
Out of touch
Need to stand back
Need to get a life
Need to settle down
Need to apply yourself
Frivolous
Immature
Dabbling
Amateur
Unsophisticated
Over-sophisticated
Knowing
Negative
Neurotic
Nice
Self-indulgent
Perfunctory
Provincial
Chocolate-box
Cod surrealist
Bourgeois
Twee
Dated
Prolix
(The last few of those are very English.)
The list of words for failure is bewilderingly miscellaneous: it seems to have
no rhyme or reason, as if anything, anytime, can be called a failure for any reason
whatsoever. Basically, that is true. I will explain why when I list some words for
success, later in this book (chapter 35).3
8. 15
Five Kinds of Critiques:
1. The Silent Teacher Critique
Starting with this chapter, I’ll look at five kinds of critique: the Silent Teacher Cri-
tique, the Conceptual Critique, the Boot Camp Critique, the Silent Student Cri-
tique, and the Anti-Critique.1
No doubt there are many more! But if this were a field
guide to critiques, these would be five common species.
9. 63
InherbookSevenDaysintheArtWorld,thesociologistSarahThorntondescribes
a day-long critique held at CalArts in 2004 by the conceptual artist Michael Asher.
He started at 10 AM and finished at 1 AM, with breaks for food. The class critiqued
three students’ works, so on average they spent over five hours on each student. I’ll
have something to say about super-long critiques in chapter 43. For now, what’s
important is that Asher barely spoke, all day long. The students talked, and every
once in a while Asher said something. He didn’t speak at all for the first three and
a half hours of the day, and then when he spoke it was just one sentence, said to
a student who was showing graphite drawings: “Why didn’t you enter the project
through language or music?”2
This is a good example of a sort of critique I call the Silent Teacher Critique.
The teacher’s idea is that art is something that happens by exploration, not direct
instruction. It happens by fits and starts. You never know exactly when a student
will be ready to absorb an idea, or to hear something. From a teacher’s point of view,
it seems important not to preach, not to be an authority figure. The student has
to discover or rediscover her practice in the confusion and open-ended forum of
public conversation. Thornton quotes John Baldessari saying “students need to see
that art is made by human beings just like them.”3
Here are some pros and cons of the Silent Teacher critique:
From a student’s point of view, the Silent Teacher critique can be daunting,
because you won’t ever really know what the teacher thinks. The Silent Teacher
strategydoesnotnecessarilybreakdowntheauthorityoftheteacher:infactitusually
builds up that authority to mythic proportions. It may also be frustrating, because
you’ll be at the mercy of your fellow students: they might be supportive and helpful,
but they might also have lots of irrelevant ideas that you can’t use. The longer the
conversation among students continues, the less it’s likely to have any direction. The
entire experience can seem like a free-floating exercise in meandering, disconnected
free association. You may miss the teacher’s guidance, and you may wonder if your
tuition money is being well spent. I heard about a term at Goldsmiths in London,
where the tutors decided not to speak at all: that’s twelve five-hour sessions of silence
from four tutors (teachers). The student who told me this says sometimes it worked,
but most of the time the other students spoke in order to score points with the
teachers.4
If you’re in a Silent Teacher critique, the best thing to do is be your own
moderator: ask your fellow students to elaborate on their thoughts. Follow up on
what they say. Ask questions about your work. Don’t worry about what the teacher
might be secretly thinking.
From a teacher’s point of view, the Silent Teacher critique can be a great way to
start conversations in a big class. Students who are normally silent sometimes say
the most interesting things. I’ve heard of several cases where teachers take notes
instead of speaking—an interesting way of using the silent time, and returning to
10. 64
it later in a different form.5
It’s also worth saying that the Silent Teacher critique is
easy: it doesn’t require work. Insights come from unexpected places, and especially
if you’re the lecturing type, who talks through the entire class, it can really help to
stop talking and listen.
(My own opinion: as far I am concerned, the Silent Teacher strategy is also
an enormous missed opportunity. As a teacher, you can find coincidences and
resonances between students’ thoughts; you can order and correlate disparate ideas;
you can ask the students to develop their thoughts; you can explain their references;
you can put order, where it belongs, into the chaos of free conversation; you can
distinguish between random thoughts and pertinent ones; you can check students
who make speeches, and encourage those who need to speak more; and, above all,
you can throw light on the students’ ideas, showing where they come from, how
they connect to current art, how they might be used. The list of possibilities is
practically endless, and they are all given up in the name of conversation: but is
conversation that fragile? Will your intervention really spoil the chance of real open
dialogue? Even if you don’t believe in your authority as teacher, that doesn’t mean
you shouldn’t speak. Authority comes in many forms, and silence is one of the more
coercive. At least speaking is always performative, tentative, exploratory. Silence is
authoritarian. And one more thing: it’s also the case that not all silences are equal.
Michael Asher’s art practice is itself practically invisible; it’s a carefully positioned
conceptual art practice, and his kind of silence is not a neutral silence. It’s not just
anyone’s silence. It is itself an art practice, and by putting his practice to work in the
critique, Asher is effectively as coercive as the most insistent pedagogue.6
)
11. 16
What if You’re Asked to Talk
About Your Work?
Teachers who practice the Silent Teacher Critique usually ask students to begin by
making statements. Sometimes those statements break down. The student runs out
of things to say, and begins to doubt herself. She flounders, tries to find more words,
but can’t. Sometimes the student is very confident, and makes a set speech. Then
12. 66
she just stops and looks around defiantly, as if to say, Try to analyze that. Usually
the student prepares some thoughts in advance, but public speaking isn’t the easiest
thing, and the thoughts might come out too confident, or too confused, or too
quickly. The speech might be over before it has started, and then the Silent Teacher
might say, “Please, can you say a bit more?” It isn’t easy to talk in public, especially
if you’re standing next to something you’ve just made, something that doesn’t even
really make sense to you yet.
If you’re asked to give a short introduction to your work, the best thing is to
be as informal and honest as possible. You can memorize some talking points,
like “Explain the choice of cowboys,” “Say something about how my printmaking
technique is progressing,” or “Describe the idea for next semester.” It helps to have a
short list of things in your mind. But it’s usually not a good idea to prepare too much
of a speech. Here are some good things to say to get people started talking:
t*EMJLFUPTBZBGFXUIJOHTBCPVUUIJT BOEUIFO*EMJLFUPIFBSXIBUQFPQMF
have to say.
t*DBOUFMMZPVTPNFPGNZJEFBTBCPVUJU
t*GZPVEMJLFUPIFBSXIBU*WFCFFOSFBEJOH *DBOUFMMZPV PSXIBU*WFCFFO
thinking about, or who I’ve been looking at…
These are all open-ended and friendly, which helps conversation get started. On
Facebook, I asked what some of the worst opening lines are, and got this fabulous
list:
ti*NGFFMJOHGSBHJMFSJHIUOPXw1
(It’s best not to say this because it puts
teachers in a bind, and besides, it’s true for everyone.)
ti/POFPGUIJTXPSLJTĕOJTIFEwPSi*NKVTUFYQFSJNFOUJOHw2
(This may
be true, but if you broadcast it, you’re saying that whatever a teacher thinks won’t
apply.)
ti*EMJLFUPSFBEUIJT XPSEBSUJTUTTUBUFNFOUUIBUTFUTPVUUIFHFOFSBM
theory of my practice.” (More on this in a moment.)
ti*EMJLFUPEFTDSJCFBQJFDF*EMJLFUPNBLFw3
tiOEUFMMZPVXIBUFMTF*QMBOUPEPUPUIFQJFDF XIBU*XBOUFEUPEPCVU
didn’t have the money for, and what I wanted to do but didn’t have the time.”4
ti*IBWFOUTMFQUJOGPVSEBZTw5
ti*SBOPVUPGNPOFZ *SBOPVUPGTQBDF *SBOPVUPGQBJOU *SBOPVUPGUJNF
I ran out ideas, I ran out of....”6
ti*NBEFUIJTGPSNZTFMGw7
ti*BNUSZJOHUPTIPXUIBUQBJOUJOHJTOPUEFBEw8
tićJTQJFDFTQFBLTGPSJUTFMG PLBZ w9
13. 67
ti:PVQFPQMFBSFOPUUIFJOUFOEFEBVEJFODFGPSNZXPSLw10
ti8IBUFWFSZPVTFFJOJUJTPLBZXJUINFwPSiYou tell me what my work is
about.”11
Many art departments and art schools offer courses on writing artists’
statements. (Some also offer courses on writing manifestoes, which can be great
fun.) In some institutions, writing courses are required. By the time students get
to MFA programs, most of them have long prepared texts that they use for grant
applications, residencies, and juried exhibitions. It can be tempting to bring in your
artist’s statement and read it in critique, but there’s a limit to how useful that is.
Teachers will balk at long statements. Some students use statements as a shield,
to protect themselves from criticism. They hope the statement will deflect the
criticism, and save them from getting hurt. Some students discover art theory, and
produce statements brimming with cool theory references. One BFA student began
her critique by saying, “I have just been reading the psychoanalyst Jacques Lacan.
I am especially interested in a concept of his, called in French the objet petit a.”
A year or two later, that might develop into something more confident, like “My
work uses Jacques Lacan’s idea of the Other, especially the objet petit a.” At the
MFA level, the same student might say something even more fancy, like “My work
interrogates the Lacanian objet petit a.” As you go on through art school, you’ll learn
how to make art-world and theory-world references more and more smoothly. But
there’s a danger here, and that is that the instructor might hear your increasingly
sophisticated statement as a sign that you’re increasingly anxious about what your
work is really about, and increasingly desperate to keep the conversation on subjects
you know. That’s why an informal, honest opening statement is always best. If Lacan
fits into the conversation later, then fine. But when teachers see the Theory Shield
being raised, they’re likely to bring on the big Authority Guns.
The standard line about critiques is that it’s good to talk, in order to keep
the critique on track, steering it toward important topics and away from wild
interpretations. Control your critique, people say, and it will go better. (One summer
the School of the Art Institute even mailed out letters to incoming MFA students,
telling them how to control their critiques, but it only made everyone nervous.) But
you might also consider that control is an elusive thing, and the moment when you
actually achieve it may well be the moment when you learn the least. In addition,
art history shows that artists have been consistently misguided about what they do:
the reasons they thought their work was valuable usually aren’t the reasons we value
their work today. The lesson art history teaches in this case is that artists need to tell
themselves certain stories about their work—enabling stories, myths that let them
get on with what they want to do—but that later generations tend to care about
entirely different things. I don’t mean you shouldn’t try to tell your story: I mean
14. 68
that it’s sensible to also bear in mind that your version of what you do might be very
different from other people’s, and that telling people your story might not result in
a better critique.
In general: if you’re asked to speak, do. It’s your opportunity to tell everyone
what you intended. In my experience, chances are nearly one hundred percent that
people won’t have understood your work the way you want it understood, but that
is good. As soon as you see the mismatch between your intentions and what people
think, you’re on your way to developing your art. Some artists never listen, and
try over and over to insist on their own interpretations. Sometimes that makes for
interesting art, but it isn’t the way art usually works, and it doesn’t create rewarding
classroom experiences. Your intentions are a starting place, a diving board.
And while I’m on this subject, here’s a list of things not to say during critique.
These are show-stoppers, conversation killers:
ti*KVTUUIJOLinsert name of artist considered hopeless by the teacher, or the
name of one of the teacher’s colleagues] is the greatest living artist.”
ti*NOPUSFBMMZJOUFSFTUFEJOinsert the topic the teacher had just been talking
about].”
tićJTJTBMMBCPVUNZQSJWBUFTQJSJUVBMFYQFSJFODFw
ti*UNFBOTXIBUJUNFBOTUPNF UIBUTBMMw
tićBUTOPUIFMQGVMw12
In other words: it’s best to be flexible, open, and informal. It’s most dangerous to
be closed, rigid, paranoid, programmatic, or defensive.
And to be fair to students, here’s a list of things teachers shouldn’t say:
ti*MJLFUIFSFEDPMPSZPVVTFEwPSi*MJLFUIFGSBNFwPSi*MJLFUIFTJ[FwPS
“I like the presentation.”13
(These and a thousand like them can lead to interesting
conversations, but they can also be seriously lazy sorts of comments that are mainly
intended to fill dead air space.)
ti:PVSFBMMZOFFEUPSFBEinsert name of difficult philosopher].” (This can be
fine, provided the teacher explains why that author is pertinent, and gives an exact
reference, rather than just recommending all the author’s works.)
ti)BWFZPVFWFSMPPLFEBUinsert name of artist]?” (This one is also fine, if
you give reasons; but often the student will ask the teacher why she’s recommending
that particular artist, and she’ll say, “I don’t know why I thought of her. But you
should look at her work.”)
tićBUJTOPUBQBJOUJOHsaid looking at the student’s painting].”14
ti8IZEJEZPVDIPPTFBOBSUDBSFFS w15
ti)FSFTUIFDPSSFDUXBZUPEPUIBUw