How to Criticize a Work of Art

[sipher_0]

As a former Art Educator; it was of Great Importance to me that my students understand, How to Criticize a Work of Art. This skill was of import, not only in terms of the isolated process, itself but because it would strengthen their own personal ability to self-assess their own work.
Though my focus & instruction was in the arena of Traditional Fine Arts; I am certain that in the digital media, there are many of the same criteria that can be applied so I will share a print-out that I did for my own classes. Of course, you will not do, a fully-detailed Criticism on every piece you view; it is not practical nor expected. This is just a guide for your own efforts, so just use what you need but at least be aware of the process; knowledge is power

Art Criticism
How to Criticize a Work of Art

Your criticism should utilize five specific tasks:
*
1- What do I see? [ Description]
2- How is the work, organized? [Analysis]
3- What is happening? or, What is the artist trying to communicate? [Interpretation]
4-What do I think of the work? [Judgment]- &, "It Sucks" or "I [HEART] It!!!", are NOT Acceptable Responses in terms of A Critical Judgment.:]
5- How & what type of connections can I make in terms of the work? [ Reflection]
*
DESCRIPTION
1-Observe what is in the work.
2]- Create a list of visual images within the work.
3]- Briefly describe, a through an inventory of the subject matter & include any information that is provided by the Artist[ dimensions, media, title of the work, date, ect].
*
ANALYSIS
As you continue the process of "Description"; pay particular attention the visual & sensory qualities of the piece. These, specifically include, The Elements of Art: [ line, texture, shape, & color] & The Principles of Design[ surface, rhythm, movement, size, volume, balance, proportion, variety, emphasis, & unity].
1-Idenify how the work is organized or composed.
2- Center concern on how the Elements of Art & Principles of Design have been utilized & arranged within that work.
*
INTERPRETATION
Following a review of the information that you have gathered through description & analysis; you begin the process of Interpretation; in asking yourself, "What's happening?" & "What is the Artist attempting to convey in this work?" You use the summary of the collection of facts that you have gathered to support your understanding of the Artist's Intentions[Intent]. Interpretation should be founded on observation & your reflection upon those facts.
1-Utilize the facts that you have perceived in the description & analysis.
2-Express your own ideas in responding to "What's happening?" & "What is the Artist trying to convey?"
3- Include feelings, mood[s], & ideas that are communicated by the work of art.
4- Support your ideas with information.
*
JUDGMENT
This is the exciting part of the process where you present your own ideas & opinions. This is about what you feel-works [in the art work], or doesn't work & where you may propose, an alternative vision about the work. It is important to be honest & be able to support your ideas with the information you have gathered. When you become engaged in the process of judgment; you may want to reference your ideas in regard to the piece to historical periods, art styles, specific artists & their artwork, or theories [such as expressionist, abstract expressionist, surrealism, ect]. Some critics believe that any criteria to judge art should proscribe to a form of Imitationalism [ Imitationalism is a theory of aesthetics in which a work of art is considered best when it portrays a person place or thing the most accurately. Or in order to be even considered art, it must look like something (person, place, or thing]. Others believe that the artist's use of the Elements of Art & Principles of design dictate the successfulness of a work of art [Formalism] & others, feel that a work of art should speak to the viewer through his/her emotions [expressionist]. Everyone has his/her own bias but in a critique; it is of great importance to put aside, one's own personal bias & crit the work on it's own weaknesses & strengths. I may be biased towards representational work but, if I am presented with an abstract &/or, non-representational piece to crit; than I must be prepared to meet that work within the context of what it is, not relegate, the piece, to being-inferior to work of my own particular preference.
1-Present your own ideas, opinions, & conclusions.
2-Describe what you feel are the strengths & weaknesses of the piece &/or propose an alternative vision in reference to the piece.
3]- Provide the facts that were relevant to your decisions in regard to the artistic merit of the work.
4]-Express your theories or criteria for judging a work of art, supported by the information that you have gathered.
*
REFLECTION
This is the part where you, literally, "Crit" your own Criticism This is the time to record your own approach to the work, including any discovery, personal bias & concepts referring to "originality". Some creative works may cross traditional definitions & may be a product of cross-disciplines &/or, unusual media [ i.e. "Performance Art"- a combination of music, theater & the visual arts]. There are some artists whose compositions are referenced to film makers, it is, in the reflection that one can reveal these connections. Basically Reflection is the way that you chose to approach the work & those connections you made to it. You might suggest an extension to the current work or future avenue of study that you feel might be of benefit to the artist. Reflection is open-ended.
*

[[email protected]]

I think it very much depends on where you go with your critique: demonstrate your knowledge of art and its application (school, theoretical side), help an artist to improve (school, practical side), explain why artwork was accepted or rejected (show, contest, industry). I think your format serves the first use very well, while it is impractical for the other two.

For an alternative, take a look at http://www.ctrlpaint.com/critique/, where Matt Kohr also shows how to sandwich negative critique between two positive compliments. Especially in an educational context, it is essential to keep the artist motivated to keep going!

[kev ferrara]

Making art has nothing to do with the kind of "instruction" provided by the institution-manning hordes of well-meaning (but talentless) educators. Young artists should learn to make art. And they should be taught this by the most professional, successful artists available. The last thing they should be exposed to is friendly pretending-to-be-culturally-sophisticated chit chat.

Most art educators have a fake art education and can't/don't make art worthy of interest (either aesthetically or commercially), if they make any at all, and therefore can only pretend to know what competent artists are thinking. Which is why chatting about art in almost any institutional setting is mostly either entertainment/a pleasant past time or self-advertising.

An artist who knows how to make a masterwork, knows how to critique a painting. Everybody else is faking it to one degree or another (depending on the skill level evident in their works.) Having a method for organizing and structuring one of these fake critiques is of no value. If you organize shrieking into a sonata form, it doesn't magically become affecting.

Mostly, young art students should be encouraged to shut up and draw.

[KeeTwee]

There's a reason in ages past artists looked to other artists for criticism and nobody else. The critique in the OP makes me cringe, it's a dead ringer for the handouts my mother was given when she attended her first ever session of evening art class.

[cro-magnon]

i only really felt like i learned anything during crits when we had guest artists come in who didn't mince their words. it was always such a relief to hear a real response.

one of my favourite painters apparently used to be a guest tutor at my school, before my time. they said he was very blunt, and used to pick on examples of poor work and made students cry on occasion. all i could think was 'i want someone to be that harsh, damnit!'.

[ikken]

recommended reading before you take this thread (a little bit too) seriously

> This is the part where you, literally, "Crit" your own Criticism This is the time to record your own approach to the work, including any discovery, personal bias & concepts referring to "originality". Some creative works may cross traditional definitions & may be a product of cross-disciplines &/or, unusual media [ i.e. "Performance Art"- a combination of music, theater & the visual arts]. There are some artists whose compositions are referenced to film makers, it is, in the reflection that one can reveal these connections. Basically Reflection is the way that you chose to approach the work & those connections you made to it. You might suggest an extension to the current work or future avenue of study that you feel might be of benefit to the artist. Reflection is open-ended.
*


I'd love to see some tangible results of this charmant notion applied to your art, if possible, because sometimes

shut up and draw

is really the best "how to" a young artist could obtain.

[snacks ex machina]

recommended reading before you take this thread (a little bit too) seriously

I'm not sure that argumentum ad hominem is ever all that appropriate. This thread can be interpreted on its own, right?

[ikken]

I'm not sure that argumentum ad hominem is ever all that appropriate. This thread can be interpreted on its own, right?

totes so, but you won't argue that those two posts, if read in advance, give an interesting twist to the former educator's terrific lecture here.

[Arshes Nei]

I dunno, sometimes I wanna find out what shit I did wrong and how to fix it and if if possible or resources I can look up to do my own research for the next drawing. Not if you need me to communicate someshit to you. I draw a nude, it's a nude and I may be doing anatomy practice.

Going through the OP was a bit painful

[keeptime]

For an alternative, take a look at http://www.ctrlpaint.com/critique/, where Matt Kohr also shows how to sandwich negative critique between two positive compliments. Especially in an educational context, it is essential to keep the artist motivated to keep going!

After reading the OP I was going to make a "Say three nice things and one critique so you don't hurt their feelings" joke, but then I saw this and a part of me inside died.

[sipher_0]

"Cringe-Worthy"? *LMAO!- To those who cringe upon such "small stuff" as this informal guide ; your life has been charmed.
*
“A common defect of modern art study is that too many students do not know why they draw.”
― Robert Henri
*
I did hope that I made, enough of a special effort to point out that, this informal little "How-To " guide, was only something for personal contemplation; something for the reader to take what he/she liked, & leave the rest.. Never did I insist [even to my own students] that it was to be followed like a ritual but, every new thought has to have it's beginnings, somewhere.
Disagree? Great ! Than, U find a better, more effective way than!
I would ask that each of those folks,who have registered such a cringe-worthy, negative reaction to this this little outline-now, please write out, a better outline of "How to critique [any] creative work"; perhaps, than we might have something to discuss.
Put your efforts where they will count; not "bad-mouthing" someone else's efforts-boring!
"Self-Advertisement?
My intent was to share. Perhaps, evoke some discussion;nothing more...
*
“DON’T TAKE ME AN AUTHORITY. I AM SIMPLY EXPRESSING A VERY PERSONAL POINT OF VIEW. NOTHING FINAL ABOUT IT. YOU HAVE TO SETTLE ALL THESE MATTERS FOR YOURSELF."
ROBERT HENRI
*
However, no matter what better way to give a crit, might be found; my personal feelings will not change. I believe that those, involved in the realm of [any] creative focus of study should know, the essentials of how to critique a creative work, even if it's not in their preferred medium. Another deeply held belief is that every art student should learn the essentials of drawing & be as comfortable with the basics of drawing as they are in signing their names.

Question : Was this link & information- written recently, as from 2012?
http://www.ctrlpaint.com/critique/
*
It's [very] old news, as I was taught, "The Sandwich" Technique of Criticism" in the 1980's.Trust me when I tell you, that the extremely well paid marketing/ research, & training departments of the major corporations had , already-figured this [method/trick/, technique] out, YEARS AGO, to improve " individual performance", in their tireless efforts to maximize "Profit".
*
Here's, yet, another "personal belief" & that is, that more individual & personal thought[ contemplation], should be involved in helping a talented, growing young mind to realize his/her "visual/creative vocabulary & potential" than, in training, individuals, on techniques, to enrich, an all-ready, very wealthy corporation. In my personal case; teaching something that I love to those who share , that same passion was, worth more the additional thought & effort than "The Sandwich Technique " School of Criticism, demanded of me.
*
To kev ferrara,
*
Tell me, kev ferara, at what age did you lose your compassion?
*
If you are speaking about pundits who may;-"talk, the talk, but never "walk-the-walk" than you will find that yourself, "preaching to the choir", here. But, I know those "Types" to be more professionally defined as "Critics" than, "Educators" & many "Critics" are, certainly, more deserving of that *type* distain than, are those who Educate.
Although it is, the sad truth that there are some very destructive "Art-Educators" out there; it is also true that there are some very destructive, excellent & recognized "Artists/ Masters/ Pros" out there as well. * Hell, I even know "Critics"[ right-up, there with attorneys, as, not on my "Hit-Parade" of "Trusted Professionals"; but, there are [some- few] critics who's efforts are motivated from their passion for Art & who know, a vast amount of information in regard to Art...They want to give what they can.
*
"Young artists should learn to make art. And they should be taught this by the most professional, successful artists available.

* Flash-back*
[Early 1980's] NYC, School of Visual Arts,
The first day of a new class taught by a well known & recognized photorealist painter. When the class had assembled; the instructor looked us, over & commented, with dramatic & notable diqust [lol!] "I don't know why THEY[ the administration] put so many women in my class; they're a waste of my time, everyone knows that! No,[ The professional] artist wasn't reported for that remark nor for the many remarks he made in the same vein after that. That was "The Way" it went back in those days; the majority, if not all of the Better NYC Galleries wouldn't even think to represent a woman or person of color at that time.
*
So, It may also be a sad truth that you,[kev] yourself, were personally hurt by one these, "destructive" educators. I only, write this, because it would seem to be the only reason with any logic or merit that could explain, your vindictive & delusional statements, directed to those that Teach or Educate.
*
Making art has nothing to do with the kind of "instruction" provided by the institution-manning hordes of well-meaning (but talentless) educators. The last thing t Most art educators have a fake art education and can't/don't make art worthy of interest (either aesthetically or commercially), if they make any at all, and therefore can only pretend to know what competent artists are thinking. * [FALSE]-NO POINTS FOR YOU, HERE, "BIG KEV" . *Grins*I will be certain to share this comment with Michael Husser http://en.wikipedia.org/wiki/Michael_Hussar ,who has held positions teaching art in The American Public School System & continues to educate others.
*
Fake Education? Define "Fake" education, please...*grins* Is it similar to a fake pregnancy?
*
Which is why chatting about art in almost any institutional setting is mostly either entertainment/a pleasant past time or self-advertising.
*
Actually, if you've ever worked in a Public High School,[esp. in an economically -challenged district]; there is little to no time for "chit-chat". But, there's always time-to CARE. So, when did, caring & concern for The Intellectual/ Emotional Growth &Development of another Individual qualify as "Falseness or idle chit-chat".
Most Educators that I have met-ARE JUST that; THEY CARE. This is true in The Arts as well as other subjects & disciplines. There are some, who have been burnt-out as especially, today; massive economic cuts have obliterated, "The Art Programs" in many High Schools. I have known, many Educators who have bought, much needed art supplies with their own funds because-there was no more money in the budget for such needs.
*
An artist who knows how to make a masterwork, knows how to critique a painting.
*
*False-Many artists that, I have had the pleasure to meet & be "taught by", do not communicate that well, verbally. Furthermore, many do not like [the feeling] in doing a critique on anyone else's work but their own efforts. That is just the way they were built , as people & they will quite openly admit to that. Some recognized artists, just don't want to be bothered with anyone's agendas save their own...not a problem; that's their natures & their legacy is that their personal work, teaches...
http://www.hrgiger.com/faq.htm
WHAT IF I WANT TO SEND SAMPLES OF MY OWN ARTWORK FOR GIGER’S REVIEW?
"Unfortunately, it cannot be guaranteed that mailed or E-mailed artwork samples will always be opened, looked at and responded to. Unsolicited material is passed on to Mr. Giger only after it has been examined and determined that it may be of interest to him. Please do not expect any feedback since Giger rarely has the time to write.

*
*I will ask to please, make reference to the lives of at least 2 individuals[ indirectly & directly for their contribution in the field of Contemporary Art in America.
ROBERT HENRI[1865-1929]* For your own benefit, Please DO Read the Book [THE ART SPIRIT , which is a compilation of the teachings, letters and overheard comments of painter Robert Henri ; some quotes to be found at this link: http://www.goodreads.com/author/quot...0.Robert_Henri
*
HANS HOFFMAN (MARCH 21, 1880 – FEBRUARY 17, 1966)
After Hofmann relocated to New York City he began teaching in 1933 at the Art Students League of New York. Leaving the League in the mid 1930s Hofmann opened his own schools in New York and later in Provincetown, Massachusetts.
Also prominent as a writer on modern art, Hofmann authored an influential book (sometimes referred to and anthologized as an "essay"), Search for the Real, in which he discussed his push/pull spatial theories, his reverence for nature as a source for art, his conviction that art has spiritual value, and his philosophy of art in general. Hofmann is especially noteworthy as a theorist of the medium who argued that "each medium of expression has its own order of being," "color is a plastic means of creating intervals," and "any line placed on the canvas is already the fifth."
*
Neither one of these individuals is considered, "A Great Master" nor, has produced, what is [critically] defined to be a "Master Art Work" unless you count the minds, hearts & souls that have been touched [& continue to be] by these Great Educators. Neither one these individuals, had any manner of "pretense" about them, save their love of Art.
*
If you organize shrieking into a sonata form, it doesn't magically become affecting.[?}
*
Doesn't it, depend on who's doing, the shrieking & for what reason/intent?-as in an Opera:
SHRIEKS AND SCREAMS OVER ORCHESTRA
Ken Winters [Globe and Mail, 23 April 2007]
Salome and Elektra, the two operas in which Richard Strauss made German-Expressionist, very bloody shovels out of merely lurid spades from the Bible and Sophocles, staked out a path that Strauss thereafter did not take. Perhaps he took seriously the noted critic Ernest Newman's comment that Elektra was "abominably ugly."
*
"Artists who paint great pictures are not masters. A master is someone who brings something to the art. Someone called it a transistion...whatever. If you want to be called a master then bring art to the next level. The hard part is trying to figure out what the next level is.....The old masters developed systems for color, perspective, anatomy, foresortning, etc. They brought art as whole to a higher level with a particular paintning or drawing or sculpture. How many people in the last 20 years have done something like that?The medium of the art is unimportant.
If you look at an artist work and say wow....I never conceived of doing something that way...it opens whole new ideas for direction of my own art. Then you might be looking at the work of a master....In my humble opinion...."
Siladar

[Star Eater]

I don't see this ending well.

[ikken]

"Cringe-Worthy"? *LMAO!- To those who cringe upon such "small stuff" as this informal guide ; your life has been charmed.
*
“A common defect of modern art study is that too many students do not know why they draw.”
― Robert Henri
*
I did hope that I made, enough of a special effort to point out that, this informal little "How-To " guide, was only something for personal contemplation; something for the reader to take what he/she liked, & leave the rest.. Never did I insist [even to my own students] that it was to be followed like a ritual but, every new thought has to have it's beginnings, somewhere.
Disagree? Great ! Than, U find a better, more effective way than!
I would ask that each of those folks,who have registered such a cringe-worthy, negative reaction to this this little outline-now, please write out, a better outline of "How to critique [any] creative work"; perhaps, than we might have something to discuss.
Put your efforts where they will count; not "bad-mouthing" someone else's efforts-boring!
"Self-Advertisement?
My intent was to share. Perhaps, evoke some discussion;nothing more...
*
“DON’T TAKE ME AN AUTHORITY. I AM SIMPLY EXPRESSING A VERY PERSONAL POINT OF VIEW. NOTHING FINAL ABOUT IT. YOU HAVE TO SETTLE ALL THESE MATTERS FOR YOURSELF."
ROBERT HENRI
*
However, no matter what better way to give a crit, might be found; my personal feelings will not change. I believe that those, involved in the realm of [any] creative focus of study should know, the essentials of how to critique a creative work, even if it's not in their preferred medium. Another deeply held belief is that every art student should learn the essentials of drawing & be as comfortable with the basics of drawing as they are in signing their names.

Question : Was this link & information- written recently, as from 2012?
http://www.ctrlpaint.com/critique/
*
It's [very] old news, as I was taught, "The Sandwich" Technique of Criticism" in the 1980's.Trust me when I tell you, that the extremely well paid marketing/ research, & training departments of the major corporations had , already-figured this [method/trick/, technique] out, YEARS AGO, to improve " individual performance", in their tireless efforts to maximize "Profit".
*
Here's, yet, another "personal belief" & that is, that more individual & personal thought[ contemplation], should be involved in helping a talented, growing young mind to realize his/her "visual/creative vocabulary & potential" than, in training, individuals, on techniques, to enrich, an all-ready, very wealthy corporation. In my personal case; teaching something that I love to those who share , that same passion was, worth more the additional thought & effort than "The Sandwich Technique " School of Criticism, demanded of me.
*
To kev ferrara,
*
Tell me, kev ferara, at what age did you lose your compassion?
*
If you are speaking about pundits who may;-"talk, the talk, but never "walk-the-walk" than you will find that yourself, "preaching to the choir", here. But, I know those "Types" to be more professionally defined as "Critics" than, "Educators" & many "Critics" are, certainly, more deserving of that *type* distain than, are those who Educate.
Although it is, the sad truth that there are some very destructive "Art-Educators" out there; it is also true that there are some very destructive, excellent & recognized "Artists/ Masters/ Pros" out there as well. * Hell, I even know "Critics"[ right-up, there with attorneys, as, not on my "Hit-Parade" of "Trusted Professionals"; but, there are [some- few] critics who's efforts are motivated from their passion for Art & who know, a vast amount of information in regard to Art...They want to give what they can.
*
"Young artists should learn to make art. And they should be taught this by the most professional, successful artists available.

* Flash-back*
[Early 1980's] NYC, School of Visual Arts,
The first day of a new class taught by a well known & recognized photorealist painter. When the class had assembled; the instructor looked us, over & commented, with dramatic & notable diqust [lol!] "I don't know why THEY[ the administration] put so many women in my class; they're a waste of my time, everyone knows that! No,[ The professional] artist wasn't reported for that remark nor for the many remarks he made in the same vein after that. That was "The Way" it went back in those days; the majority, if not all of the Better NYC Galleries wouldn't even think to represent a woman or person of color at that time.
*
So, It may also be a sad truth that you,[kev] yourself, were personally hurt by one these, "destructive" educators. I only, write this, because it would seem to be the only reason with any logic or merit that could explain, your vindictive & delusional statements, directed to those that Teach or Educate.
*
Making art has nothing to do with the kind of "instruction" provided by the institution-manning hordes of well-meaning (but talentless) educators. The last thing t Most art educators have a fake art education and can't/don't make art worthy of interest (either aesthetically or commercially), if they make any at all, and therefore can only pretend to know what competent artists are thinking. * [FALSE]-NO POINTS FOR YOU, HERE, "BIG KEV" . *Grins*I will be certain to share this comment with Michael Husser http://en.wikipedia.org/wiki/Michael_Hussar ,who has held positions teaching art in The American Public School System & continues to educate others.
*
Fake Education? Define "Fake" education, please...*grins* Is it similar to a fake pregnancy?
*
Which is why chatting about art in almost any institutional setting is mostly either entertainment/a pleasant past time or self-advertising.
*
Actually, if you've ever worked in a Public High School,[esp. in an economically -challenged district]; there is little to no time for "chit-chat". But, there's always time-to CARE. So, when did, caring & concern for The Intellectual/ Emotional Growth &Development of another Individual qualify as "Falseness or idle chit-chat".
Most Educators that I have met-ARE JUST that; THEY CARE. This is true in The Arts as well as other subjects & disciplines. There are some, who have been burnt-out as especially, today; massive economic cuts have obliterated, "The Art Programs" in many High Schools. I have known, many Educators who have bought, much needed art supplies with their own funds because-there was no more money in the budget for such needs.
*
An artist who knows how to make a masterwork, knows how to critique a painting.
*
*False-Many artists that, I have had the pleasure to meet & be "taught by", do not communicate that well, verbally. Furthermore, many do not like [the feeling] in doing a critique on anyone else's work but their own efforts. That is just the way they were built , as people & they will quite openly admit to that. Some recognized artists, just don't want to be bothered with anyone's agendas save their own...not a problem; that's their natures & their legacy is that their personal work, teaches...
http://www.hrgiger.com/faq.htm
WHAT IF I WANT TO SEND SAMPLES OF MY OWN ARTWORK FOR GIGER’S REVIEW?
"Unfortunately, it cannot be guaranteed that mailed or E-mailed artwork samples will always be opened, looked at and responded to. Unsolicited material is passed on to Mr. Giger only after it has been examined and determined that it may be of interest to him. Please do not expect any feedback since Giger rarely has the time to write.

*
*I will ask to please, make reference to the lives of at least 2 individuals[ indirectly & directly for their contribution in the field of Contemporary Art in America.
ROBERT HENRI[1865-1929]* For your own benefit, Please DO Read the Book [THE ART SPIRIT , which is a compilation of the teachings, letters and overheard comments of painter Robert Henri ; some quotes to be found at this link: http://www.goodreads.com/author/quot...0.Robert_Henri
*
HANS HOFFMAN (MARCH 21, 1880 – FEBRUARY 17, 1966)
After Hofmann relocated to New York City he began teaching in 1933 at the Art Students League of New York. Leaving the League in the mid 1930s Hofmann opened his own schools in New York and later in Provincetown, Massachusetts.
Also prominent as a writer on modern art, Hofmann authored an influential book (sometimes referred to and anthologized as an "essay"), Search for the Real, in which he discussed his push/pull spatial theories, his reverence for nature as a source for art, his conviction that art has spiritual value, and his philosophy of art in general. Hofmann is especially noteworthy as a theorist of the medium who argued that "each medium of expression has its own order of being," "color is a plastic means of creating intervals," and "any line placed on the canvas is already the fifth."
*
Neither one of these individuals is considered, "A Great Master" nor, has produced, what is [critically] defined to be a "Master Art Work" unless you count the minds, hearts & souls that have been touched [& continue to be] by these Great Educators. Neither one these individuals, had any manner of "pretense" about them, save their love of Art.
*
If you organize shrieking into a sonata form, it doesn't magically become affecting.[?}
*
Doesn't it, depend on who's doing, the shrieking & for what reason/intent?-as in an Opera:
SHRIEKS AND SCREAMS OVER ORCHESTRA
Ken Winters [Globe and Mail, 23 April 2007]
Salome and Elektra, the two operas in which Richard Strauss made German-Expressionist, very bloody shovels out of merely lurid spades from the Bible and Sophocles, staked out a path that Strauss thereafter did not take. Perhaps he took seriously the noted critic Ernest Newman's comment that Elektra was "abominably ugly."
*
"Artists who paint great pictures are not masters. A master is someone who brings something to the art. Someone called it a transistion...whatever. If you want to be called a master then bring art to the next level. The hard part is trying to figure out what the next level is.....The old masters developed systems for color, perspective, anatomy, foresortning, etc. They brought art as whole to a higher level with a particular paintning or drawing or sculpture. How many people in the last 20 years have done something like that?The medium of the art is unimportant.
If you look at an artist work and say wow....I never conceived of doing something that way...it opens whole new ideas for direction of my own art. Then you might be looking at the work of a master....In my humble opinion...."
Siladar

[Arshes Nei]

WTF was that?


http://www.rndapps.com/images/WordSaladLogo.jpg

[sipher_0]

*

*Strolls in and sniffs*
So THATS what's causing it!!
*Skips happily following the scent too a small hole in the wall. Reaches in and grabs an open can with smoke coming out of it and places it in her backpack.*
"Ok who left this can of "Eat Sh*t and Die" in here, hmmm?"
*Releases a butterfly from its cage*
"Go! Show them what Hell really is, Minion!"

[kev ferrara]

Compassion is telling the truth where the truth can assist one to properly prepare for life. Life is competitive. That's the reality. Those who seek refuge from competition... whatever effort they make to avoid the harsh discriminations of the market... they will eventually be found out, their ostrich scheme will be dismantled, and they will be forced to compete. Everybody being taught that ambition is the root of all evil, is being programmed for failure. Parenting from starry-eyed idealism is a form of child abuse.

Hans Hoffman had nothing original to say. Everything he spouted to advertise his brand of tennis-without-a-net visual schlock was known 100 years before he came on the scene, at least. As Burt Silverman put it, most modernism is "rudimentary experiments in graphic design."

Just sayin'

[Kamber Parrk]

I'd participate in this thread, but it always seems, in threads like this, that I just end up attacking someone who ends up throwing the Asperger's Victim Card on the table. . .

"Asperger syndrome (AS), also known as Asperger's syndrome or Asperger disorder, is an autism spectrum disorder (ASD) that is characterized by significant difficulties in social interaction, alongside restricted and repetitive patterns of behavior and interests. It differs from other autism spectrum disorders by its relative preservation of linguistic and cognitive development. Although not required for diagnosis, physical clumsiness and atypical use of language are frequently reported."

--Wikipedia

[Leonor]

I thought it was:

1. Ask questions.
2. Find mistakes.
3. Correct them.

[keeptime]

I did hope that I made, enough of a special effort to point out that, this informal little "How-To " guide, was only something for personal contemplation; something for the reader to take what he/she liked, & leave the rest.. Never did I insist [even to my own students] that it was to be followed like a ritual but, every new thought has to have it's beginnings, somewhere.

For something that's so "take-it-or-leave-it", you sure are defending a lot.

Disagree? Great ! Than, U find a better, more effective way than!
I would ask that each of those folks,who have registered such a cringe-worthy, negative reaction to this this little outline-now, please write out, a better outline of "How to critique [any] creative work"; perhaps, than we might have something to discuss.

That's the point a few people have tried to make. There is no "outline". You just address what needs to be addressed and it's the artist's job to decide if they want to carry it with them. You don't have to write an essay about it, just point out what's wrong or weird.

[Arshes Nei]

Makes you wonder why the OP is a former educator

[Stoat]

Miss! Do I have to read all this? Will it be on the test?

[snacks ex machina]

Compassion is telling the truth where the truth can assist one to properly prepare for life. Life is competitive. That's the reality. Those who seek refuge from competition... whatever effort they make to avoid the harsh discriminations of the market... they will eventually be found out, their ostrich scheme will be dismantled, and they will be forced to compete. Everybody being taught that ambition is the root of all evil, is being programmed for failure. Parenting from starry-eyed idealism is a form of child abuse.

But being competitive doesn't equate to being good or producing results. Winning any given competition just means you suck the least. Being ambitious doesn't equate to being successful. Being competitive is not enough by itself, and depending on the person and the scenario, competition may devolve into simple distraction; perceived competition with others is only a means to an end, and there are multiple ways to skin a cat.

[Kamber Parrk]

. . . Winning any given competition just means you suck the least. . . .

"One hundred men will test today,

But only three will wear the Green Beret."

--from a godawful Vietnam era pop tune

[kev ferrara]

I am talking about market competition and the role of will power in the creation of quality art products. I am not talking about "winning competitions." I am talking about sustained willful effort.

Sustained will power directed toward artistic success will increase artistic intelligence, increase craft, increase market interest, increase peer respect, increase the ability to finish work, etc. (I am not talking about sustained marketing without sustained interest in artistry, a.k.a. Kinkaidism.)

Will power is the opposite pole to the "self-esteem movement" which panders to the absurd notion that a human's innate market value comes from the fact of his/her being. As if market value were a human right.

"Sucking the least" is also called "being the best," btw.

[Tim Murphy]

Winning any given competition just means you suck the least.

Man, that's a shitty world-view. Bet you're a blast at parties.

[sipher_0]

Compassion is telling the truth where the truth can assist one to properly prepare for life. Life is competitive. That's the reality. Those who seek refuge from competition... whatever effort they make to avoid the harsh discriminations of the market... they will eventually be found out, their ostrich scheme will be dismantled, and they will be forced to compete. Everybody being taught that ambition is the root of all evil, is being programmed for failure. Parenting from starry-eyed idealism is a form of child abuse.

Hans Hoffman had nothing original to say. Everything he spouted to advertise his brand of tennis-without-a-net visual schlock was known 100 years before he came on the scene, at least. As Burt Silverman put it, most modernism is "rudimentary experiments in graphic design."

Just sayin'

So Kev, You bring-up an interesting point. Based on what you've written; when you give a Crit; what is your primary focus or criteria, in terms of your personal approach?
Do you crit, a work of art based on "Market Standards"-[ i.e.-what you know, "Will Sell" in a competitive & commercial market?; or, do you give your crit on the work itself & it's own merit? Perhaps, I am confused because I know that sometimes, "Brilliant" Work isn't , always, commercially viable-so how do or, how would you reconcile that difference?

I do not, totally disagree with you in re: Hans Hoffman...but, that's another discussion.

[sipher_0]

Miss! Do I have to read all this? Will it be on the test?

Yep...lol "expect a snap-quiz when you least expect it

[sipher_0]

Makes you wonder why the OP is a former educator

"Former" because I was[at the time] & still am, a single parent of a special needs child who requires constant care. It became, too difficult to work as a full-time instructor & be there for my child's needs. This is just, Life; tough decisions have to made.

[sipher_0]

I'd participate in this thread, but it always seems, in threads like this, that I just end up attacking someone who ends up throwing the Asperger's Victim Card on the table. . .

"Asperger syndrome (AS), also known as Asperger's syndrome or Asperger disorder, is an autism spectrum disorder (ASD) that is characterized by significant difficulties in social interaction, alongside restricted and repetitive patterns of behavior and interests. It differs from other autism spectrum disorders by its relative preservation of linguistic and cognitive development. Although not required for diagnosis, physical clumsiness and atypical use of language are frequently reported."

--Wikipedia

Michael Fitzgerald is an Irish psychiatrist and professor of child and adolescent psychiatry at Trinity College, Dublin.[1] As of 2005, he had diagnosed over 900 individuals with Asperger syndrome.[2]
"Psychiatric disorders can also have positive dimensions. I'm arguing the genes for autism/Asperger's, and creativity are essentially the same. We don't know which genes they are yet or how many there are, but we are talking about multiple genes of small effect. Every case is unique because people have varying numbers of the genes involved. These produce people who are highly focused, don't fit into the school system, and who often have poor social relationships and eye contact. They can be quite paranoid and oppositional, and usually highly moral and ethical. They can persist with a topic for 20-30 years without being distracted by what other people think. And they can produce in one lifetime the work of three or four other people."[3]

In 2005's The Genesis of Artistic Creativity: Asperger's Syndrome and the Arts,[5] he identifies the following historical figures as possibly having been autistic:
Writers – Hans Christian Andersen, Lewis Carroll, Bruce Chatwin, Arthur Conan Doyle, Herman Melville, George Orwell, Jonathan Swift and William Butler Yeats.
Philosophers – A.J. Ayer, Baruch de Spinoza, Immanuel Kant, Simone Weil, and Ludwig Wittgenstein[6]
Musicians – Bela Bartok, Ludwig van Beethoven, Glenn Gould, Wolfgang Amadeus Mozart and Erik Satie.
Artists – Vincent van Gogh, L.S. Lowry, Jack B. Yeats and Andy Warhol.
In 2006's Unstoppable Brilliance: Irish Geniuses and Asperger's Syndrome,[7] he discusses Daisy Bates, Samuel Beckett, Robert Boyle, Éamon de Valera, Robert Emmet, William Rowan Hamilton, James Joyce, Padraig Pearse and W.B. Yeats.
-
If the folks[above]-"suffered" from Asperger's; all I can add, is Bring-It-On!

[Kamber Parrk]

I have no intention of berating the Aspergic amongst the community,

It just seems that over the last couple years on CA I've gotten pulled into 2 or 3 discussions (like this) that end like:

"You're a really really mean guy. . . and. . . and. . . I'll have you know that I have Aspergers. . . "

[And, don't get me started on Devil-Worshipping-Potheads.]