DOCSLIB.ORG

Art Criticism Art Criticism Is an Organized System for Looking at And

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Art Criticism Art Criticism Is an Organized System for Looking at And Art Criticism Art Criticism is an organized system for looking at and talking about art. Art Critic is a person whose job is to study, understand, and judge works of art. When studying a work of art, a critic can use the sequential four-step process of description, analysis, interpretation, and judgement. Steps and examples 1. Description - “What do I see?” How many figures are there? What are they doing? Describe the setting. What type of building is this? Look for details in the painting. Describe the people and their postures. 2. Analysis – “How is the work organized?” Identify and describe the elements of art, including dominant colors and shapes. Where do you find pattern, rhythm, variety, harmony, or emphasis? How is balance used to organize the composition? 3. Interpretation – “What moods, feelings, or ideas are expressed by this work? What does this artwork say to me?” What is the mood or feeling of this painting? What is the artist trying to say? Identify and describe how the elements and principles of art are used to communicate feeling, ideas, or meanings. 4. Judgement – “Is this work of art successful?” Is the subject painted realistically? Is the artwork well organized? Does the artwork effectively express an idea, feeling, or emotion? Directions: Look at the painting and answer the questions on the following 2 pages. If you cannot print the worksheet, write your answers on a separate sheet of paper: Art Critic’s Sheet Name: ___________________________ The work I am critiquing is called A Sunday Afternoon on the Island of La Grande Jatte. The artist’s name is Georges Seurat Description & Analysis: What colors do you see? ____________________________________________________________________________________ ____________________________________________________________________________________ What kinds of lines do you see? ____________________________________________________________________________________ ____________________________________________________________________________________ Do you see any objects you can name? Name them ____________________________________________________________________________________ ____________________________________________________________________________________ Are any shapes or objects repeated? Why do you think this was done? ____________________________________________________________________________________ ____________________________________________________________________________________ Where do you see patterns or textures? ____________________________________________________________________________________ ____________________________________________________________________________________ Interpretation: What is the subject of the work? ____________________________________________________________________________________ How do you think the artist wanted this artwork to make people feel? (sad, happy, angry, confused, calm, nervous) ____________________________________________________________________________________ ____________________________________________________________________________________ How does the artist use colors, lines and shapes to show this feeling? ____________________________________________________________________________________ ____________________________________________________________________________________ Do you think the artist is trying to tell a story or a message to the viewer? What is the story or message? ____________________________________________________________________________________ ____________________________________________________________________________________ ____________________________________________________________________________________ ____________________________________________________________________________________ ____________________________________________________________________________________ ____________________________________________________________________________________ If there are people in the work, what do you think they would say to you if they could speak? ____________________________________________________________________________________ ____________________________________________________________________________________ ____________________________________________________________________________________ ____________________________________________________________________________________ Judgement: Do you like this artwork?_________________________ Why or why not? ____________________________________________________________________________________ ____________________________________________________________________________________ What is the most interesting part? ___________________________________________________ ____________________________________________________________________________________ What is the least interesting part? ___________________________________________________ ____________________________________________________________________________________ If you could give the artist advice on how to make this artwork more interesting or “Better”, what would you say and why? ____________________________________________________________________________________ ____________________________________________________________________________________ ____________________________________________________________________________________ ____________________________________________________________________________________ ____________________________________________________________________________________ .
Load more

Recommended publications
  • Planning Curriculum in Art and Design
    Planning Curriculum in Art and Design Wisconsin Department of Public Instruction Planning Curriculum in Art and Design Melvin F. Pontious (retired) Fine Arts Consultant Wisconsin Department of Public Instruction Tony Evers, PhD, State Superintendent Madison, Wisconsin This publication is available from: Content and Learning Team Wisconsin Department of Public Instruction 125 South Webster Street Madison, WI 53703 608/261-7494 cal.dpi.wi.gov/files/cal/pdf/art.design.guide.pdf © December 2013 Wisconsin Department of Public Instruction The Wisconsin Department of Public Instruction does not discriminate on the basis of sex, race, color, religion, creed, age, national origin, ancestry, pregnancy, marital status or parental status, sexual orientation, or disability. Foreword Art and design education are part of a comprehensive Pre-K-12 education for all students. The Wisconsin Department of Public Instruction continues its efforts to support the skill and knowledge development for our students across the state in all content areas. This guide is meant to support this work as well as foster additional reflection on the instructional framework that will most effectively support students’ learning in art and design through creative practices. This document represents a new direction for art education, identifying a more in-depth review of art and design education. The most substantial change involves the definition of art and design education as the study of visual thinking – including design, visual communications, visual culture, and fine/studio art. The guide provides local, statewide, and national examples in each of these areas to the reader. The overall framework offered suggests practice beyond traditional modes and instead promotes a more constructivist approach to learning.
    [Show full text]
  • The American Abstract Artists and Their Appropriation of Prehistoric Rock Pictures in 1937
    “First Surrealists Were Cavemen”: The American Abstract Artists and Their Appropriation of Prehistoric Rock Pictures in 1937 Elke Seibert How electrifying it must be to discover a world of new, hitherto unseen pictures! Schol- ars and artists have described their awe at encountering the extraordinary paintings of Altamira and Lascaux in rich prose, instilling in us the desire to hunt for other such discoveries.1 But how does art affect art and how does one work of art influence another? In the following, I will argue for a causal relationship between the 1937 exhibition Prehis- toric Rock Pictures in Europe and Africa shown at the Museum of Modern Art (MoMA) and the new artistic directions evident in the work of certain New York artists immediately thereafter.2 The title for one review of this exhibition, “First Surrealists Were Cavemen,” expressed the unsettling, alien, mysterious, and provocative quality of these prehistoric paintings waiting to be discovered by American audiences (fig. ).1 3 The title moreover illustrates the extent to which American art criticism continued to misunderstand sur- realist artists and used the term surrealism in a pejorative manner. This essay traces how the group known as the American Abstract Artists (AAA) appropriated prehistoric paintings in the late 1930s. The term employed in the discourse on archaic artists and artistic concepts prior to 1937 was primitivism, a term due not least to John Graham’s System and Dialectics of Art as well as his influential essay “Primitive Art and Picasso,” both published in 1937.4 Within this discourse the art of the Ice Age was conspicuous not only on account of the previously unimagined timespan it traversed but also because of the magical discovery of incipient human creativity.
    [Show full text]
  • Studio Art Major
    COURSES: STUDIO ART MAJOR: 14 course units, including: ART 1024 Introduction to Visual Art ART 1044 Introduction to Sculpture ART ART 1424 Introduction to Drawing (should be taken by end of sophomore year) ART 4344 Advanced Studio Practices 3 art history courses, including: 1 of the following by the end of the junior year: ARTH 2144 Modern Art ARTH 3124 Women in Art ARTH 3164 Contemporary Art 1 course in non-Western art history 1 art history elective 6 studio art electives at the 2000-level or above Required of all majors during the winter term of senior year: Art 4444 Studio Art Senior Seminar: Theory, Methods and Exhibition STUDIO ART MINOR 6 course units, including: Art 1424 Introduction to Drawing 2 art history courses, including 1 of the following: ARTH 2144 Modern Art ARTH 3124 Women in Art ARTH 3164 Contemporary Art 3 additional studio art electives Office of Admissions 300 North Broadway Lexington, KY 40508 (800) 872-6798 transy.edu ADM1487-0816 ABOUT THE MAJOR: WHERE OUR GRADUATES STUDY: Rooted in a strong liberal arts curriculum, Transylvania’s American University art program encourages the interplay of ideas from a vari- Case Western Reserve University ety of disciplines. Students explore personal and global Polimoda Istituto Internazionale Fashion Design issues in their studio work and analyze these ideas in art Rochester Institute of Technology history and seminar classes. The program’s philosophy San Francisco Art Institute rests on the firm belief that the best art draws from both Savannah College of Art and Design broad social issues and aesthetic concerns.
    [Show full text]
  • The State of Art Criticism
    Page 1 The State of Art Criticism Art criticism is spurned by universities, but widely produced and read. It is seldom theorized, and its history has hardly been investigated. The State of Art Criticism presents an international conversation among art historians and critics that considers the relation between criticism and art history, and poses the question of whether criticism may become a university subject. Participants include Dave Hickey, James Panero, Stephen Melville, Lynne Cook, Michael Newman, Whitney Davis, Irit Rogoff, Guy Brett, and Boris Groys. James Elkins is E.C. Chadbourne Chair in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago. His many books include Pictures and Tears, How to Use Your Eyes, and What Painting Is, all published by Routledge. Michael Newman teaches in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago, and is Professor of Art Writing at Goldsmiths College in the University of London. His publications include the books Richard Prince: Untitled (couple) and Jeff Wall, and he is co-editor with Jon Bird of Rewriting Conceptual Art. 08:52:27:10:07 Page 1 Page 2 The Art Seminar Volume 1 Art History versus Aesthetics Volume 2 Photography Theory Volume 3 Is Art History Global? Volume 4 The State of Art Criticism Volume 5 The Renaissance Volume 6 Landscape Theory Volume 7 Re-Enchantment Sponsored by the University College Cork, Ireland; the Burren College of Art, Ballyvaughan, Ireland; and the School of the Art Institute, Chicago. 08:52:27:10:07 Page 2 Page 3 The State of Art Criticism EDITED BY JAMES ELKINS AND MICHAEL NEWMAN 08:52:27:10:07 Page 3 Page 4 First published 2008 by Routledge 270 Madison Ave, New York, NY 10016 Simultaneously published in the UK by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business This edition published in the Taylor & Francis e-Library, 2007.
    [Show full text]
  • Art Appreciation Art Criticism
    Art Criticism Well……..? That’s why Critical Thinking matters…..in its broadest sense it can be described as purposeful reflective judgment concerning what to believe or what to do. I don’t know anything about art, but I know what I like. And I really don’t need a class to help me with this... Taste Taste Taste as an aesthetic, sociological, economic and anthropological concept refers to cultural patterns of choice and preference regarding aesthetic judgments. What determines aesthetic judgments? Is it really just a function of our biases? And why should we even care about things we don’t like ? Well, for one…..because art exists for more than one subgroup or individual…. Art is part of our Public (shared) Experience ART is reflective of the HUMAN EXPERIENCE…good and bad. Edvard Munch, “The Scream” 1893, National Gallery, Oslo Norway. ART is not just for interior design and we are not just “CONSUMERS”! …..and this is why Museums and Galleries are so important. ITS GOOD TO GET OUT OF THE HOUSE and AWAY FROM THE MARKETERS!!! AND REMEMBER What are our VALUES • Personal Values • Political Values • Cultural Values • Sub-Cultural Values • Class Values • National Values • Religious Values • Spiritual Values ART IS POWERFUL The reason art can please, is also because it can displease….. ART IS POWERFUL …. it can alternately challenge or reinforce the value system of any given culture. It is one of many place where a peoples discovers who they wish to be…. ART and BEAUTY Art can be beautiful. But what is Beauty? Who gets to decide? ART and BEAUTY Art should comfort the disturbed and disturb the comfortable! It has MANY purposes.
    [Show full text]
  • Cubo-Futurism
    Notes Cubo-Futurism Slap in theFace of Public Taste 1 . These two paragraphs are a caustic attack on the Symbolist movement in general, a frequent target of the Futurists, and on two of its representatives in particular: Konstantin Bal'mont (1867-1943), a poetwho enjoyed enormouspopu­ larityin Russia during thefirst decade of this century, was subsequentlyforgo tten, and died as an emigrein Paris;Valerii Briusov(18 73-1924), poetand scholar,leader of the Symbolist movement, editor of the Salles and literary editor of Russum Thought, who after the Revolution joined the Communist party and worked at Narkompros. 2. Leonid Andreev (1871-1919), a writer of short stories and a playwright, started in a realistic vein following Chekhov and Gorkii; later he displayed an interest in metaphysicsand a leaning toward Symbolism. He is at his bestin a few stories written in a realistic manner; his Symbolist works are pretentious and unconvincing. The use of the plural here implies that, in the Futurists' eyes, Andreev is just one of the numerousepigones. 3. Several disparate poets and prose writers are randomly assembled here, which stresses the radical positionof the signatories ofthis manifesto, who reject indiscriminately aU the literaturewritt en before them. The useof the plural, as in the previous paragraphs, is demeaning. Maksim Gorkii (pseud. of Aleksei Pesh­ kov, 1�1936), Aleksandr Kuprin (1870-1938), and Ivan Bunin (1870-1953) are writers of realist orientation, although there are substantial differences in their philosophical outlook, realistic style, and literary value. Bunin was the first Rus­ sianwriter to wina NobelPrize, in 1933.AJeksandr Biok (1880-1921)is possiblythe best, and certainlythe most popular, Symbolist poet.
    [Show full text]
  • Using Art Criticism to Engage Students in Writing
    Using Art Criticism to Engage Students in Writing Allen Trent and Pete Moran University of Wyoming Abstract: This article describes using art criticism, a process the authors define as “viewing, thinking, talking, and writing about art,” to engage students in writing. The authors provide theoretical support for art criticism in education, describe the process, and share ways it can be used to address Common Core writing and other content area standards. They also share a sample art criticism lesson taught to fourth graders and include a summary of student learning data documenting student engagement and learning aligned with targeted standards. The article ends with suggestions for using art criticism, finding and using accessible art criticism resources, and integrating art criticism writing with other content areas. “I know what it is. Art criticism is writin’ bad stuff about people’s art!” This response was from a fourth grader, but we have heard similar responses from many students and teachers over the years. While logical, especially considering the common meaning of “criticism,” it is a misconception. Barrett, an art criticism theorist who has devoted his career to translating the process into educational contexts, explains that art criticism is a generally positive endeavor. Critics write about art “because they love it and see it as a valuable phenomenon in the world… Critics do not always agree with the art that is made, but they enjoy thinking about it” (Barrett, 2000, p. 2). Art criticism is the process of viewing, thinking, talking, and writing about art, and as teachers, we have found using the process to be a positive, effective way to engage students in meaningful conversations and writing.
    [Show full text]
  • The Nature and Importance of Art Criticism and Its Educational Applications for K-12 Teachers
    University of Central Florida STARS HIM 1990-2015 2015 The Nature and Importance of Art Criticism and Its Educational Applications for k-12 Teachers Tia Blackmon University of Central Florida, [email protected] Part of the Art Education Commons Find similar works at: https://stars.library.ucf.edu/honorstheses1990-2015 University of Central Florida Libraries http://library.ucf.edu This Open Access is brought to you for free and open access by STARS. It has been accepted for inclusion in HIM 1990-2015 by an authorized administrator of STARS. For more information, please contact [email protected]. Recommended Citation Blackmon, Tia, "The Nature and Importance of Art Criticism and Its Educational Applications for k-12 Teachers" (2015). HIM 1990-2015. 1856. https://stars.library.ucf.edu/honorstheses1990-2015/1856 THE NATURE OF AND IMPORTANCE OF ART CRITICISM AND ITS EDUCATIONAL APPLICATIONS FOR K-12 TEACHERS by TIA BLACKMON A thesis submitted in partial fulfillment of the requirements for the Honors in the Major Program in Art Education in the College of Education and Human Performance and in The Burnett Honors College at the University of Central Florida Orlando, Florida Fall Term 2015 Thesis Chair: Dr. Thomas Brewer Abstract This thesis will critically examine the importance, purpose, methods, and applications of art criticism. Initial background information on types of critical judgment will lay the foundation to understanding the different methods of art criticism. While the articles and journals read on criticism vary in style and method they all have the goal to become a basic framework for examining the form and content of works of art.
    [Show full text]
  • Highlights from the William J. Glackens Collection in NSU Museum of Art Fort Lauderdale
    Highlights from The William J. Glackens Collection in NSU Museum of Art Fort Lauderdale By: Elizabeth Thompson Colleary Introduction to the Collection Every time a group of paintings by William Glackens is shown one gets from them much of the sensuous joy that the artist must evidently have had when he painted them. His are no perfunctory productions of a manufacturer of paintings. They are fragments of his life, of the pleasures he has felt at being in the sun in certain delightful places and above all of the pleasure derived from just painting’ 1 Written by an art critic reviewing an exhibition of paintings in 1931 by William J. Glackens (1870–1938), this statement aptly describes the experience that awaits visitors to the Glackens Wing at the Museum of Art | Fort Lauderdale. As the largest repository of resplendent works by the artist, recently described as a “master of delight” and praised in his lifetime for “his genius for transforming his inner joyousness to canvas,” 2 the collection includes painting spanning the years 1891 to 1938, thus from the defining phases of Glackens’s career—from his early days as an artist-reporter and illustrator, through his recognition as an urban realist aligned with the famed painter and teacher Robert Henri, to his brilliant flowering when he came into his own, inspired by the vivid colors of the French Impressionists and his American modernist contemporaries. Among the holdings are examples of his finest works as an illustrator, among them The Night after San Juan (1898), which depicts the aftermath of a battle in the Spanish-American War, Far from the Fresh Air Farm (1911), and Christmas Shoppers, Madison Square (1912), the latter two bustling New York City street scenes replete with lively vignettes and abundant period detail.
    [Show full text]
  • A Contemporary View of Paul Klee As an Artist-Teacher. PUB DATE Apr 76 NOTE 323P.; Ph.D
    DOCUMENT RESUME ED 142 479. SO 010 181 AUTHOR Malcolm, Dorothea C. TITLE A Contemporary View of Paul Klee as an Artist-Teacher. PUB DATE Apr 76 NOTE 323p.; Ph.D. Dissertation, Walden.University EDRS PRICE MF-$0.83'HC-$16.73 Plus Postage. DESCRIPTORS *Art; Art Appreciation; *Artists; Creativity; Doctoral Theses; *Educational Philosophy; *Educational Theories; Elementary Secondary Education; Humanities; Modernism; Painting; Philosophy; Post_Secondary Education; Teaching; *Teaching Techniques IDENTIFIERS *Klee (Paul) ABSTRACT The thesis explores the development of Paul Klee, a German artist, in terms of his educational and artisticphilosophies. The research was limited to his teaching years at the Bauhaus and the Dusseldorf Academy, 1921 through 1933. Kleels own writings served as primary sources, and other sources included his son, a close friend, and Bauhaus contemporaries.:Most of Kleels own writings were amassed on a class-to-class basis. They are a mixtureof theories, instructions, philosophies, and exercises. He explored ideas on student achievement, the art piocess, artistic creation, and form. The thesis contains seven chapters. Included are a short biography; a review of Klee's art training and artistic development; settings in which he taught at the Bauhaus and the Dusseldorf Academy; his role in those schools and the type of teacher he was; his beliefs as expounded in his writings and expanded with comments byrecognized representatives of other disciplines; his written theories; the manner in which he presented his theories; and his concernfor the development of total vision in his students. (Author/AV) *********************************************************************** Documents acquired by ERIC include many informal unpublished * materials not available from other sources.
    [Show full text]
  • A Disruptive Model for Postmodern Art Education
    CORE Metadata, citation and similar papers at core.ac.uk Provided by Iowa Research Online Marilyn Zurmuehlen Working Papers in Art Education pps. 68-77 Volume 14 DOI: 10.17077/2326-7070.1312 Text, Discourse, Deconstruction and an Exploration of Self: A Disruptive Model for Postmodern Art Education Jane Gooding-Brown Follow this and additional works at: https://ir.uiowa.edu/mzwp Part of the Art Education Commons Copyright © 1997 Working Papers in Art Education. Recommended Citation Gooding-Brown, Jane. "Text, Discourse, Deconstruction and an Exploration of Self: A Disruptive Model for Postmodern Art Education." Marilyn Zurmuehlin Working Papers in Art Education 14 (1997): 68-77. Hosted by Iowa Research Online This Article is brought to you for free and open access by Iowa Research Online. It has been accepted for inclusion in Marilyn Zurmuehlen Working Papers in Art Education by an authorized administrator of Iowa Research Online. For more information, please contact [email protected]. Gooding-Brown: Text, Discourse, Deconstruction and an Exploration of Self Text, Discourse, Deconstruction and an Exploration of Self: A Disruptive Model for Postmodern Art Education Jane Gooding-Brown Background to the Study There is a need to reposition visual arts education away from the modernist approaches which have dominated this discipline for more than 50 years and move it into the particular postmodern way of thinking which is characterizing much of the cultural life of the late 20th century. In recent developments in American art education there has been the recognition of the necessary inclusion and intermeshing of the disciplines of art history, art criticism and aesthetics with studio practice.
    [Show full text]
  • An Artistic Approach to Geometric Transformations
    ArtsECO Fellows Joelle Worm, ArtsECO Director UWM Lesson Plan Template (adapted from PSOA Art Education Area) Name: Olivia Peterson Email: [email protected] Lesson Title: Transformations within Composition: An Artistic Application to Geometric Transformations Level/Grade/Age: 8th grade Geometry BIG IDEA (Describe how the big idea is important to this age group in relation to student assets and the content area): In this lesson on geometric transformations, students will be use the four basic types of transformations and their correspondence to shapes on the coordinate plane to create a work of art utilizing each of the different transformations. Prior to the project students will be presented with various examples of how this geometric concept is incorporated into art, especially in relation to the idea of repetition and perspective in artwork. Instructors will inquire and explore what each kinds of transformation may be used for in contemporary artwork. Upon completion students will have proficient comprehension and execution of geometric transformations in the plane, created a work of art representing these ideas in art, and produced a written description of their artwork including how they utilized the different transformations in their artwork. In addition, students will be asked to find a work of art and describe how it utilizes the different geometric translations in a short-written observation. OBJECTIVES AND NATIONAL STANDARDS: http://www.nationalartsstandards.org/ Art Creating Anchor Standard 2: Organize and develop artistic ideas and work. Enduring Understanding: Artists and designers experiment with forms, structures, materials, concepts, media, and art-making approaches How do artists and designers learn from trial and error? - VA:Cr2.1.8a Demonstrate willingness to experiment, innovate, and take risks to pursue ideas, forms, and meanings that emerge in the process of art- making or designing.
    [Show full text]