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CRITICIZING ART

Ground Rules, Critical Inquiry, Vocabulary, and Theories of Judging Art


Information gathered from Laurel Lampelas Art Criticism and Aesthetics for Teachers reader

GROUND RULES FOR AESTHETIC DIALOGUE: 1. 2. 3. 4. 5. 6. I am critical of ideas, not people. I remember we are all in this together. I encourage everyone to participate. I listen to everyones ideas, even if I do not agree. I ask someone to restate what was said if I do not understand. I try to understand all sides of an issue.

ART CRITICAL INQUIRY (Based on the methods of Lankford and Feldman)


1. FIRST IMPRESSIONS Look at the art work and give an immediate response. Focus on your first impression. You can express however it is you feel about the work or whatever it is you think about the work. 2. DESCRIPTION Take an inventory of the art work. Describe everything you see. Try not to leave anything out. This is an impartial inventory. Avoid loaded words or expressions that reveal feelings or preferences. observe perceive recognize identify list define name label inventory

3. INTERPRETATION In this stage of art critical inquiry, decide what your observations mean. Dont be afraid to risk being wrong. You can change and adjust your interpretations until it fits the visual facts. express associate interpret explain deduce understand infer feel empathize

4. SYNTHESIZE (JUDGEMENT AND PERSONAL MEANING) The reasons for judging a work of art good or poor have to be based on a philosophy of art, not on ones personal authority. There are several philosophies of art for justifying critical judgments. You can depend on one or develop you own philosophy of art as a basis for judging the merit of a work of art. At this point you can discuss any personal meaning you get from the work.

ART CRITICS VOCABULARY


large enormous gigantic ambitious commanding disturbing dynamic ambiguous compelling peaceful powerful mesmerizing communicate constructs emphasizes designed executed transformed glows

images imagery figure

glamorous tremendous

harshness harsh awkward tension elegant

subtle peculiar weak fractured stunning lush

fluidity energy variety clarity precision treatment brittle emphasis quality illusion

luminous curvilinear linear vivd abstract disguised undisguised transformed essential

vividly concept gesture surfaces

transparency opaqueness quickness

exploit control elaborate convey

delicate tranquil visible invisible distorted

flamboyant fantastic biomorphic

PHILOSOPHIES OF ART (Extracted from the writings of Mitler, Ragans, and Chapman) REALISM
Literal qualities: The most important thing about a work of art is the realistic presentation of subject matter. A work is successful if it looks like and reminds us of what we see in the real world.

EXPRESSIONISM
Expressive qualities: The most important thing about a work of art is the vivid communication of moods, feelings, and ideas to the viewer. The work is successful if the art speaks to the viewer through her/his emotions.

FORMALISM
Visual qualities: The most important thing about a work of art is the effective organization of the elements of art (line, shape, form, texture, color, space) through the use of the principles of design (balance, repetition/movement, unity, emphasis, proportion, contrast). The work is successful if the elements of art are well organized.

FUNCTIONALISM
Functional qualities: The most important thing about a work of art is its usefulness to our lives and its power to communicate to many people. When judging functional objects, attention must be given to both usefulness and beauty. The work is successful if it functions as intended and provides a fresh, new insight to the design.

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