Vous êtes sur la page 1sur 4
ens caITTg ES The follow e is only one approach to critiquing and a rather exhaustive one. Use what is usefullto help you set up your wn approa: My hope is that an cy as this will show you how to think systematice! To understand a work (whether someone else's or your own) requires a full look--an aware- ness of i, spiritual, emotional, and aesthetic powers within the piece. The full look develops waen you consciously pursue a solid structural approach to each piece you ually, you will no lenger n 2 about it and can depend on the fact th ving to the piece all that to be Gelibe: eiving from and you when you £4: I mean, I loo! st saw the pie at it because to." I noticed how you s out of the picture on ts into the surface. I bdegai ng in his own little eve work well. e, still, the piece you be2 fall, delicate, subtle, ¢ Even if you can't arti- You are providing input for ; hollow, careless, flat) What are the central fe t you think the artist is clear? Subtle? Confused? gs, ideas, ng? Are culture? and reactions that struggle for w exercises to hel} neither he/she nor you say be fully aware of, Don't If you want to, use the following you. the object were a voice, hew would it sound? (Shouti: 4) of weather, a ki sical instru ly, drama, myste vomance=-or evel, short story, epic, » myth, classic, etc.) Tell the story. lain the piece in terms of a particular clothing fashion would be standing by the piece if it what kind o were art photo? Does dl le, envelop it, or fall short of $2? gine that the F ved from one artwork a: Tell where it cane fro! k were a person, what ki person look like? rode? ad is evolvin: it is going. naracter would it This can hel; eye move across and through the How does repetition (of si color, scale) piece? Is there rhythm, pattern? in the unity? How does the composition How does it deal with --Color and vi unity the edges of the piece? the piece? value range wide or narrow? iow does the color and value work of the piece? The color range? with the structure and atti! approach to believable? v. Feeling s-After going 1 the piece--wh new feelings for FOR THOSE DOING Ti you can't give an henest two separate times. I. If you don't take tine piece at least twice; be folowed up with other reactions. You do! i then shut up for good. Someone else's something. The artist needs to know re. On the other hand, don't grab all statement ma a reaction is talking time. s reaction. If someone reports somet: y, listen openly. Maybe what you se e s something you aren't see rood, temperament, and experience to our cr a Your eyesight and broaden your opinions. Never qua: seems wacky or cont rate and he is w each bring our t, perhaps, but not wrerg. ‘one part of the whole group's reaction. The group's 7 2 total response that the piece will get durin, that your reagtion is for the purpose not for the destruction of the artist. ¥. Although no ng, you still need to work hard to see accuratel: of those! Like it or why you feei its kitsch. lock in to discover the things hidden within it. § e dor and always wrong. Always right--no one else knows tence. Always wrong--you never see or ex aneously sure of yourself and humble VI. You are always what you perc perience enough. “*FOR THE ARTIST BET: bite your tongue. Do it. earn more if way it was Be quiet and 1 Don't give ler uncertain ate put. the critique, you can give "or 3 agk how 2 wart rand aver before L viewer, Tou 2" Take the ponses in People will reason. 2" they asved. f yon answer tha question, fiad out way