Comments on: Rethinking “The Critique”

By: Deborah Peters

Deborah Peters — Mon, 18 Jul 2011 17:43:01 +0000

I Agree; there are waay too many critiques out there that don’t hold the “constructive” aspect in delicate balance. The whole point of the critique is to grow, not tear down an artist. This is a great idea; critiques in the middle!

By: Ramya S

Ramya S — Tue, 26 Apr 2011 17:09:42 +0000

A very good article – feels like the musings of any art student. Often makes me wonder if the purpose of a critique exercise is to make a person reach perfection or to break your confidence…well penned. Nice caricature!

By: Rethinking “The Critique” : Possibilities | Art21 Blog

Rethinking “The Critique” : Possibilities | Art21 Blog — Wed, 13 Apr 2011 18:01:44 +0000

[...] promised in last week’s column I want to share some possibilities when it comes to facilitating in-progress critiques with [...]

By: Nettrice

Nettrice — Wed, 13 Apr 2011 12:52:24 +0000

You’re welcome Joe! I caught a few typos but I was writing fast, in between classes. Towards the end of this semester students in my visual art/design class are totally ready and “bought-in” for critiques. I don’t even have to tell them to write down their names to draw from. They just do it and have no problem talking about the work. They are also more comfortable giving constructive critique and now the hands go up whenever they are asked to review work. I love it!

By: Nolan Clark

Nolan Clark — Sat, 09 Apr 2011 11:55:28 +0000

Totally agree Joe. I am an art instructor myself and there is no way we hold critiques in my studio. We are supposed to be supporting and building each other, not destroying each other’s spirits. By us we hold “encourager” sessions where I would tell the student what is wrong AND how to fix it. I would also then tell the student what he / she has done correctly / well too. As an instructor, if I was to critique someones work, that would mean I did not do my job of instructing the student properly in the first place, or it wouldn’t be wrong.

If I have done my job correctly, then I can see that the student has grasped, but not yet mastered the techniques I have have taught him /her. That means the student just needs encouragement and practice to get it right. If I can see the student has not grasped the concepts / techniques I have taught, then it is up to me to explain it in a different way that makes more sense to the student, not to critique the student for my inability to explain correctly.

Fellow students also quickly catch on to our “encourager” method of critiquing when they join because nobody likes to be criticized, so they will also point out good points and make suggestions for improvement, ie., come with a solution, not a problem.

By: Joe Fusaro

Joe Fusaro — Fri, 08 Apr 2011 15:11:47 +0000

Love it, Nettrice. Thank you for sharing that story! Makes so much sense.

By: Nettrice

Nettrice — Fri, 08 Apr 2011 14:05:27 +0000

When I was in my foundation year at Pratt my drawing teaching, Al Blaustein, tore away my first homework assignment during a critique and then cursed me out. The cursing part stood out, of course, but I soon learned that it was because he knew I was not working to my ability. He was right. I rushed the drawing so I could go out dancing several night before. It didn’t take Blaustein long to explain his actions. He kept me after class and gave me a stern talking to. I realized that he cared that I grew as a student (he was on the panel that chose my h.s. portfolio for a scholarship). I shaped up and worked hard the rest of the semester.

Blaustein was the first art teacher that I had that showed me the power of the critique, as part of the production process. After years of doing critiques with high school and first-year art students I’ve come up with some alternatives or revisions to the standard formats I learned when I was in school. Students draw names and they are required to analyze the work they select. Everyone talks and I can insert my comments in. We do informal reviews before final critiques and students work in smaller groups (student-led). I do not tear art off the walls but I do tell students my Blaustein story. They seem to appreciate it.

By: Joe Fusaro

Joe Fusaro — Fri, 08 Apr 2011 02:29:32 +0000

Selin, I’ve had plenty of in-progress critiques where it got way past technical discussions and advice, and I feel that students need input from more than know-it-all professors who spend the time judging vs., as you put it, sharing knowledge to help produce the next piece. Students just seem to get more from critiques that happen during the forming of the work, plain and simple.

You say a critique is not a test, but unfortunately students see it that way much of the time. And when I read things like, “I’m speaking of my proper educational system,” all I can think is that your system is a little outdated and perhaps narrow-minded.

By: b, while doing something else

b, while doing something else — Thu, 07 Apr 2011 18:12:51 +0000

Well, ok, then : I’ll leave pushpins in place.

No, in fact I clearly understand the violent understatement that’s behind that behavior. I heard of a teacher who ripped the drawings away. (it was a long time ago…)
Never experimented that, but I guess I’d have been violent…
In the other hand, working with students looks more and more like working with kids, awaiting a precise answer to an exact work, wanting the teacher to give an exact direction, solve the problems, thinking it’s not worth the work asked…or thinking the work’s too good to be criticized. (that’s not new)

By: selin

selin — Thu, 07 Apr 2011 16:44:35 +0000

i completely disagree:

assuming that you are past your initial few years of art education, you are at a stage where you are asked to produce work instead of homework:

a critique is not a test, where you could quantitatively measure your success or achievement.
i always thought of the final crit as a collective reading of the production as if it were a cohesive form.
the cohesion (after a point of individual’s technical [both formally and conceptually] development) i find is what takes the longest time for an art student to master.

in-progress critiques can never get past technical discussions and advice because the piece has not been realized yet.

so the end-of-project critique does not expect you to go back and fix the problems (it probably is not a masterpiece anyway),
it provides you with information on how your work is viewed by others, so you can use that knowledge when producing the next piece.

at least that’s what I think.
disclaimer: i’m sure there are plenty of crappy professors around, i’m speaking of my proper educational system
best,