1 / 57

GRAB A GUIDED NOTE SHEET

Learn how to effectively critique artwork by analyzing elements, principles of design, interpretation, and judgment. Understand the steps involved in critiquing art pieces to gain a deeper appreciation and insight into the artist's message and technique.

skoon
Download Presentation

GRAB A GUIDED NOTE SHEET

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. GRAB A GUIDED NOTE SHEET Get ready to answer questions 1-3 on the side with your name.

  2. Answer ?’s 1-3

  3. CRITIQUE Standard 8: Critique LT: I can effectively critique a piece of artwork.

  4. Evaluating Works of Art Critique: A process of analysis in order to gain an understanding and appreciation of an artwork (not just whether or not something is “good” or “bad”)

  5. Evaluating Works of Art • Too often, people evaluate artwork (music, films, paintings, etc.) on if they like them or not. • Real critique is an attempt to understand meaning, purpose, etc. • The problem is, we let our PERSONAL STANDARDS cloud the review process and we pass judgment too early.

  6. Types of Critique: • Formal: • Examination of a single artwork, standing by itself with no external condition or information. • Analyze only what is seen or heard, and nothing else.

  7. Types of Critique: • Contextual: • Examination of an artwork in the context of the events surrounding it or its creation. • May have political or personal meaning which can change the whole critique process.

  8. Steps of Critique…. • There are FOUR steps to critique… DESCRIPTION ANALYSIS INTERPRETATION JUDGEMENT

  9. Description… 1. Consider WHAT YOU SEE. This is factual information and the ELEMENTS of ART used in this piece. Include artwork name, artist name, media, subject matter, size and date completed if known. Then consider how the artist uses the 7 EOA. When considering which EOA are used, you should also consider how they are organized which is…

  10. Analysis… 2. Consider how the artist uses the PRINCIPLES of DESIGN. Are the Elements of Art and Principles of Design used to create FEELINGS or to convey EMOTIONS?

  11. Interpretation… 3. What is the story behind this piece of art? Is there anything you need to know about the artist, social climate, or current events that affected the creation of this piece? Is there a message in this work of art? If so what is that message?

  12. Judgment… 4. How do you feel about this artwork? Is it well made? Did the artist effectively use the ELEMENTS and PRINCIPLES? If the artist had a message, did the artist convey that message effectively?

  13. Making Judgments • We must consider two things when finally passing judgment; the craftsmanship and the communication. • Is the art well made? We must have some understanding of the manner in which something is made. • What is the artist trying to say? Does the artist succeed in communicating their theme or message? Was it worth the effort?

  14. Waiting: Self Portrait of a Holocaust Artist #101 Judith Lieberman Oil on Canvas with Photo Collage 18” x 18” 1997

  15. Waiting: Self Portrait of a Holocaust Artist #101 is by Judith Lieberman. This portrait is an 18”x18”oil on canvas with photo collage that was completed in 1997.

  16. Waiting: Self Portrait of a Holocaust Artist #101 Judith Lieberman Oil on Canvas with Photo Collage 18” x 18” 1997

  17. The artist uses LINE and SHAPE in a PATTERN that resembles the shadow of a jail cell to represent that she feels imprisoned. Because we cannot see the bars we know she is not physically in jail but is mentally, emotionally and spiritually imprisoned.

  18. Waiting: Self Portrait of a Holocaust Artist #101 Judith Lieberman Oil on Canvas with Photo Collage 18” x 18” 1997

  19. This could also resemble bricks which could be associated with the brick ovens used to incinerate the bodies in the death camps. • It may also represent railroad tracks as railroad cars were often used to transport the prisoners between locations.

  20. Waiting: Self Portrait of a Holocaust Artist #101 Judith Lieberman Oil on Canvas with Photo Collage 18” x 18” 1997

  21. The writing on the wall is an example of LINE which has been REPEATED (REPETITION). These are the names of the concentration camps where the individuals were held and executed. This could mean the artist wants us to see the “writing on the wall.” • COLOR is also an important element when discussing the floor and wall because red is CONTRASTED against black which is symbolic of blood and death.

  22. Waiting: Self Portrait of a Holocaust Artist #101 Judith Lieberman Oil on Canvas with Photo Collage 18” x 18” 1997

  23. Another important SHAPE to consider is the GEOMETRIC star CONTRASTED against the ORGANIC background. This, along with the CONTRAST of lighter, brighter COLOR against a darker, duller background help create a FOCAL POINT. This helps illustrate that she has been labeled as a Jew.

  24. Waiting: Self Portrait of a Holocaust Artist #101 Judith Lieberman Oil on Canvas with Photo Collage 18” x 18” 1997

  25. The fact that the artist has used an ORGANIC SHAPE to represent the face shows that by labeling her they have taken away her identity. By removing her mouth the artist is saying they have taken away her voice (or her ability to speak for herself.) By leaving her eyes, the artist is saying she can still see what is happening.

  26. Waiting: Self Portrait of a Holocaust Artist #101 Judith Lieberman Oil on Canvas with Photo Collage 18” x 18” 1997

  27. By REPEATING the original picture in the corner of the painting, the artist is communicating the fact that this was a real person, not a faceless, voiceless entity that has been labeled as a Jew. The artist wanted us to know for sure who she really was.

  28. Waiting: Self Portrait of a Holocaust Artist #101 Judith Lieberman Oil on Canvas with Photo Collage 18” x 18” 1997

  29. By placing the figure so close to the viewer in SPACE, the artist is making sure that we see the important parts of the composition. It is harder to ignore forms when they are closer to us.

  30. Waiting: Self Portrait of a Holocaust Artist #101 Judith Lieberman Oil on Canvas with Photo Collage 18” x 18” 1997

  31. The importance of the title of the artwork has to do with the fact that the individual in the artwork is far too old to have completed a self-portrait in 1997. The title is a warning against labeling individuals. It is a practice we still do today and it is how the holocaust began. If we are not careful, we are WAITING for this to happen again, and this time it might not be a nameless person in a history book, it could be someone we care about or even ourselves (SELF PORTRAIT).

  32. Waiting: Self Portrait of a Holocaust Artist #101 Judith Lieberman Oil on Canvas with Photo Collage 18” x 18” 1997

  33. Judgment…

  34. ?

  35. Questions to Consider… • Is the artwork well made? • Technique? • Use of EOA/POD? Specific examples • Could they have used them more effectively? • Did the artist do a good job conveying their theme or message? • How did they succeed. • How could they have done better? • Is the artwork successful? • Not the same as well made/ do you like it • Do you like the artwork? • Why or why not?

  36. Waiting: Self Portrait of a Holocaust Artist #101 Judith Lieberman Oil on Canvas with Photo Collage 18” x 18” 1997

  37. El Buen Pastor Luis Jimenez Lithograph 41 ¾ “ x 29 ½ 1999

  38. The artist is Luis Jiminez, whose work El Buen Pastor is his reaction to a politically controversial shooting of Esequiel Hernandez of Redford, Texas. Hernandez was a high school sophomore who was killed by a U.S. Marine involved in anti-drug border patrol. Although Hernandez was carrying a vintage rifle, his family contends he carried it to protect the herd he tended and autopsy results suggested he was shot in the back. No conviction resulted from the investigation.

  39. Color… • Figure- Cool, neutral colors • Innocence/ Purity • Contrast • Background- Warm colors • Evil/ cruel world • Focal Point?

  40. El Buen Pastor Luis Jimenez Lithograph 41 ¾ “ x 29 ½ 1999

  41. Shape… • Halo = innocence, “angelic” • Sunset = end of day; associated with end of life • Crosshairs = targeted. • Why face not back? • Figure targeted because of race; identified by features Focal Point?

  42. El Buen Pastor Luis Jimenez Lithograph 41 ¾ “ x 29 ½ 1999

  43. Form… • Hand in air • “Stop” • Declaration of Innocence • Unarmed? • Testify / Witness

  44. El Buen Pastor Luis Jimenez Lithograph 41 ¾ “ x 29 ½ 1999

  45. Form… • Significance of animals? • Snake • Evil in the world • Lambs • Protecting his families livelihood

  46. El Buen Pastor Luis Jimenez Lithograph 41 ¾ “ x 29 ½ 1999

  47. Line… • Words in the sky… • Story of shooting • Smudged, blurred, why? • Tears of family, friends? • Guns of military aimed toward sky • Trying to eliminate or erase story • Writing on the wall

  48. Judgment…

  49. ?

More Related