Proposal Two Art Criticism in the Classroom

1. Proposal TwoArt Criticism in the Classroom Jennifer Margrave University of Central Florida

2. Purpose • The purpose of this paper is to • measure how studying art criticism changes students abilities to describe, interpret, and judge artwork • Measure how studying art criticism effects students studio work • Determine which method of art criticism is most beneficial

3. Questions • Does studying art criticism improve students observational skills? • Does studying art criticism improve students abilities to interpret and judge art? • How does studying art criticism impact students studio work? • Which method of art criticism is most beneficial for students?

4. Current Conditions/Status • Aesthetic development: A Cognitive Experience by Karen Heid • Something aesthetically pleasing heightens out senses • Learning to attend to art helps us see and as well as the world in general in a deeper, more meaningful way • Art engages our minds and emotions • As students learn to put their emotional reactions about art into words they are engaging in a cognitive process

5. Current Conditions/Status (Feldman) • Practical Art Criticism by Feldman • Describe: physical description (colors, shapes, textures) • Analyze: more in depth description (dominant colors, composition) • Interpret: meaning of the piece • Judge: success of piece (based on a grounds of judgment)

6. Current Conditions/Status (Lankford) • A Phenomenological Methodology for Art Criticism by Louis Lankford • Receptiveness: avoid preconceptions or prejudices • Orienting: pay attention to the surroundings, determine the perimeters of the work, and adjust your physical position • Bracketing: restrict critique to relevant information • Interpretive analysis: description of work, meaning of work, and feeling it creates • Synthesis: significance of the work overall

7. Current Conditions/Status (Prater) • Art Criticism: Modifying the Formalist Approach by Michael Prater • Feldman method fails to take into account external information about the work • Feldman doesn’t relate to all types of art pieces (ceremonial)

8. Prater • Prepare to critique: Title, date, artist, culture, description • Examine literal qualities: accuracy • Examine functional qualities: practical or ceremonial use • Examine the formal qualities: elements and principles • Examine the expressive qualities: emotions, moods, symbols, ideas • Determine relevant theories: discuss the theory (or theories) that are relevant, and what the artist is trying to accomplish

9. Current Conditions/Status (Anderson) • 1. Initial reaction (gut response to the work) • 2. Description of formal qualities, relationships between forms and figures, intended emotional impact, and context that may affect the works meaning (Description and Analysis) • 3. Interpretation of work • 4. Evaluation (Anderson, 1997)

10. Why It’s Important • Showing that the study of art criticism can improve students observational, descriptive, and interpretive abilities would give its practice in the classroom legitimacy. • Showing that practicing art criticism improves students artwork would help make the case that it should be done by anyone interested in improving their own artwork. • Learning which method of art criticism is most effective would be helpful for classroom teachers.

11. Methodology • Population • High School students • Procedure • All students will take the art criticism assessment as a pre-test • Students will be randomly assigned into one of four groups • Students will be taught either the Feldman, Lankford, Prater, or Anderson method of art criticism. Students will be given sufficient time to practice using the method and demonstrate competence. No instruction in studio work will be given. • All students will again take the art criticism assessment.

12. Amy Sillman Bed 2006 Oil on canvas 231 x 213.4 cm 1. Which grouping of words could be found in a basic description of Sillman’s “Bed”? A. Red, green, bird, patterned lines, light faces contrasting with a dark bed B. Two people, bed, embrace C. Messy style of painting, abstract, reds and greens are dominant, cool colors D. Red, green, yellow, curved lines, geometric shapes

13. 2. Which judgment is backed up by accurate description and plausible interpretation? • Lost hippie is effective at depicting an idealism of a generation passed through the use of body language (head down, arm partially raised) as well as the materials used in the piece (necklaces to look like long hair and fabric in the shape of a bell bottom). • Lost hippie succeeds in commemorating the accomplishments of the 1960’s by creating a figure that is confident and adorned with materials of the time. • Lost hippie is ineffective at conveying a message due to its vague use of symbolism. • Lost hippie is an eye-catching piece that reminds us of the 1960’s. The materials used are flashy and extravagant; the eye is drawn from the hair, to the arm, to the outstretched leg. Lara Schnitger, Lost Hippie, 2004 Fabric, wood, necklace, watches, earrings, pins 211 x 119 x 75 cm

14. Michael Cline Police Line 2007 Oil on linen 162.5 x 116.8 cm 3. How does the artist’s painting style contrast with the subject matter of the piece? 4. Do you think this contrast is effective at drawing the viewer in? Why or why not?

15. Patrick Martinez Sign of the Times Mixed Media 2005 5. What is your interpretation of “Sign of the Times”? (Explain your interpretation based on a description and analysis of the work).

16. Katherine Bernhardt Gold Maillot 2006 Acrylic on canvas 244 x 183 cm • 6. How does the use of color complement the facial expression of the figure? • The figure’s facial expression is sad, and the colors in the painting aren’t bright. • The sharp contrast and dark colors give an uncertain and melancholy feel which correspond with the figures facial expression. • The dull colors in the picture make the viewer feel sad. • The red lips and gold swimsuit suggest the figure is a representation of woman being objectified.

17. Creating Prompt • Create a drawing that represents a feeling or idea of your choice. • Then write an artists statement that describes why you chose the formalistic qualities of the work (use of line, shadow, composition or the work, etc.). Explain how these qualities convey the meaning of your work, and describe how you hope the viewer will respond to the work.

18. Khalif Kelly Confrontation at the Clothesline 2007 Oil on canvas 182.9 x 213.4 cm

19. Jansson Stegner Sarabande 2006 Oil on linen 99 x 86.4 cm

20. Jessica Jackson Hutchins Couple 2010 Couch, ink, spray paint, charcoal dust, hydrocal, ceramic 124.5 x 178 x 107 cm

21. Eduardo Berliner Handsaw 2009 Oil on canvas 214 x 170 cm

22. Feedback • Are the multiple choice questions confusing? Misleading? • My thought behind those was to provide data that could not be considered bias in any way.

23. References Anderson, T. (1997). A model for art criticism: Talking with kids about art. School Arts, 97(1), 21-24. Feldman, E. B. (1994). Practical art criticism. Upper Saddle River, New Jersey: Prentice Hall. Heid, K. (2005). Aesthetic development: A cognitiveexperience. Art Education, 58 (5), 48-52. Lankford, E. L. (1984). A phenomenological methodology for art criticism. Studies in Art Education: A Journal of Issues and Research, 25(3), 151-158. Prater, M. (2002). Art criticism: Modifying the formalist approach. Art Education, 55(5), 12-17.