Critiques

 

                Critiques are a part of not only your academic life as an artist but also part of your professional life as an artist. I have been on both sides of the process of getting and giving critiques and these are some of the things that I have learned about critiques.

                Critique means a detailed analysis and assessment of something, especially a literary, philosophical, or political theory. We often confuse critique with criticism or “the expression of disapproval of someone or something based on perceived faults or mistakes”. It is very important to keep in mind that in a critique setting we are involved in the first. The purpose of an art critique is to not only present your work to a larger audience but also to see your work through other eyes. It is also to have people who are knowledgeable about your medium present advice to make your work better but having people who work in other media can be very helpful. Keep in mind that critiques are meant to be helpful.

                As a person being critiqued here are some things to keep in mind. First, you are not your work, and your work is not you. We have been told that artists “pour their souls into the work” so it is common to think that any criticism of your work is a criticism of you as a person. It is helpful to divorce yourself from this concept. Another thing to keep in mind is that you will learn something from everyone. You will almost invariably learn more from discussing a topic with someone you disagree with than discussing a topic with someone you agree with, even if you learn that the person’s ideas are ill-conceived. But and this is important, you must listen and discuss with an open mind!

How to conduct yourself while being critiqued.

Be confident in your work but not overconfident even if your confidence is fake. When presenting your work do not point out the problems or things you “wanted” to do. You may be surprised to find that what you saw as a problem or flaw, others do not. Do not have arbitrary reasons for your decisions. To the question, “Why did you use so much blue?” the answer should not be “I had a lot of left-over blue paint.” or “I like blue”.  Remove the word “just” from your talk. “Just” is a reducing word. Phrases starting with “I wanted to…”, “I tried to…”  or “I couldn’t…” should also be avoided.

Prior to the presentation, run through your description and explanation of the work. Think of this as an “elevator pitch”. Keep it short and to the point. Stand up straight and address the audience. Speak up and don’t mumble. I have seen far too many students face the work and talk to it with their back to the audience. Explain the thought process behind the work and don’t focus on the mechanics of how you made the work unless that is what the work is about. Many artists are by nature introverts and speaking in front of groups, even small ones of their peers can be intimidating. If your university offers a course in public speaking, I recommend that you take it. If not, and I know this sounds very old fashioned, find out if there is a Toastmasters’ Club in your area.

How to conduct yourself while giving a critique.

As the saying goes, if you can’t say anything nice it is better to say nothing at all. First off, be professional. This means also being respectful of the artist and the work. Keep personal issues and biases out of your assessment. You are there to help the artist make better work. It doesn’t really matter if you do not like contemporary art aesthetics, for instance if that is what is being presented. You may say something along the lines of “I am seeing a strong reference to Rothko in your work.” rather than saying, “Your work is too derivative of Rothko.” even though it may be true.

Try to find a good thing to say about the piece. There are good things about even the worst piece of art. One of my instructors phrased it as, “You have a really good moment in this area of the painting”.  Personally, one of the terms I cringe at in critique is “cute”. The term doesn’t add anything to elevate the discussion and can be very dismissive even when it is said in a kind way and with good intentions

Stay away from sarcasm. I grew up in a household where sarcasm was a second language and was used with love, but many people do not get it, and it can come off as mean. Try to stay away from telling the artist what they should do or should have done. Instead of saying, “You should have…” try asking, “Have you thought of …”.  (see the Socratic Method)

Try not to “yes and” or pile on especially if the critique is not going well for the artist. If one person has already noted that there could be more detail in the face it doesn’t help to say it again. In my classes I had part of the grade attached to participation in critiques. Even if the student did not say anything, if they were attentive and engaged, they were awarded points. Do not engage in side conversations with other students. It is distracting and rude to the presenter.

Remember do not take or give critiques personally. It is all about helping to make better work.
--Randall Moody