well it seems like this topic is getting harder to "contest" or "debate" as again everybody has a different point of view like what we have in our critique corner
any POV from other fourmers?
as a TS i feel that it's getting to complicated and i've no ideal what to add on :sweatsm:
it's not a simple issue, definitely.
i've started writing something about the work of critique, to help members understand what critique is about. this is work in progress so it may look like a draft. for those interested, you may also help me in describing the work of critique.
What is a Critique?
From
http://dictionary.reference.com/browse/critique
cri·tique/krɪˈtik/[kriteek] verb, -tiqued, -ti·quing.
noun
1. an article or essay criticizing a literary or other work; detailed evaluation; review.
2. a criticism or critical comment on some problem, subject, etc.
3. a criticism or critical comment on some problem, subject, etc.
4. to review or analyse critically.
From here, we know that a critique is one that goes beyond single word comments like
'good,' 'bad,' 'nice,' 'ugly,' 'sucks' etc.
Why is Critique important?
A Critique puts a piece of work to test. It's the most direct way to solicit responses to the
work, reflecting the effectiveness of the work (and competency of the artist.) Critiques can
involve theoretical debates, which may or may not lead to new point of views, and/or widen
the horizon of participants' thinking.
How to Critique?
In order for a Critique to take place, participants in a Critique need to know how a piece of
work is appreciated. The following are the fundamental information about a piece of work
that are used in the appreciation of the work
1. State of the Art
A piece of work can be appreciated for it's symbolism or effect when juxtaposed against
works of similar nature produced around the same time and/or similar or related works from
earlier time. A Critique can only take place when the critic is given a point of reference to
measure the work against. A piece of artwork is considered to be critiqued at the macro
level when judged for it's effect (sociological, theoretical, technical etc.) in the time-line of
the art's development.
2. Artist's Intention
At the micro level, a piece of work has to be judged against the desired outcome intended
by the artist. In textual form, intention is understood via work's title, caption/writing that
accompanies the work, and /or artist's verbal explanation. All art has intention, not matter
how vague it may be. A piece of work can be created without intention (e.g. naturally
formed objects) but cannot be presented without an intention. To show a piece of work for
the sake of showing it is itself an intention. To show a piece of work to stimulate freedom in
imagination is also an intention. The act of the artist displaying the piece of work itself must
have an intention.
3. The Title
The title of a piece of work represents the work in words. It is a direct, summarized
translation of the work into a immediately understandable term to those who use the
language. A title can be use to
a. name the object of the work
b. guide the viewer into a desired thought (feeling, memory etc.)
c. describe a situation depicted in the work (action, behaviour, event etc.)
d. inform the condition of the work (time, place etc.)
When a piece of work cannot be adequately represented in words, artists often use 'untitled'
as a textual representation of the work in writing.
4. Captions/Attached Writing
Captions and additional writings accompany a work often because the work itself contains
local information essential to the understanding of the work.
Global information are information known to most people without the need to elaborate in
words. For example colours (except to people with colour blindness,) nature (tree, flower,
animal) etc. Works containing predominantly global information (e.g. a sunset scene, waves
of the sea, a smiling face) usually do not require additional writings to tell the viewer the full
information in the works.
Local information are cultural information known only to a specific group of people. For
example meaning in colours, meaning in actions, cultural objects etc. Works containing
predominantly local information (e.g. an essential object found in a minority's wedding, a
religious symbol used only in a specific town) often need captions and writings to aid the
artist in describing the work to people who are ignorant of the meaning behind these
information.
5. Composition
Composition is the structure of a piece of work. It is the way the work is presented in its
physical form. A good composition is one that organizes the elements used in the work such
that the intention of the work is put across effectively. A bad composition is one that
confuses the viewer from the artist's intention. Some basic compositional strategies are
a. lines
use of elements as visual/sensual leads toward the intention/focus of the work
b. relationship between main element and secondary elements
placement of elements in a visually comfortable formation, proportioning (visual or physical)
of elements with respect to intention/focus of work, juxtaposition of shapes/colours etc.
c. visual comfort and/or tensions
creating intensities through congestions, providing breathing spaces through compositional
breaks etc.
6. Medium
A piece of work can be appreciated for use of appropriate medium that either enhances the
visual enjoyment of the work or enhances the expression of the artist's intention. Quality of
prints, colours, tones, materials used, place in which artwork is presented etc. can be
judged with or without meaningful implications.
7. Method/Technique
A piece of work can be appreciated for the artist's skill in execution. Detailing, processing
(darkroom/digital etc.,) format (frame size, proportion etc.,) performance etc.
