1. What to Keep/What to Change: Artistic Critique and the Creative Process
Pete Edwards Madison Central High School
Visual Art
EKUWP 2016 Summer Institute
June 23, 2016

2. THINK
MAKE

3. Instructional Breakdown of Mr. Edwards’ Art Classes (Full Disclosure)

4. “Sometimes the artist is not fully aware of what has been wrought and the full implications of the work. The ethics of art criticism must stem from a base of honesty and integrity….” -James J. Kelly
Kelly, James J. (1981). The Sculptual Ideal (3rd ed.). Prospect Heights, IL: Waveland Press

6. Why We Critique Reflect on what you have done
Reflect on what others have done
Which in turn, makes you
This allows you to make informed decisions and to be intentional in what you make.

7. In Practice Basic Art I/II Visual Art I/II Advanced Art/AP Studio
Introduce procedures for critique (mainly narrative work)
Introduce Master Works in Context (Art History)
Visual Art I/II
Check for content knowledge (techniques, elements/principles)
Examine growth opportunities
Make connections with Master Works (Techniques and Concepts)
Advanced Art/AP Studio
Reflect on Process and Product
Assess/Reflect on peer work
Challenge students with Master Works (What is the artist doing? Why? Is it interesting/important/art?)

8. Critiquing Master Works
Art Think individually
Record your thoughts
Take notes on the work
Ask questions
Work as a group for Critique
Discuss/write down your answers
Share your interpretations
Discuss as a class

9. Seonna Hong If a Tree Falls in the Forest
2006 Acrylic, charcoal and thread on canvas 60 x 48 inches

11. Guide for Critique Any response is VALID if: Do Don’t It is respectful
It is appropriate
It refers directly to the artwork
You can support it with the image Do
Think bigger than the obvious
Support good ideas with imagery
Take risks
Think about the time period
Don’t
Just describe the image
Use “maybe”, “I think”, “to me”, “could”
Ignore areas; everything is in there for a reason
Write “it could be about many things”
Write “I don’t know”
Write with anything than a non-colored pencil, or a black or blue pen

12. See the flower with your eye
Symbol vs. Reality
Draw the flower
Focus on PROCESS, not product
Close observation is the key
See the flower with your eye
Draw the flower with your hand
Cut your brain out of the equation
You get a flower
Or something close(r)

13. Blind Contour Reflection
What you liked/Why
Talk about the Product
What you would change/How
Share it with someone at your table
Talk about the Process

14. Good Work! Now here’s how all of this culminates after semesters in the studio. Sometimes.

15. Concentration Work (AP 2D Design)

16. Anatomical Self-Portrait
(AP 2D Design)

17. “Where’s the beef?”
(Advanced Art)

18. The interpretation of art is not mere fantasizing, but depends on powers of analysis which are improved by practice, like any other skill.
-Terence Grieder
Grieder, Terence. (1990). Artist and Audience. Orlando, FL: hold, Rinehart and Winston, Inc.