READ, CHAPTER 10 (WHAT IF YOU DIDN’T PUT IN MUCH WORK ON YOUR ART?), CHAPTER 12 (WHAT IF YOU MAKE VERY DIFFERENT KINDS OF WORK?), AND CHAPTER 16 (WHAT IF YOU’RE ASKED TO TALK ABOUT YOUR WORK?) FROM ART CRITIQUES: A GUIDE.
WRITE A 1-2 PARAGRAPH COMMENT SUMMARIZING YOUR RESPONSE TO THE READINGS. INCLUDE AT LEAST ONE QUESTION FOR DISCUSSION.
I think that what is being said about time spent on work is a very good point especially when it a studio class that is really working toward a large final product as opposed to smaller individual projects, much like our studio class. At the same time thought i also think that the work produced and discussed during a critique is very reflective of the effort put forth in its preparation and the feedback can only be substantial and helpful to a limit when the work produced and shown is limiting itself.
ReplyDeleteI think that it can be very difficult but very important to be able to articulate your work and why you are making the work you are and why, whether that be about the content and meaning or medium. I think that being able to do this also contributes and helps with your own work but also to critique, analyze and give feedback on other types of work which in turn can all be helpful for personal work.
Do you think that it makes a different where feedback comes from or is it all helpful and beneficial to the process of continuing/ producing your work?
I read chapter 12 first, it talked about how having one kind of work is more important because you can get better feed back. When I first started reading I thought that it was a silly idea why can't you have more than just one style? I know that I use a bund h of different styles all the time, but it made sense, you do want to have most of your focus on one thing so you can master it and give it all your attention. As of right now I am doing that with my painting and it seems to be going well. Chapter 10 talked about if you don't give 100 percent of your time to your work people won't have much to say to you about your work, most times its obvious when someone doesn't show an effect and it puts everyone in a bad situation. The last chapter talked about what to say about your work, this is hard for me and I know it is hard for others as well. A lot of people don't like criticism so they hide behind safe words but, again, that is not the best way to get help or feed back. The article suggests that that you stay desecrate but explain what is happening in your artwork.
ReplyDeleteWhat kind of feedback works best for you, a critique every week? month?
Do you think people can tell when you put minimal effort in? How does it make you feel?
All three chapters were pretty short, but they all had really useful information to say. I loved reading the very short Chapter 10, because I have put myself in that situation multiple times where I get nervous about showing or talking about my work when I didn't work on it as much as I would have liked to or I just put something together at the last minute to help finish an assignment. I think it was useful to read that sometimes minimal effort in artwork does not always cause the artwork to be bad, but if you need to show it, for example, in a critique for class, it's best to be honest about the time you put into the work in order to get the most helpful feedback. That way, teachers or critics won't judge the work incorrectly, or get an understanding that that work is the result of a great deal of effort.
ReplyDeleteThe other chapter I responded really well to was Chapter 16, which was about speaking about your own work in public, especially for a critique. The quote that stood out to me the most in this chapter was "an informal, honest opening statement is best". This statement came after the author talked about the issues that can stem from directly referencing other artists or theorists when giving an opening speech about your work. I thought this statement was really interesting, considering sometimes I might want to talk about how I've been researching a certain artist or reading articles about a specific theory that I think will help with the discussion of my works. I'd like to know what everyone else thought of this part of the reading, and question how specific we can be in our critiques before it starts becoming less helpful. Should we prepare a written statement like an artist statement, or is it better to be more informal? What elements of an opening statement for a critique do you think are the most helpful for the other students and professor(s) to begin a conversation about your work?
After reading all three chapters, I found myself questioning my own practices as an artist. I realize that while my introductions may be adequate, the actual work itself is not fully realized. As in Chapter 10, I would like to accomplish more finished pieces, so that I can get as much feedback out of the critiques as possible. However, I somewhat disagree with the statement that artwork cannot be diverse. While it may be difficult to grapple with the content when it is presented in different forms, the variety of forms also lend to the content's meaning and allow the artist to explore which mediums he or she works with the best. There are many professional artist's who use a multimedia approach, such as the visiting artist Patrick Martinez, and I have been inspired by their work's diversity to create pieces that resemble artworks seen in Christian and Feminist contexts. When is diverse artwork beneficial or detrimental to the content? Does lack of physical creative effort indicate lack of content?
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