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Art Appreciation
Art Criticism: How and (Why) to
         Critique Art
Art Criticism
Liberal Arts
In classical antiquity, the "liberal arts"
denoted the education worthy of a free
person (Latin: liber, "free").

The freemen, mostly concerned about
their rights and obligations as citizens,
received a non-specialized, non-
vocational, liberal arts education that
produced well-rounded citizens aware
of their place in society.

Socrates and Aristotle emphasized the
importance of individualism, impressing
upon their students the duty of man to
form his own opinions through reason
rather than indoctrination.

A slave market in Ancient Greece--
Liberal Arts vs. Dogma and
Authority
The American Association for the
Advancement of Science describes a
liberal education in this way: "Ideally, a
liberal education produces persons who
are open-minded and free from
provincialism, dogma, preconception,
and ideology; conscious of their opinions
and judgments; reflective of their
actions; and aware of their place in the
social and natural worlds.”


 Liberally educated people are
skeptical of their own traditions;
they are trained to think for
themselves rather than defer to
authority.
Criticality means becoming aware of one’s own blind-spots and cognitive biases:
What are you talking about, there’s no elephant in this room!?
We are well prepared and have foreseen all possibilities…..
Just Trust us, this is totally safe, nothing can go wrong…..
THINGS CAN, AND WILL, GO WRONG.
Well……..?



That’s why Critical Thinking
matters…..in its broadest
sense it can be described as
purposeful reflective
judgment concerning what
to believe or what to do.
Fair and Unbiased ?
He seemed like a nice guy….
IF SOMETHING SEEMS TOO GOOD TO BE TRUE IT PROBABLY IS
Who or what can I believe?
BACK TO ART
I don’t know anything about art,
     but I know what I like.
  And I really don’t need a class to help me with this, dude…..
Taste
Taste
Taste as an aesthetic, sociological, economic and
anthropological concept refers to cultural patterns of choice
and preference regarding aesthetic judgments.
What determines aesthetic
      judgements?
What gives us certain tastes?
Is it really just a function of our
          “ingroup” bias?
And why should we even care about
      things we don’t like ?
Well, for one…..because art exists
 for more than one subgroup or
           individual….
Art is part of our Public (shared)
            Experience
ART is reflective of the
HUMAN EXPERIENCE…good
and bad.




  Edvard Munch, “The Scream”
  1893, National Gallery, Oslo Norway.
ART is not just for interior design and
  we are not just “CONSUMERS”!
We are CITIZENS!
NOT SLAVES….
Actual powerpoint slide from a Market Strategists’ Presentation
Actual powerpoint slide from a Market Strategists’ Presentation
…..and this is why Museums and
   Galleries are so important.




     ITS GOOD TO GET OUT OF THE HOUSE and AWAY
     FROM THE MARKETERS!!!
AND REMEMBER
A “CONNOISSEUR” IS NOT CRITICAL




Wall Street Rich Dude



                        Child of Wall Street Rich Dude
A “CONNOISSEUR” EXPERIENCES AND
     DISCERNS BUT DOES NOT EXAMINE
              AND ANALYZE


• They in the business of creating
  notions of consumer “taste”. Their
  objective is to create social
  stratification- guideposts to
  determine the “tastes” of the
  cultivated elite versus the lumpen
  hordes of unsophisticated poor
  people.

• I’m being melodramatic, but its more
  or less true.
Lower-middle class, low class preference.
                                            Upper-middle class, upper class preference.
Easy to understand, does not tend to
confuse or alienate.                        Challenging, sometimes confusing. Seems to
                                            reject “beauty” and traditionalism.
Wide, broad appeal-like “pop” music.
This taste demonstrates your                Smaller appeal, therefore perfect for the Elite.
membership in a lower social level.         This taste demonstrates your sophistication
                                            and membership to a higher social level.
Lower-middle class, low class preference.
                                            Upper-middle class, upper class preference.
Easy to understand, does not tend to
confuse or alienate.                        Challenging, sometimes confusing. Seems to
                                            reject “beauty” and traditionalism.
Wide, broad appeal-like “pop” music.
This taste demonstrates your                Smaller appeal, therefore perfect for the Elite.
membership in a lower social level.         This taste demonstrates your sophistication
                                            and membership to a higher social level.
CONTEMPORARY ART CAN BE
EMOTIONALLY FRUSTRATING




   That’s why these guys look so disturbed.
What are our VALUES
•   Personal Values
•   Political Values
•   Cultural Values
•   Sub-Cultural Values
•   Class Values
•   National Values
•   Religious Values
•   Spiritual Values
ART IS POWERFUL
The reason art can please, is also
because it can displease…..
ART IS POWERFUL
…. it can alternately challenge or
reinforce the value system of any given
culture.

It is one of many place where a
peoples discovers who they wish to
be….
EGYPT
Menkaure and Queen
Kamerernebty
Old Kingdom, Ancient
Egypt
4th Dynasty
2548-2530 BCE



Egyptians Valued STABILITY…..

It’s civilization lasted roughly 2500-
3000 years.
ART and BEAUTY

Art can be beautiful.
But what is Beauty?
Who gets to decide?
ART and BEAUTY

Art should comfort the
disturbed and disturb
the comfortable!

It has MANY purposes.
Official North Korean Art
Socialist Realism……pretty as a picture???
NOT SO PRETTY

Soviet Union, Stalin's regime
(1924-53): 20 million DEAD.

“As long as art is the beauty
parlor of civilization, neither
art nor civilization is secure.”
-John Dewey
Alex Schaefer
http://alexanderschaefer.blogspot.com/
This print was not really meant to “hang” over the couch….
ART CHANGES CULTURE
•   Impressionism started as a
    rebellious art movement by
    four students, was mocked and
    ridiculed 20 years before being
    reluctantly accepted…and yet
    today it is considered one of
    the most important art
    movements in history.
Édouard Manet, Olympia, oil on canvas, 1863.
•   Olympia stirred an enormous uproar
    when it was first exhibited at the
    1865 Paris Salon. Conservatives
    condemned the work as "immoral"
    and "vulgar." One journalist later
    recalled, "If the canvas of the
    Olympia was not destroyed, it is only
    because of the precautions that were
    taken by the administration.”
•    However, the work had proponents
    as well. Emile Zola quickly proclaimed
    it Manet's "masterpiece" and added,
    "When other artists correct nature by
    painting Venus they lie. Manet asked
    himself why he should lie. Why not
    tell the truth?"
• BAD   • GOOD
“Degenerate Art”
• BAD   • GOOD
The Nazi’s conflated Modernist art with mental and physical retardation.
“Quality”

•   Is Relative
•   Is Subjective
•   Is hard to measure
•   Is related to personal taste….
• How does society seem to measure the quality
  of art if quality is so SUBJECTIVE?
MONEY


$$$$$$$$$
$ 728.40
$ 7,284.00
$72,840.00
$728,400.00
$7,284,000.00
Mark Rothko, "White Center (Yellow, Pink and Lavender on Rose)" (1950)
$72.84 MILLION
ONE MORE TIME



That’s why Critical Thinking
matters…..in its broadest
sense it can be described as
purposeful reflective
judgment concerning what
to believe or what to do.
3 Types of Art Criticism
• Formal Theories
• Socio-cultural Theories
• Expressive Theories
Formal Theories
• Form over Content.
• Style and Innovation are valued.
Titian. Pietà, 1576.
Oil on Canvas. 149”x136”.
Raphael. The Holy Family, 1518.
Titian. Pietà, 1576.
Oil on Canvas. 149”x136”.
Socio-cultural Theories
• Political, Cultural, Social Values
• Historical Context is emphasized.
• Art embodies or resists dominant cultural
  attitudes and themes.
Titian. Pietà, 1576.
Oil on Canvas. 149”x136”.
The Church of the Frari, Venice.
Tintoretto. St Roch in
the Hospital. 1549, Oil
on canvas.


The plague was a constant
danger in the harbour city of
Venice, and the state sought
to counter it by taking careful
precautionary measures, for
instance the building of the
Lazzaretto Nuovo as a
quarantine hospital around
1470. Tintoretto's painting
could equally well show the
plague hospital of the
Lazzaretto Vecchio, also built
on an island in the lagoon as
early as 1423. The young
women shown here entering
from the sides of the picture
to wash the sick, bind up their
sores, and feed them, are
probably unemployed
prostitutes, who were
pressed into service in the
Lazzaretto Vecchio in times of
plague.
Titian. Pietà, 1576.
Oil on Canvas. 149”x136”.
Expressive Theories
• Artist’s Biography is Primary.
• Psychology and Intent are emphasized.
• Humanistic and Individualistic.
Titian. Pietà, 1576.
Oil on Canvas. 149”x136”.
Titian. Self-Portrait, 1562.
The Feldman Method
•   Description
•   Analysis
•   Interpretation
•   Evaluation
Description
Description
Visual Elements:
• Line, Implied Line
• Shape
• Mass/Volume
• Illusion of Space
• Time/Motion
• Color Scheme
• Texture
Description
Question to ask:

• What is the subject
  of the work?
• What media is the
  work executed in?
• What is the
  size/scale ?
Analysis
Analysis
Design Principles:
• Unity and Variety
• Balance
• Emphasis/Subordinati
  on
• Directional Forces
• Contrast
• Repetition and Rhythm
• Scale and Proportion
Analysis
Some questions to
  consider:
• How do the visual
  elements contribute to
  a mood?
• What is the internal
  relationship between
  the objects or subjects
  depicted?
• How does the form
  communicate the
  content?
Interpretation
Interpretation
• Formal
• Sociocultural
• Expressive
Interpretation
Some questions to consider:

• How does the work relate
  to the world it was made
  (historical context)?
• How does the work relate
  to today’s world?
• What does the piece
  remind you of, how does
  it make you feel?
• What is the MEANING of
  the piece?
ARTIST STATEMENT:
                     Karla Walter
•    As an artist, it is important to recognize a message and seize that
    moment. Crows are messengers, omens for change. Several
    personal encounters with crows have compelled me to express my
    personal creativity through this messenger. This body of work
    explores the similarities between the social interactions among
    crows and that of humans. To know the crow is to know ourselves.
    This is the journey I have taken with this body of work.

• The common crow maintains a unique place in our ecosystem
  thanks to their intelligence and strong family values. They are social,
  opportunistic, vocal, visual, shrewd, and reliant on memory and
  individual recognition. Crows are tricksters and the wise guys of the
  bird world. We all know someone who has these traits. I believe
  that this is why we relate to them and maybe see ourselves in
Evaluation
Evaluation
Some questions to consider:

•   Why does this work have (or not
    have) “value”?
•    What is it that makes the work worth
    considering among others? What is
    valuable to you in a work of art?
•   Are there things that others may
    value that you do not?
•   Does the piece communicate an idea
    or feeling well, or do you remain
    unmoved?
•   If it fails or succeeds in your
    estimation, can you point to specific
    remarks you noticed earlier in our
    criticism to emphasize your
    evaluation?
The Feldman Method
The Feldman Method
• Description
The Feldman Method
• Description
• Analysis
The Feldman Method
• Description
• Analysis
• Interpretation
The Feldman Method
•   Description
•   Analysis
•   Interpretation
•   Evaluation

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Art Criticism

  • 1. Art Appreciation Art Criticism: How and (Why) to Critique Art
  • 3. Liberal Arts In classical antiquity, the "liberal arts" denoted the education worthy of a free person (Latin: liber, "free"). The freemen, mostly concerned about their rights and obligations as citizens, received a non-specialized, non- vocational, liberal arts education that produced well-rounded citizens aware of their place in society. Socrates and Aristotle emphasized the importance of individualism, impressing upon their students the duty of man to form his own opinions through reason rather than indoctrination. A slave market in Ancient Greece--
  • 4. Liberal Arts vs. Dogma and Authority The American Association for the Advancement of Science describes a liberal education in this way: "Ideally, a liberal education produces persons who are open-minded and free from provincialism, dogma, preconception, and ideology; conscious of their opinions and judgments; reflective of their actions; and aware of their place in the social and natural worlds.” Liberally educated people are skeptical of their own traditions; they are trained to think for themselves rather than defer to authority.
  • 5. Criticality means becoming aware of one’s own blind-spots and cognitive biases:
  • 6. What are you talking about, there’s no elephant in this room!?
  • 7. We are well prepared and have foreseen all possibilities…..
  • 8. Just Trust us, this is totally safe, nothing can go wrong…..
  • 9. THINGS CAN, AND WILL, GO WRONG.
  • 10. Well……..? That’s why Critical Thinking matters…..in its broadest sense it can be described as purposeful reflective judgment concerning what to believe or what to do.
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  • 13. He seemed like a nice guy….
  • 14. IF SOMETHING SEEMS TOO GOOD TO BE TRUE IT PROBABLY IS
  • 15. Who or what can I believe?
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  • 20. I don’t know anything about art, but I know what I like. And I really don’t need a class to help me with this, dude…..
  • 21.
  • 22. Taste
  • 23. Taste Taste as an aesthetic, sociological, economic and anthropological concept refers to cultural patterns of choice and preference regarding aesthetic judgments.
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  • 33. What gives us certain tastes?
  • 34. Is it really just a function of our “ingroup” bias?
  • 35. And why should we even care about things we don’t like ?
  • 36. Well, for one…..because art exists for more than one subgroup or individual….
  • 37. Art is part of our Public (shared) Experience
  • 38. ART is reflective of the HUMAN EXPERIENCE…good and bad. Edvard Munch, “The Scream” 1893, National Gallery, Oslo Norway.
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  • 43. ART is not just for interior design and we are not just “CONSUMERS”!
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  • 47. Actual powerpoint slide from a Market Strategists’ Presentation
  • 48. Actual powerpoint slide from a Market Strategists’ Presentation
  • 49. …..and this is why Museums and Galleries are so important. ITS GOOD TO GET OUT OF THE HOUSE and AWAY FROM THE MARKETERS!!!
  • 51. A “CONNOISSEUR” IS NOT CRITICAL Wall Street Rich Dude Child of Wall Street Rich Dude
  • 52. A “CONNOISSEUR” EXPERIENCES AND DISCERNS BUT DOES NOT EXAMINE AND ANALYZE • They in the business of creating notions of consumer “taste”. Their objective is to create social stratification- guideposts to determine the “tastes” of the cultivated elite versus the lumpen hordes of unsophisticated poor people. • I’m being melodramatic, but its more or less true.
  • 53. Lower-middle class, low class preference. Upper-middle class, upper class preference. Easy to understand, does not tend to confuse or alienate. Challenging, sometimes confusing. Seems to reject “beauty” and traditionalism. Wide, broad appeal-like “pop” music. This taste demonstrates your Smaller appeal, therefore perfect for the Elite. membership in a lower social level. This taste demonstrates your sophistication and membership to a higher social level.
  • 54. Lower-middle class, low class preference. Upper-middle class, upper class preference. Easy to understand, does not tend to confuse or alienate. Challenging, sometimes confusing. Seems to reject “beauty” and traditionalism. Wide, broad appeal-like “pop” music. This taste demonstrates your Smaller appeal, therefore perfect for the Elite. membership in a lower social level. This taste demonstrates your sophistication and membership to a higher social level.
  • 55. CONTEMPORARY ART CAN BE EMOTIONALLY FRUSTRATING That’s why these guys look so disturbed.
  • 56. What are our VALUES • Personal Values • Political Values • Cultural Values • Sub-Cultural Values • Class Values • National Values • Religious Values • Spiritual Values
  • 57. ART IS POWERFUL The reason art can please, is also because it can displease…..
  • 58. ART IS POWERFUL …. it can alternately challenge or reinforce the value system of any given culture. It is one of many place where a peoples discovers who they wish to be….
  • 59. EGYPT Menkaure and Queen Kamerernebty
Old Kingdom, Ancient Egypt
4th Dynasty
2548-2530 BCE Egyptians Valued STABILITY….. It’s civilization lasted roughly 2500- 3000 years.
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  • 61. ART and BEAUTY Art can be beautiful. But what is Beauty? Who gets to decide?
  • 62. ART and BEAUTY Art should comfort the disturbed and disturb the comfortable! It has MANY purposes.
  • 65. NOT SO PRETTY Soviet Union, Stalin's regime (1924-53): 20 million DEAD. “As long as art is the beauty parlor of civilization, neither art nor civilization is secure.” -John Dewey
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  • 68. This print was not really meant to “hang” over the couch….
  • 70. Impressionism started as a rebellious art movement by four students, was mocked and ridiculed 20 years before being reluctantly accepted…and yet today it is considered one of the most important art movements in history.
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  • 72. Édouard Manet, Olympia, oil on canvas, 1863.
  • 73. Olympia stirred an enormous uproar when it was first exhibited at the 1865 Paris Salon. Conservatives condemned the work as "immoral" and "vulgar." One journalist later recalled, "If the canvas of the Olympia was not destroyed, it is only because of the precautions that were taken by the administration.” • However, the work had proponents as well. Emile Zola quickly proclaimed it Manet's "masterpiece" and added, "When other artists correct nature by painting Venus they lie. Manet asked himself why he should lie. Why not tell the truth?"
  • 74. • BAD • GOOD
  • 76. • BAD • GOOD
  • 77. The Nazi’s conflated Modernist art with mental and physical retardation.
  • 78. “Quality” • Is Relative • Is Subjective • Is hard to measure • Is related to personal taste….
  • 79. • How does society seem to measure the quality of art if quality is so SUBJECTIVE?
  • 86. Mark Rothko, "White Center (Yellow, Pink and Lavender on Rose)" (1950)
  • 88. ONE MORE TIME That’s why Critical Thinking matters…..in its broadest sense it can be described as purposeful reflective judgment concerning what to believe or what to do.
  • 89. 3 Types of Art Criticism • Formal Theories • Socio-cultural Theories • Expressive Theories
  • 90. Formal Theories • Form over Content. • Style and Innovation are valued.
  • 91. Titian. Pietà, 1576. Oil on Canvas. 149”x136”.
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  • 93. Raphael. The Holy Family, 1518.
  • 94. Titian. Pietà, 1576. Oil on Canvas. 149”x136”.
  • 95. Socio-cultural Theories • Political, Cultural, Social Values • Historical Context is emphasized. • Art embodies or resists dominant cultural attitudes and themes.
  • 96. Titian. Pietà, 1576. Oil on Canvas. 149”x136”.
  • 97. The Church of the Frari, Venice.
  • 98. Tintoretto. St Roch in the Hospital. 1549, Oil on canvas. The plague was a constant danger in the harbour city of Venice, and the state sought to counter it by taking careful precautionary measures, for instance the building of the Lazzaretto Nuovo as a quarantine hospital around 1470. Tintoretto's painting could equally well show the plague hospital of the Lazzaretto Vecchio, also built on an island in the lagoon as early as 1423. The young women shown here entering from the sides of the picture to wash the sick, bind up their sores, and feed them, are probably unemployed prostitutes, who were pressed into service in the Lazzaretto Vecchio in times of plague.
  • 99. Titian. Pietà, 1576. Oil on Canvas. 149”x136”.
  • 100. Expressive Theories • Artist’s Biography is Primary. • Psychology and Intent are emphasized. • Humanistic and Individualistic.
  • 101. Titian. Pietà, 1576. Oil on Canvas. 149”x136”.
  • 103.
  • 104. The Feldman Method • Description • Analysis • Interpretation • Evaluation
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  • 108. Description Visual Elements: • Line, Implied Line • Shape • Mass/Volume • Illusion of Space • Time/Motion • Color Scheme • Texture
  • 109. Description Question to ask: • What is the subject of the work? • What media is the work executed in? • What is the size/scale ?
  • 110.
  • 112. Analysis Design Principles: • Unity and Variety • Balance • Emphasis/Subordinati on • Directional Forces • Contrast • Repetition and Rhythm • Scale and Proportion
  • 113. Analysis Some questions to consider: • How do the visual elements contribute to a mood? • What is the internal relationship between the objects or subjects depicted? • How does the form communicate the content?
  • 116. Interpretation Some questions to consider: • How does the work relate to the world it was made (historical context)? • How does the work relate to today’s world? • What does the piece remind you of, how does it make you feel? • What is the MEANING of the piece?
  • 117. ARTIST STATEMENT: Karla Walter • As an artist, it is important to recognize a message and seize that moment. Crows are messengers, omens for change. Several personal encounters with crows have compelled me to express my personal creativity through this messenger. This body of work explores the similarities between the social interactions among crows and that of humans. To know the crow is to know ourselves. This is the journey I have taken with this body of work. • The common crow maintains a unique place in our ecosystem thanks to their intelligence and strong family values. They are social, opportunistic, vocal, visual, shrewd, and reliant on memory and individual recognition. Crows are tricksters and the wise guys of the bird world. We all know someone who has these traits. I believe that this is why we relate to them and maybe see ourselves in
  • 119. Evaluation Some questions to consider: • Why does this work have (or not have) “value”? • What is it that makes the work worth considering among others? What is valuable to you in a work of art? • Are there things that others may value that you do not? • Does the piece communicate an idea or feeling well, or do you remain unmoved? • If it fails or succeeds in your estimation, can you point to specific remarks you noticed earlier in our criticism to emphasize your evaluation?
  • 121. The Feldman Method • Description
  • 122. The Feldman Method • Description • Analysis
  • 123. The Feldman Method • Description • Analysis • Interpretation
  • 124. The Feldman Method • Description • Analysis • Interpretation • Evaluation