Art

ACKNOWLEDGEMENTDeveloped and supported by OCAD U Writing & Learning Centre and First Generation

CONTRIBUTORSDerek LiddingtonPatrick Phillips

DESIGNLinh Do

CONSULTATIONNancy Snow

The editors would also like to thank the following OCAD U faculty members for their generosity in opening up their classrooms during this project: Luke Painter, Catherine Beaudette, Glenn McArthur, Michele White, Jesse Jackson, Carl Hastrich, Mary Porter, Natalie Waldburger, Doug Panton and Dianne Pugen.

Special thanks to Susan Ferguson and Jennie Suddick for their enthusiasm and support throughout the project, and the students who contributed to the conversation and dialogue during the critiques we visited.

COPYRIGHTThis book is made available under the Creative Commons Attribution. Noncommercial. No Derivatives License. You are free to share, copy, distribute, excerpt or transmit the information in this guide, but you must attribute it to the OCAD University Writing & Learning Centre. You may not use this information or guide for commercial purposes.

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INTRODUCTIONThe critique is an important compo-nent of your studio practice. It has the potential to engage the opinions and imagination of your instructors and peers. A critique can provide you with valuable feedback, unexpected viewpoints, new inspiration and critical insight into your creative process. Most importantly, a critique is a dialogue between you, your peers and your work.

The following pages are designed to guide you through a series of questions that will help build your confidence and prepare you for critique. Each of the category pages is designed to reference themes and artistic styles common to the various programs offered in the Faculty of Art at OCAD University. As you ask these questions of your work, and the work of others, you will start to notice trends in how you and your peers respond and ask further questions. Use the work plan provided to document the responses and questions that come out of your critique for future research, writing and critiques.

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CRITICISM& CURATORIAL

PRACTICE

SITE p. A10, p. 08

TEXT p. A10, p. 10

SELF p. A10, p. 16

DRAWING& PAINTING

NATURE p. A10, p. 06

COMPOSITION p. A10, p. 12

LANDCAPE p. A10, p. 07

INTEGRATEDMEDIA

INSTALLATION p. A10, p. 09

POP CULTURE p. A10, p. 17

APPROPRIATION p. A10, p. 14

PHOTOGRAPHY

LANDCAPE p. A10, p. 07

FIGURE p. A10, p. 13

NATURE p. A10, p. 06

PRINTMAKING

TEXT p. A10, p. 10

MATERIAL p. A10, p. 11

APPROPRIATION p. A10, p. 14

SCULPTURE/INSTALLATION

SITE p. A10, p. 08

INSTALLATION p. A10, p. 09

ASSEMBLAGE p. A10, p. 15

TABLE OF CONTENTS

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TERMINOLOGY

BAROQUEworks of art that visually emulate art produced during the 17th century which saw an emphasis on dramatic and theatrical visual narratives.

SUBLIMEa moment of physiological, psychological, spiritual or artistic greatness brought on by the natural world.

ABSTRACTa work of art whose visual characteristics do not reference the natural or industrial world.

GAZEthe authoritative relationship between the viewer and the subject in a work of art (often between a male (viewer) and female (subject))

SUBJECTIVITYthe individual perspective, opinion and associations brought on by an individual's interpretation of a work.

DECORATIVEthe use of domestic pattern and design as visual characteristics in a work of art.

AUDIENCEthose people who experience your work on a physical, spiritual or emotional level.

NATURE/NURTUREthe social/scientific debate regarding whether social, performative and behav-ioural characteristics are developed through one's genetics (nature) or environment (nurture).

BIOMIMICRYthe process of using biological form, function and process as a means of industrial and technological problem solving.

ANTHROPOMORPHISMthe process by which animals, nature, artifacts and objects are given human characteristics, emotions and attributes.

SUBJECTthe central character and/or object in your work. Often the subject evokes an emotive or spiritual response which can help to develop the central narrative.

MIMESISto mimic. It is used to describe the process of representation and mimicry in works of art that strive for forms of representation such as realism.

AESTHETICSconnected to an individual’s personal taste, aesthetics are the qualities of a work of art which are affected by one’s taste in beauty.

SYNTHETICa material or object which is composed of fabricated materials not found in the “natural” world.