GRAB A GUIDED NOTE SHEETGet ready to answer

questions 1-3 on the side with your name.

Answer ?’s 1-3

CRITIQUEStandard 8: CritiqueLT: I can effectively critique a piece of artwork.

Evaluating Works of Art Critique: A process of analysis in order to gain an understanding and appreciation of an artwork (not just whether or not something is “good” or “bad”)

Evaluating Works of Art– Too often, people evaluate artwork

(music, films, paintings, etc.) on if they like them or not.

– Real critique is an attempt to understand meaning, purpose, etc.

– The problem is, we let our PERSONAL STANDARDS cloud the review process and we pass judgment too early.

Types of Critique:–Formal:

•Examination of a single artwork, standing by itself with no external condition or information.

•Analyze only what is seen or heard, and nothing else.

Types of Critique:

• Contextual:–Examination of an artwork in the context of the events surrounding it or its creation.

–May have political or personal meaning which can change the whole critique process.

Steps of Critique….• There are FOUR steps to critique…

DESCRIPTIONANALYSISINTERPRETATIONJUDGEMENT

Description…1. Consider WHAT YOU SEE. This is factual information and the ELEMENTS of ART used in this piece. Include artwork name, artist name, media, subject matter, size and date completed if known. Then consider how the artist uses the 7 EOA. When considering which EOA are used, you should also consider how they are organized which is…

Analysis…

2. Consider how the artist uses the PRINCIPLES of DESIGN. Are the Elements of Art and Principles of Design used to create FEELINGS or to convey EMOTIONS?

Interpretation…3. What is the story behind this piece of art? Is there anything you need to know about the artist, social climate, or current events that affected the creation of this piece? Is there a message in this work of art? If so what is that message?

Judgment…

4. How do you feel about this artwork? Is it well made? Did the artist effectively use the ELEMENTS and PRINCIPLES? If the artist had a message, did the artist convey that message effectively?

Making Judgments

• We must consider two things when finally passing judgment; the craftsmanship and the communication.

• Is the art well made? We must have some understanding of the manner in which something is made.

• What is the artist trying to say? Does the artist succeed in communicating their theme or message? Was it worth the effort?

Waiting: Self Portrait

of a Holocaust

Artist #101 Judith Lieberman

Oil on Canvas with Photo

Collage

18” x 18”

1997

Waiting: Self Portrait of a Holocaust Artist #101 is by Judith Lieberman. This portrait is an 18”x18”oil on canvas with photo collage that was completed in 1997.

Waiting: Self Portrait

of a Holocaust

Artist #101 Judith Lieberman

Oil on Canvas with Photo

Collage

18” x 18”

1997

•The artist uses LINE and SHAPE in a PATTERN that

resembles the shadow of a jail cell to represent that

she feels imprisoned. Because we cannot see the bars we know she is

not physically in jail but is mentally, emotionally and

spiritually imprisoned.

Waiting: Self Portrait

of a Holocaust

Artist #101 Judith Lieberman

Oil on Canvas with Photo

Collage

18” x 18”

1997

•This could also resemble bricks which could be

associated with the brick ovens used to incinerate the bodies in the death camps.

•It may also represent railroad tracks as railroad cars were often used to transport the prisoners

between locations.

Waiting: Self Portrait

of a Holocaust

Artist #101 Judith Lieberman

Oil on Canvas with Photo

Collage

18” x 18”

1997

• The writing on the wall is an example of LINE which has been

REPEATED (REPETITION). These are the names of the concentration

camps where the individuals were held and executed. This could mean

the artist wants us to see the “writing on the wall.”

• COLOR is also an important element when discussing the floor and wall

because red is CONTRASTED against black which is symbolic of blood

and death.

Waiting: Self Portrait

of a Holocaust

Artist #101 Judith Lieberman

Oil on Canvas with Photo

Collage

18” x 18”

1997

Another important SHAPE to consider is the GEOMETRIC

star CONTRASTED against the ORGANIC background. This, along with the CONTRAST of

lighter, brighter COLOR against a darker, duller

background help create a FOCAL POINT. This helps

illustrate that she has been labeled as a Jew.

Waiting: Self Portrait

of a Holocaust

Artist #101 Judith Lieberman

Oil on Canvas with Photo

Collage

18” x 18”

1997

The fact that the artist has used an ORGANIC SHAPE to represent the face shows that by labeling her they

have taken away her identity. By removing her mouth the artist is saying they have

taken away her voice (or her ability to speak for herself.)

By leaving her eyes, the artist is saying she can still

see what is happening.

Waiting: Self Portrait

of a Holocaust

Artist #101 Judith Lieberman

Oil on Canvas with Photo

Collage

18” x 18”

1997

By REPEATING the original picture in the corner of the

painting, the artist is communicating the fact that this was a real person, not a faceless, voiceless entity that has been labeled as a

Jew. The artist wanted us to know for sure who she

really was.

Waiting: Self Portrait

of a Holocaust

Artist #101 Judith Lieberman

Oil on Canvas with Photo

Collage

18” x 18”

1997

By placing the figure so close to the viewer in SPACE, the artist is

making sure that we see the important parts of the composition. It is harder

to ignore forms when they are closer to us.

Waiting: Self Portrait

of a Holocaust

Artist #101 Judith Lieberman

Oil on Canvas with Photo

Collage

18” x 18”

1997

The importance of the title of the artwork has to do with the fact that the individual in the artwork is far too old to have completed a self-

portrait in 1997. The title is a warning against labeling

individuals. It is a practice we still do today and it is how the holocaust began. If we are not careful, we are WAITING for this to happen again,

and this time it might not be a nameless person in a history book, it could be someone we care about or even ourselves (SELF PORTRAIT).

Waiting: Self Portrait

of a Holocaust

Artist #101 Judith Lieberman

Oil on Canvas with Photo

Collage

18” x 18”

1997

Judgment…

?

Questions to Consider…• Is the artwork well made?

– Technique?– Use of EOA/POD? Specific examples– Could they have used them more

effectively?

• Did the artist do a good job conveying their theme or message?– How did they succeed.– How could they have done better?

• Is the artwork successful?– Not the same as well made/ do you like it

• Do you like the artwork?– Why or why not?

Waiting: Self Portrait

of a Holocaust

Artist #101 Judith Lieberman

Oil on Canvas with Photo

Collage

18” x 18”

1997

El Buen Pastor

Luis Jimenez

Lithograph

41 ¾ “ x 29 ½

1999

The artist is Luis Jiminez, whose work El Buen Pastor is his reaction to a

politically controversial shooting of Esequiel Hernandez of Redford,

Texas. Hernandez was a high school sophomore who was killed by a U.S. Marine involved in anti-drug border

patrol. Although Hernandez was carrying a vintage rifle, his family

contends he carried it to protect the herd he tended and autopsy results suggested he was shot in the back.

No conviction resulted from the investigation.

Color…

•Figure- Cool, neutral colors• Innocence/ Purity•Contrast•Background- Warm colors•Evil/ cruel world•Focal Point?

El Buen Pastor

Luis Jimenez

Lithograph

41 ¾ “ x 29 ½

1999

Shape…

•Halo = innocence, “angelic”•Sunset = end of day; associated with end of life

•Crosshairs = targeted.–Why face not back?–Figure targeted because of race; identified by features

Focal Point?

El Buen Pastor

Luis Jimenez

Lithograph

41 ¾ “ x 29 ½

1999

Form…

•Hand in air•“Stop”•Declaration of Innocence•Unarmed?•Testify / Witness

El Buen Pastor

Luis Jimenez

Lithograph

41 ¾ “ x 29 ½

1999

Form…

•Significance of animals?•Snake•Evil in the world•Lambs•Protecting his families livelihood

El Buen Pastor

Luis Jimenez

Lithograph

41 ¾ “ x 29 ½

1999

Line…

• Words in the sky…• Story of shooting• Smudged, blurred, why?• Tears of family, friends?• Guns of military aimed toward

sky• Trying to eliminate or erase

story• Writing on the wall

Judgment…

?

Questions to Consider…• Is the artwork well made?

– Technique?– Use of EOA/POD? Specific examples– Could they have used them more

effectively?

• Did the artist do a good job conveying their theme or message?– How did they succeed.– How could they have done better?

• Is the artwork successful?– Not the same as well made/ do you like it

• Do you like the artwork?– Why or why not?

El Buen Pastor

Luis Jimenez

Lithograph

41 ¾ “ x 29 ½

1999

The artist is Luis Jiminez, whose work El Buen Pastor is his reaction to a

politically controversial shooting of Esequiel Hernandez of Redford,

Texas. Hernandez was a high school sophomore who was killed by a U.S. Marine involved in anti-drug border

patrol. Although Hernandez was carrying a vintage rifle, his family

contends he carried it to protect the herd he tended and autopsy results suggested he was shot in the back.

No conviction resulted from the investigation.

• The Marriage of Giovanni Arnolfini and Giovanna Cenami

• “The Wedding Portrait”by Jan van Eyck

Liberty Leading the People; Delacroix

American Progress or Manifest Destiny; Gast