Jennifer MargraveUniversity of Central Florida

PROPOSAL TWOART CRITICISM IN THE CLASSROOM

Purpose

•The purpose of this paper is to • measure how studying art criticism changes students abilities

to describe, interpret, and judge artwork • Measure how studying art criticism effects students studio

work• Determine which method of art criticism is most beneficial

Questions

•Does studying art criticism improve students observational skills?

•Does studying art criticism improve students abilities to interpret and judge art?

•How does studying art criticism impact students studio work?

•Which method of art criticism is most beneficial for students?

Current Conditions/Status

•Aesthetic development: A Cognitive Experience by Karen Heid• Something aesthetically pleasing heightens out senses• Learning to attend to art helps us see and as well as the

world in general in a deeper, more meaningful way• Art engages our minds and emotions• As students learn to put their emotional reactions about art

into words they are engaging in a cognitive process

Current Conditions/Status (Feldman)

•Practical Art Criticism by Feldman• Describe: physical description (colors, shapes, textures)• Analyze: more in depth description (dominant colors,

composition)• Interpret: meaning of the piece• Judge: success of piece (based on a grounds of judgment)

Current Conditions/Status (Lankford)

•A Phenomenological Methodology for Art Criticism by Louis Lankford• Receptiveness: avoid preconceptions or prejudices• Orienting: pay attention to the surroundings, determine the

perimeters of the work, and adjust your physical position• Bracketing: restrict critique to relevant information• Interpretive analysis: description of work, meaning of work, and

feeling it creates• Synthesis: significance of the work overall

Current Conditions/Status (Prater)•A

rt Criticism: Modifying the Formalist Approach by Michael Prater

• Feldman method fails to take into account external information about the work• Feldman doesn’t relate to all types of art pieces (ceremonial)

Prater•P

repare to critique: Title, date, artist, culture, description•E

xamine literal qualities: accuracy•E

xamine functional qualities: practical or ceremonial use•E

xamine the formal qualities: elements and principles•E

xamine the expressive qualities: emotions, moods, symbols, ideas

•Determine relevant theories: discuss the theory (or theories) that are relevant, and what the artist is trying to accomplish

Current Conditions/Status (Anderson)

•1. Initial reaction (gut response to the work)

•2. Description of formal qualities, relationships between forms and figures, intended emotional impact, and context that may affect the works meaning (Description and Analysis)

•3. Interpretation of work

•4. Evaluation

(Anderson, 1997)

Why It’s Important•S

howing that the study of art criticism can improve students observational, descriptive, and interpretive abilities would give its practice in the classroom legitimacy.

•Showing that practicing art criticism improves students artwork would help make the case that it should be done by anyone interested in improving their own artwork.

•Learning which method of art criticism is most effective would be helpful for classroom teachers.

Methodology•P

opulation• High School students

•Procedure• All students will take the art criticism assessment as a pre-test• Students will be randomly assigned into one of four groups• Students will be taught either the Feldman, Lankford, Prater,

or Anderson method of art criticism. Students will be given sufficient time to practice using the method and demonstrate competence. No instruction in studio work will be given.• All students will again take the art criticism assessment.

Amy SillmanBed2006Oil on canvas231 x 213.4 cm

1. Which grouping of words could be found in a basic description of Sillman’s “Bed”?A. Red, green, bird, patterned lines, light faces contrasting with a dark bedB. Two people, bed, embraceC. Messy style of painting, abstract, reds and greens are dominant, cool colorsD. Red, green, yellow, curved lines, geometric shapes

Lara Schnitger, Lost Hippie, 2004Fabric, wood, necklace, watches,earrings, pins 211 x 119 x 75 cm

2. Which judgment is backed up by accurate description and plausible interpretation?

A.Lost hippie is effective at depicting an idealism of a generation passed through the use of body language (head down, arm partially raised) as well as the materials used in the piece (necklaces to look like long hair and fabric in the shape of a bell bottom).

B.Lost hippie succeeds in commemorating the accomplishments of the 1960’s by creating a figure that is confident and adorned with materials of the time.

C.Lost hippie is ineffective at conveying a message due to its vague use of symbolism.

D.Lost hippie is an eye-catching piece that reminds us of the 1960’s. The materials used are flashy and extravagant; the eye is drawn from the hair, to the arm, to the outstretched leg.

Michael ClinePolice Line2007Oil on linen162.5 x 116.8 cm

3. How does the artist’s painting style contrast with the subject matter of the piece? 4. Do you think this contrast is effective at drawing the viewer in? Why or why not?

Patrick MartinezSign of the TimesMixed Media 2005

5. What is your interpretation of “Sign of the Times”? (Explain your interpretation based on a description and analysis of the work).

Katherine BernhardtGold Maillot2006Acrylic on canvas244 x 183 cm

6. How does the use of color complement the facial expression of the figure?

A.The figure’s facial expression is sad, and the colors in the painting aren’t bright.

B.The sharp contrast and dark colors give an uncertain and melancholy feel which correspond with the figures facial expression.

C.The dull colors in the picture make the viewer feel sad.

D.The red lips and gold swimsuit suggest the figure is a representation of woman being objectified.

Creating Prompt•C

reate a drawing that represents a feeling or idea of your choice.

•Then write an artists statement that describes why you chose the formalistic qualities of the work (use of line, shadow, composition or the work, etc.). Explain how these qualities convey the meaning of your work, and describe how you hope the viewer will respond to the work.

Khalif KellyConfrontation at the Clothesline2007Oil on canvas182.9 x 213.4 cm

Jansson StegnerSarabande2006Oil on linen99 x 86.4 cm

Jessica Jackson HutchinsCouple2010Couch, ink, spray paint, charcoal dust, hydrocal, ceramic124.5 x 178 x 107 cm

Eduardo BerlinerHandsaw2009Oil on canvas214 x 170 cm

Feedback

•Are the multiple choice questions confusing? Misleading?

•My thought behind those was to provide data that could not be considered bias in any way.

ReferencesAnderson, T. (1997). A model for art criticism: Talking with

kids about art. School Arts, 97(1), 21-24.

Feldman, E. B. (1994). Practical art criticism. Upper Saddle River, New Jersey: Prentice Hall.

Heid, K. (2005). Aesthetic development: A cognitive experience. Art Education, 58 (5), 48-52.

Lankford, E. L. (1984). A phenomenological methodology for art criticism. Studies in Art Education: A Journal of Issues and Research, 25(3), 151-158.

Prater, M. (2002). Art criticism: Modifying the formalist approach. Art Education, 55(5), 12-17.