PROPOSAL TWO
ART CRITICISM IN THE
CLASSROOM
Jennifer Margrave
University of Central Florida
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)
• Art 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
• Prepare to critique: Title, date, artist, culture, description
• Examine literal qualities: accuracy
• Examine functional qualities: practical or ceremonial use
• Examine the formal qualities: elements and principles
• Examine 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
• Showing 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
• Population
• 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 Sillman
Bed
2006
Oil on canvas
231 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 bed
B. Two people, bed, embrace
C. Messy style of painting, abstract, reds and greens are dominant, cool colors
D. Red, green, yellow, curved lines, geometric shapes
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.
Lara Schnitger, Lost Hippie, 2004
Fabric, wood, necklace, watches,
earrings, pins
211 x 119 x 75 cm
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 Cline
Police Line
2007
Oil on linen
162.5 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 Martinez
Sign of the Times
Mixed 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 Bernhardt
Gold Maillot
2006
Acrylic on canvas
244 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
• Create 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 Kelly
Confrontation at the Clothesline
2007
Oil on canvas
182.9 x 213.4 cm
Jansson Stegner
Sarabande
2006
Oil on linen
99 x 86.4 cm
Jessica Jackson Hutchins
Couple
2010
Couch, ink, spray paint, charcoal dust, hydrocal, ceramic
124.5 x 178 x 107 cm
Eduardo Berliner
Handsaw
2009
Oil on canvas
214 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.
References
Anderson, 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.