Final art journal 600 words 2 days

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l Art Cri t ic ism: The Feldman Method

Oulline based on Edmund Burke Feldman, Bggoming Human TltroughArt Englewood Cliffs, NJ: prentice-Hall, 1970, pp. 348-383. Outline prepared by Patricia A. Renick, Professor ol Fine A-rt, University of Cincifi;ti

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Acenrding to Febman' the four slagos of art criticism aro: l. Descriplion-tisting what an arl objed seems to irrclude. !!, Analysis-describing the relationship among the things that ars listed. !!1, Interpretation-deciding what all your earlieiobservaiions mean. !!. -Judgment--deciding the vatue of an art object.To Begln: Place the arl object so it is clearly visible to every member of the group. Tell the group not to jump toany conclusions about the work (this ls most important).

l. Description The words you use in.des.cription are like pointers- They draw altenlion to something worlh seeing. The words lhat you use to describe the work must be neulral. at tiris qtage, you should ban frdm yourvocab-"ulary terms thatdenole vql.ue i.udgm.gnts. .Why?. They are loaded and teidio inftuence yourjucigment too eariy in the .process of looking at the worlt ln other words, do not use such lerms as stronq, beailitul, hanno-nious, weak,diso.rder ly,ug|y, |unny- looking,etc. . l fyouarenWe'f f iawut6t assign a name to it- For example, it f,qy ngt be ctear.whether you are tooking at men or wornen. ln this case, yous.hould 9-a.[ yoy see'sorne people.' It ii wise to be vhgue about some detaiirathei then to make an error thal mighlthrow ott the linalintepretition.

What You Can Descrlbe 1 . Recoonlzable sgblects.- In some de-scriptions, you can easily get agreement about the names of what--::+-you see llke a man, a tree, a lake, grass, children,.animals, sky, and so on. Agreement is fairly easy lo get when youare viewing represontational worki of arl. {For this reason eiposing studenti to representational wortlmignr n-e lhe lgsl way to beEn.) 2. Vlsual elements and thelr qualltles. Conlemporary abstract and nonobjective works rarely show us. r ._- . . . ._. : -tnlngs tnat nave common or proper names, so we have lo describe visual elemerits-+tre frnes, colori, textures,shapes, forms and, shape.swe iee. Use adiectives lhat cali attention to the spe-ifii qualities of the visualefements sucfi as vertical, round, oval, snpoth, dark, bight, square, harizonatand si on. Now, combine lheabove. adiectives with the nouns for visuaf elements--snipe, L6lor, tine, space, texture, etc. Thii aJOi pLcision toyour deLcription- lt also slows you down so that you are iute to see the work more completely witnoui iloging orinterpreting it.

1.^wTry|9d:ry{oetheway|heart9biecthasbeenmade.Seei fyoucanident i fywhatmeo'a and wnat loolswere used. Tellhowtheywere manipulafedto create the wo*. (Teihnique is impdrtant forcritoglq-becaqqg it is jusl as expressive as theihapes and'forms we see.)=+fHgrnemE-er-l Dedcription is neutral.-Vour language should refer to the visual evidence in the work-

l l. Analysis In lhis stage, we want,lo tind out which parts of lhe work interact and how. what the parts do to each other? How !o tfe parts affec* or influence each other? Describing lhe relationshipg among iGinings we see is a processknown as formal orstruclural analysis.

l;^j!e-r.eggg:gqi.-!9mna.nng.ri,", siJl',lJ:,r;: ::l!:# importanceor parrs. For exampre, rarsesnapes usually seem more important lhan smatl ones. They seem lo have a higher "rank" than small inapesi t_ooXlorthe l.arge-sl, the srylle-s,.a1o thoso shapes that appear lo oe about the sam6 size. ff you ire rooKng-5ia qic{uj9 in whictr s-patialdepth is represented, size is'aiso a clue to the locatiJn of r6ngsiri a picture ipaiJ.-

- 2;..$..Studyanddescribehowshapesarecombinedinawori.Thiswi||netiyouacquire valuaDle eviclence lor d_eciding what the total work of art means- For example, analyze what happeris wnen curvedshapes are next to each other, orwhen they are next lo angular or pointed snipei.' Notice ho,i'jaggedsnafes offset smoofi ones. Look at the edges or dhapes. Dessibe them

'as hard or iofi, euen o, uneven, etc-3 - color relallonshpg' Notice whether the colors of shapes are similar to or difterenl from each olher;wne@oraninstitrong/y.Look|orvaludre|ationships.Analyzewhetheracolorareaistighter

or da*erlhan a nearby area. You may disc6ver that colors are differenl wnirc me values are lhe same. 4. &4gral surface relatlonshlps. Notice whether lhe lexturallreatment is actuat and/or an iltusion. Notice.-wnetner lextural surlac.es-of shapes are similar to or different from each other; whether they vary slighgy or contraststro.yoly-. Through analyzing ihJiurri"L qralilies of a work ol art you may discoverthe ernotionatquapties as wetl as the ideas conveyed by the art object.

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5 . gpace and volume'retatlonshtps. Look lor clues to tho locaiion of forms. Notice whlch forms appear in rne bregroundor lhs background. Describe how the arlist implied space, (o.g.lhrough the use of perspective, overlap, size, placemenl, color.t light and shadows, etc.). No_tice whether the implied space ls lndefiirite, ieemingll open and endlesq, orwhether ll has trmits and ls enclosed. Pay attention lo the empty-spaces--negative shapes or forms- See lf you can determine their effect on the positive shaies or forms in the wb* oi art. The-way a saniptor, palnter, or archilect trsats nsgalive space may offer useful clues to the total meaning of the work. =+Remember:The|ntenlionsotdescript ionand|orma|ana|ysisare: g. Io elcourage the nrost lhorough examination of lhe artwo* as possible. b.Tos|owdownthevigwer,stendencytoJunploconctusions. c. To build skill in observation-a skill that is vital for understanding the visual arls and for personat development. d- To accumulate porceptions ol the "visual facls.r You will use lhis evidence lor a critical'interpretation. - 9- To he.lp a g.rgup estabtish a consensus aboul the visual evidence-those leatures of the art bOpct thal willbecome the subject of interpretation and judgment.

l l l. lnterpretation Now you have lo decide what all of your earlier observations mean. Al this stage, you are making inferences about the visual evidenm. Aninlerpretation is really a set of inferences ("good gueJse6'or hypothesisy aOoutine meaning of the visuaf evidence. Don't be afraid to propose an interpietation. You may tinO that yoir change or qdjust your inlerpretation untit il fits the visualfacts. Beginners olteh make illogicaf infarerpes. Bs sure thll you do not change orignore visual facts in oder to make yourinterpretation seemioneci.

Guldes lor lnterprellng A Work Of Art 1.:

-.1* there a "blg" ld-93? See if you can identify a -single large' idea or concept thal seems to sum up or unify

allthe separate traits of the work Do not describsthe oUfuA (you have already ilone that). Use words to describe ideas. 2. How artwork.

does lhe work affect you? Explain the sensations and feelings youhave when viewing the

3- Does lhe work.connect wlth your experlence as an artlst? How qnd why? Reflect on yourown attistic experience. Perhaps you can iecognizb technical signs that indicate thatihe ani6t is trying to soliean qrlislic problem that you havd struggled with yourseff.' 4. How does the work connect wlth your knowledge about art? Reflecl on your knowledge of art hislory and artislic styles. LV tgiOqnffy problems that artisis have persistently lried to s6tve {such as p"robiems ofmeaning, or form, or social furrc{ion). 5 . How does the work conneci'wlth lour kno_wledge of llfe? Trust yourself- Draw upon yourobsetva-tions, y.our huryhes, and your inteihggnce. Someti-mes, impressions

'niay come to you ih thgform of "looks like" and "feels like' reactiohs- These reactions may be lunny, illogical, or absurd; bft do;oi;eject tnem- Sometimes odd.impressionscan be important to explore a'nO snarp6'n. fiey may offer some fundamdntal insight about the work being viewed. * .Ytty should you Interpret the work? tf you have been able to let a thing, an art objecl, enter your lileand become.Parl 9l you then it is yours in a uniqle and special sense. lf your meiiat ano emotionat pow6iJnavetransformed that thing, you have discovered wn'at it is [k6 to have an aesthetic expeience-

lV, Judgment The reasons for iydgilg a work excellent or poor are alwayJrel?tivq1-o__qgme context and purpose. Any broad iudgmenl of art should be.based o- a philosophy oi an not on your pei3onat'prefeie-noes 1litie-s or Oisffes). lf youare resourceful, you can develop your own philosophy of art as-a baiis lor judbing fte merii of any work thitinterests ygY. lf you have not yea devetopdO a philoiopny of your own, you sioilO consider some of the lolbwing- T.h.ef 9an hep you-begin tomdke jucig.meryd a6out works ot ai tnat are iustified gogicat iupporteo uyreasons'.not iu-st personal opinions). Feldmin identilies and describes three philoiophies irt irt tiat driem usetul lor justifying criticaljudgments- Thiy are: A. Formalism--stresses the inportarrce of the fgrmalqualities and visual elements of art. 9.Expressiv isrn--stressesthoimportarceoftng. inaconvincingand forceful manner. C. Instrumentalism--stresses the importance of the social iniention or utility of lhe work.

Formallsm Examples of Crllerla for Judgment

1- The formalist critic !va$s the experience of art to be devoted to contemplation ot the relationships of ths partsto the whole in a work of art. ?. !a9h p.an should enhance the quatity of the parts around it. 3- lt should not be possibte to change a single blement without spoiling the whole work of art.

4. The viewer should feel a unity or wholeness in ths work. lf you havo too much or too little ernotion when you experience the work, it is flawed. 5- The Formalist crilic wants pleasure in art to come from ths art object itself-tho combinations of sensations lrom ils surtac€s, colors, and other visual qualities. 6. Feelings and ldeas shoulJ dopend only on the way the artist shapes his materials. 7. Art that relies on symbols, or on subjec* matter, or on lhs viowe/s lite-long experienco is rejecled by tho Formafist crith. , B. The Formalist critic appreciates "art for art's sake,'and teels that no olher reason for creating art is needed or even acceptable. 9. . A.masterpecg, according to the Formalist critic, is a work ol art lhat has perlecl visual organization ard technical execulion.

Erpresslvtsm 1. The Expressivist critic is Interosted in the deplh and intensity of the experience one has when looking at art- 2. An excellent work of art could be ugty. 3-. The Expressivist critic believes that the formal and technicalorganization of the work has to be good, olhenriss it would nol be able to affect his feelings. 4' The Expressivisl critic has two basic rules tor judgingexceltence: a. that work is best which has the greatesl powsr to arouss the viewer's emolions, and b. thal wqrk is best which communicates ideas ol major significanco. 5. Art should look and feel as il it is based on reality, nolother works of art. 6. Great art should nol look calctrlated. lt should seenrto be the inevitable result of whal an artist has seen or fell deeply. l. The Expressivist critic believes that art should make everyday life mors meaningfuland profound. B. What matters is the artist's abitity to make the viewer believe in what lhe viewer sees in the work. The viewer must-experienca an emolion before the viewer can believe that the artist also lgtt and expressed it. The genuineness or actuality of the arlist's emolions does nol matter and often cailnot be ddtermined.

Inslrumental lsm 1. The lnstrumentalist critic believes that alt glould serve purposes that have'been determlned by persistent human needs working through powerful social inslitutions. Art'should serve lhe interests of the chuich, ths stale, business, or politics. 2- Art is at its best rivhen it helps to advance somo cause that witl, prezumabty, advance the interests of humanity. 3. ltt thal depends on ail or grows out of art is inferior, self-sewing, or decadent. 4. The excellence ol a work of art is measured by its capacity to chbnge human behavior in public and visible yayL For exa.mple, gteal political art results in greater allegiance to a pbrty. Great religious ait inspires laith. 5. The technical and imaginative gifts of the artisl need to be organiied liy an idea tn-at is greatei or rncre important lhan the private enptions of the artist. 6- The lnstrumentalist critic believes lhat, if the meanings 9f the work are good and are expressed throughperfectly organized forms, then the work is a masterpiece. fte phrase peiecily organized iorrns means tne closest possible connection belween the appearanie and ttre social iniention 6t ttie wor3.

A Final Word of Advice Do mt start the examinalion of a work of art by asking whelher it meets your criteria for excellerne. That is the last question you should ask. Begin with identilication qnd description. Work your way lhrough analysis and interpretation. By then you will know which lfRe of jgdgment, which phibiophy of art, is inos afpropriate lor thewgrk_ you are examining. lt is better to use these philosophies interchangeably, accoiOing to thti bhalrad;r of the art obiecl, than to stick rigidly to one philosophy alone and thus bse the opp<Jrtunity to discover some excellence the work mayfiavo. The groaf oJ art criticism is mt necessadly to demonstratb how $nsistent you are in your tinal iudgments. The realgirat is lo increase the range of ideas, vilues, and satisfactions you get fiom art.

# FOUR STEPS TO I/IEWINC FII\G ART

I DESCRIPIION Vfhat do gou see? (subject rnatt€!, scale size, rnedirrrn) rf Wbat kirrd of att do gou see?

- pairrting sculpture, weav:rrg etc.- tt What is tl€ mc,dtran/lechnique?

- oil collage, clag,wood, fibeF t' Describe tlre scerre.

Whatobjects do gou *.e?

It FORMAL AIIAIY$S lrtlhat can gou sag sbout tlre yrirygigl,as and elements of d? [ine, shape, gpraee,valrre. color and terU:re-

. balance,rhgthr+patternyroportion emphasis, unitg,/varietg )

lr Wtratcolors do gou see? rt Name tlre ldnds of slrapes. rr How are tlre elemerrts omanizc.d?

m MERPRF|AflON What do gou think is tlre mearring/t}>erne? How do gou }oovf tt What is tl€ arti-st trging to se'g?

(based on tlre use of coloa line, ete) ft ls tlrere a reL;atiorrship among tJ.e oVyCt€

(- si2,,e' air distarrce means objects are possiblg significant or insignificarrt)

n Is e social or political staterrrent beirg na&c? fr Does tlre title give clues to tl€ artist's bttrrrr€

fV. nipgpfAff lt&rat do rrou tbirik or feel about flris work of art gou're :vrre:wingi? (gour personal

- opinion - like or dislil€ - and whg?)

" Does it ap'peal to gorn tastes?' (color choices.overall rnoo4 etc.)

'r Does it bdng back memories -good orbad or ir;,ffiercr*?

. ff llow mrrch would gou Fg to lzave ll? " Would gou lrarrg it in gorrr l:x:lne?

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