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Lesson Plans


Re: criticism in the artroom

[ Thread ][ Subject ][ Author ][ Date ]
John & Sandra Barrick (astroboy)
Tue, 31 Mar 1998 10:47:14 -0500


What age are you critiqing? I don't see the reason for having kids do
a critique on others work,ie In college ( I went to Kansas city Art
Institute Class of '83) I was in the Painting Department we would have
critiques every Friday morning.It was a 3 hour class where we went to
everyone's space with instructor and talked about our work and others
joined in to grill you.Is this what you mean by critiqing? Of corse if
it's in college at the time I hated it but I do think it was of value.
I think it is important to understand and discuss Art.Now when people
ask what "it" means, I am a loss because I paint intuitively and always
have.So it is what it is.

Highschool I probably wouldn't like it either because it is judging
others work. I wouldn't mind having a class discussion on Critiqing
or possibly introducing it in the senior year. I think it depends on the
program and age you are in.

sandra

Zoubeida et Steve wrote:
>
> Recently, lhurdle <lhurdle> wrote the following about
> Clasroom Critiques:
>
> I have started to question the value of critiques in the classrrom and
> I am curious to know how others feel about this. If by chance you use
> use this type of evaluation, how do you get all of the students
> involved?
>
> The second part of your post is a great question. Critiques should be a
> part of all art curricula. It is imporatant that we provide our students
> opportunities to verbally communicate the ideas they were attempting to
> convey in visual form. If you are trying to get all students involved in
> the critique process, try this:
>
> Put all of the works on display so that everyone can see them. Review
> with the entire class the objectives of the assignment. Ask the class to
> choose one of the objectives and locate a work that seems to exceed the
> requirements for that objective. Students are not allowed to choose
> their own work. Once the work is identified, the student must explain
> HOW and WHY that work exceeds the objective. Once that student is
> finished talking, invite other students to add to or modify what that
> student has said. The artist does not get to talk at this time. Once all
> other students have shared their views, let the artist respond to the
> work. The artist can/should begin with one of these three responses: 1)
> That is what I intended; 2) That is not what I intended, I was trying to
> ....; 3) That is not what I intended but I can accept what you are
> saying.
> After the artist has responded to his or her critics, that student
> selects another work and the process begins again. Try it.
>
> Steve Carpenter
> Art Education Program Director
> Old Dominion University
> Norfolk, VA