Comments on: How to Critique Art. For some reason I have the answer http://artandperception.com/2006/11/how-to-critique-art-for-some-reason-i-have-the-answer.html a multi-disciplinary dialog Tue, 06 Jan 2009 10:52:07 +0000 http://wordpress.org/?v=2.6.1 By: Bob Martin http://artandperception.com/2006/11/how-to-critique-art-for-some-reason-i-have-the-answer.html#comment-1653 Bob Martin Thu, 23 Nov 2006 20:29:20 +0000 http://www.artandperception.com/2006/11/how-to-critique-art-for-some-reason-i-have-the-answer.html#comment-1653 David I've always had difficulty with critics. Critic show-up in the world like the commentator on a college football game, "they should have done this or that" and they have never played the game. They have nothing at stake. I like critics like "Johnny Apple" when he wrote about restaurants and food. You could see that he knew what he was talking about. David
I’ve always had difficulty with critics. Critic show-up in the world like the commentator on a college football game, “they should have done this or that” and they have never played the game. They have nothing at stake. I like critics like “Johnny Apple” when he wrote about restaurants and food. You could see that he knew what he was talking about.

]]> By: Colin Jago http://artandperception.com/2006/11/how-to-critique-art-for-some-reason-i-have-the-answer.html#comment-1652 Colin Jago Thu, 23 Nov 2006 20:22:52 +0000 http://www.artandperception.com/2006/11/how-to-critique-art-for-some-reason-i-have-the-answer.html#comment-1652 Bob, Ah.....communication. I think that we've done that one for a while. And to be clear. My artworks are just some ink on an 8x10. Bob,

Ah…..communication. I think that we’ve done that one for a while.

And to be clear. My artworks are just some ink on an 8×10.

]]> By: Bob Martin http://artandperception.com/2006/11/how-to-critique-art-for-some-reason-i-have-the-answer.html#comment-1651 Bob Martin Thu, 23 Nov 2006 20:20:45 +0000 http://www.artandperception.com/2006/11/how-to-critique-art-for-some-reason-i-have-the-answer.html#comment-1651 Rex I totally agree that your questions are most important. I've always believed that my best critic was the person who just purchased one of my paintings. Good feedback. Rex
I totally agree that your questions are most important. I’ve always believed that my best critic was the person who just purchased one of my paintings. Good feedback.

]]> By: Bob Martin http://artandperception.com/2006/11/how-to-critique-art-for-some-reason-i-have-the-answer.html#comment-1649 Bob Martin Thu, 23 Nov 2006 20:17:02 +0000 http://www.artandperception.com/2006/11/how-to-critique-art-for-some-reason-i-have-the-answer.html#comment-1649 Colin The reason for the second question is not about psycho interpretation, but rather what is the artist saying. So I could have suggested that the prerequisite is that we (the artist) must first feels a need for a critique and second that we are already clear about what it is that is being communicated in the work. (as long as we are not doing an illustration, the work is about the artist). Also I'm suggesting that the only critique that is worth its salt, is a one on one (I in troubled waters). I agree that an 8X10 interpretation has little value. Colin
The reason for the second question is not about psycho interpretation, but rather what is the artist saying. So I could have suggested that the prerequisite is that we (the artist) must first feels a need for a critique and second that we are already clear about what it is that is being communicated in the work. (as long as we are not doing an illustration, the work is about the artist). Also I’m suggesting that the only critique that is worth its salt, is a one on one (I in troubled waters). I agree that an 8X10 interpretation has little value.

]]> By: Colin Jago http://artandperception.com/2006/11/how-to-critique-art-for-some-reason-i-have-the-answer.html#comment-1648 Colin Jago Thu, 23 Nov 2006 19:46:50 +0000 http://www.artandperception.com/2006/11/how-to-critique-art-for-some-reason-i-have-the-answer.html#comment-1648 Bob, Q1. Although I would phrase this differently, question 1 is the important question. I do differ about the importance of the 'nothing' responses. To find out that you are on a different track to everybody else is as important as finding those people on your own track. Q2. I can do without this. Other people's half baked ideas about what I might be like, or might have been thinking, as interpreted through their view of some ink on an 8x10. No thanks. Stick to the work in front of the viewer. Skip the psychology and take nothing seriously. Bob,

Q1. Although I would phrase this differently, question 1 is the important question. I do differ about the importance of the ‘nothing’ responses. To find out that you are on a different track to everybody else is as important as finding those people on your own track.

Q2. I can do without this. Other people’s half baked ideas about what I might be like, or might have been thinking, as interpreted through their view of some ink on an 8×10. No thanks.

Stick to the work in front of the viewer. Skip the psychology and take nothing seriously.

]]> By: David http://artandperception.com/2006/11/how-to-critique-art-for-some-reason-i-have-the-answer.html#comment-1644 David Thu, 23 Nov 2006 16:56:06 +0000 http://www.artandperception.com/2006/11/how-to-critique-art-for-some-reason-i-have-the-answer.html#comment-1644 Rex, you're such a salesman :) Bob, I think your forest koan reveals something very important about art. The key to the forest question of course is in the answer to the <i>implied</i> question, "what do we mean by sound?" It seems to me to be the same issue when talking about art. Myself, I rarely ask for critiques (though I certainly had many of them in school). When I have shows or studio visits, of course, people often offer their views. I always listen, and sometimes hear something useful. One thing I've learned is not to look at what someone says as right or wrong, but as something for me to think about. I do have a couple of friends (fellow artists) that stop over at the studio frequently. We have a high regard for each others' work and opinions, and will sometimes ask each other for feedback if we are at a point in our work when it's needed. But we all have an unspoken policy of never (rarely, anyway) offering feedback that isn't asked for. I know that the last thing I want when I'm trying to find the direction for a work in progress is someone else's voice in my head - I'm trying to listen to my own. Rex, you’re such a salesman :)

Bob, I think your forest koan reveals something very important about art. The key to the forest question of course is in the answer to the implied question, “what do we mean by sound?” It seems to me to be the same issue when talking about art.

Myself, I rarely ask for critiques (though I certainly had many of them in school). When I have shows or studio visits, of course, people often offer their views. I always listen, and sometimes hear something useful. One thing I’ve learned is not to look at what someone says as right or wrong, but as something for me to think about.

I do have a couple of friends (fellow artists) that stop over at the studio frequently. We have a high regard for each others’ work and opinions, and will sometimes ask each other for feedback if we are at a point in our work when it’s needed. But we all have an unspoken policy of never (rarely, anyway) offering feedback that isn’t asked for. I know that the last thing I want when I’m trying to find the direction for a work in progress is someone else’s voice in my head - I’m trying to listen to my own.

]]> By: Rex Crockett http://artandperception.com/2006/11/how-to-critique-art-for-some-reason-i-have-the-answer.html#comment-1641 Rex Crockett Thu, 23 Nov 2006 16:12:42 +0000 http://www.artandperception.com/2006/11/how-to-critique-art-for-some-reason-i-have-the-answer.html#comment-1641 It's funny Bob, but I used to be driven a bit kooky about that koan. I felt that the answer to the question, and the larger question of perception it asked, was an important essence. One day it hit me. If there is no one there to hear, it doersn't matter whether it makes a sound or not. But this goes with what you are saying, I see. You have a good approach to handling critiques and doing critiques. I cannot help but see that one would always get useful information. Usually, I am only intereseted in two pieces of information. 1. How <i>much</i> are you willing to pay? 2. How <i>would</i> you like to pay? One learns a lot that way too. It’s funny Bob, but I used to be driven a bit kooky about that koan. I felt that the answer to the question, and the larger question of perception it asked, was an important essence.

One day it hit me.

If there is no one there to hear, it doersn’t matter whether it makes a sound or not.

But this goes with what you are saying, I see.

You have a good approach to handling critiques and doing critiques. I cannot help but see that one would always get useful information.

Usually, I am only intereseted in two pieces of information.

1. How much are you willing to pay?

2. How would you like to pay?

One learns a lot that way too.

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