5.2: Appendix B- Critiques, or CRITs
- Page ID
- 279434
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)Critiques are a common pedagogical tool and discussion strategy used in studio art education where the artist presents their work to an audience for feedback and/or assessment. Critiques are a form of peer review that provide an opportunity to brainstorm ideas, share perspectives, and help participants learn and grow as artists.
Although the purpose of critique is to improve the work, for many students, the word suggests criticism or negative judgement. It can be challenging to separate oneself or one’s intentions from the work itself, which is especially true when the artwork engages with personal topics or experiences.
So instead of “critiques,” think of it as CRITs.
- Community
- Reading and Responding
- Images and Ideas
- Together
CRIT focuses on the opportunity to learn from and with your community, how they read the work, successful elements, and areas that may be harder to respond to. It is a way to get additional insight into technique and leverage the knowledge and experiences of others. It is also an opportunity to learn about other artists you might be in conversation with as instructors and other students often share recommendations of artists to research. The goal of CRITs is to “unlock students’ potential by focusing on their talents” (ACRL, 2018).
Presenting your Work for CRIT
Successful CRITs require preparation. If this is a final crit (as opposed to a more informal crit that takes place during work-in-progress), take some time to select the work that you feel is the most resolved and successful. If you don’t want to talk about a particular work, then don’t bring it to class.
Additional Considerations
How will you arrange the artwork? Will the work be hung in straight line, a grid, on a table, in book format? Remember that how the work is presented contributes to how the work is interpreted. Will you include an artist statement and titles? An artist statement and titles provide context for the work. Is additional context important in understanding the work?
Will you introduce the work to give context or background information that would help the community understand the intention or meaning of the work? Or will you ask the community for a “cold read,” viewing the work without an introduction or context.
Prepare for questions from the community by considering the following:
- What was your process?
- What concepts, research, or experiences informed the work?
- What effect do you want this work to have on the viewer?
- What did you struggle with?
- What did you learn from this project? Write down specific questions you have about the work that you would like the community to respond to or provide feedback on.
During the CRIT, ask a friend to take notes for you as it can be challenging to stay focused and present in the conversation while trying to record comments.
Remember that CRITs are an opportunity for you to practice speaking about your work. While it is normal to feel anxious about presenting in front of people, the more you do it, the easier it gets. The goal of the exercise is to help you align the intentions for the work with the audience’s interpretation, so focus on the feedback that will help you grow as an artist and disregard comments that don’t feel like they apply to you. And remember to breathe!
Participating in the CRIT of the Work of Others
Significantly, the CRIT process relies on active participation; critique is about both giving and receiving feedback. Using “asset framing”1 as an approach to the critique practice helps focus the discussion on constructive, actionable feedback. As you look at each other’s work, make notes about the following considerations:
Assets
- What are the strengths of the work?
- What elements of the work are successful, engaging, exciting?
- How does the work align with or express the artist’s intentions?
Challenges
- What areas could the artist develop further?
- How might the artist revise, rethink, or rework the piece?
- What techniques might the artist try to refine?
Solutions or Opportunities
- Are there other techniques the artist might consider trying?
- Are there other artists they might consider looking at?
- Are there topics the artist might consider researching further?
Finally, remember to speak up. The worst CRITs are the ones where no one talks.
References
Association of College and Research Libraries. “Framework for Information Literacy for Higher Education,” 2016. https://www.ala.org/acrl/standards/ilframework.
[1] “Trabian Shorters: A Cognitive Skill to Magnify Humanity.” On Being with Krista Tippett, February 3, 2022. Podcast, 50:44. https://onbeing.org/programs/trabian-shorters-a-cognitive-skill-to-magnify-humanity/