http://q-art.org.uk/portfolio/panel-discussion-4-questioning-the-art-crit-launch-of-art-crits-20-questions/
Q-Art are an artist-run group who organise art crits for graduates, artists, self-taught artists, anyone. They explore and organise many different approaches to the art critique.
http://q-art.org.uk/home/
This is an investigation of what the crit is, what it can be, all the different possible formats, permutations and practices. There are many ideas and fears about crits, as we all know, and Q-Art are trying to demystify them for artists, art students, others, and also to demystify the art world.
What the art critique is for is to give feedback on how art is read to take it forward.
The questions are - how to participate in them and how to facilitate.
Issues are - speaking out, confidence in public speaking, language, confidence.
Also the definition, purpose, models, barriers of the crit.
There are crits in different fields as well as art - each has its own model, but no universal formula.
The purpose of art critique
Development of artwork
Learn about own methods
Wider context of practice
How audience perceives work
Discussions - issues, associations, problems, principles, etc
Learn from each other
Articulate work - peers input
Enable artist - critical distance - perspectives
What other people see - honesty
Intention may not be primary
Towards objectivity - opinions
Allows new decisions - more ideas and potential
Not instruction, but new approaches
Learning from others' processes
Not just conceptual - could be physical issues
testing strategies
Trying to find why artists do what they do
The context of contemporary art - informed by
artists learning what they are interested in
Private to public process.
Organising crits differently gives different results.
Finding the right approach to critique
Use and develop own language
Avoid obtuse uncontextualised references
Discussion of work anywhere - written, internet, class
The number of people affects the outcome
Interaction - size
Format - could be silent artist, group talk - after all the artist is usually not there in showing work
Perhaps intentions do not read in work - could be new, better, worse response
More raw response - unmediated
React without the artist justifying
Perhaps a little context or questions to start
Art - different needs at diff times of development
Showing work in progress can be confusing - assume finished, unclear intentions
Silent convening
Artist talking at diff times in critique
Value can be inbalanced in time
Emphasis changes throughout depth of study
1st - show and tell, led by staff
Moves forward - self directed
Talking about potential
1st - learning the language of art - forms, concepts
Show and listen - artist can respond after, the group interprets
Semi exhibition set up as if artist not there - critical discussion
Perhaps look at everyone's work first like group show
Understanding work has to be viewed and contextualised outside of studio
Duration / site specific work - very diff - who for, where
Technical and conceptual ideas crossover
Learning curve - knowledgeable self reflection
Paths of thinking - self reflective artist
Also how to talk to technicians as well as audiences and curators
Emerging artists - sustain - community of support
Problems and solutions in critiques
Impact on confidence, motivation, etc
Anxiety of showing - care
Always have sound recorder?
Or notetaker - listening, remembering
Allows to relax and reflect
Rational decisions about critique
listen accurately
Emotional response - feeling being judged - work/feelings/ego
exposed and vulnerable
Not feel constructive
Critical about work/them - personal
Open up about fears - rules
Don't be too defensive
Critical not negative
Don't lose opportunity to open up work
Feedback may not be correct - must make own decisions
Suggestions may be off course
Inappropriate advice
Give methodology, not approval or disapproval
Student should be free of tutor to assess and interpret by end of course
Language of the art field - terminology
Dependent on experience, etc
Similar vocabulary in a group - make self clear
Complex ideas - everybody can understand
No dropping names, etc, without explanation
Etiquette - must contextualise and explain names
Hefty references - unpack
not particular sector - everyone diff cultural backgrounds
Have to hear own thoughts, not assume common language
Critiques not always about talking
Facilitator - some have dominant personality
If this was your piece of work, what would you do next?
Brief group first
Active participants but quality/quantity of speech
Prepare questions
Everyone has a responsibility - diverse responses
Not always about getting people to speak - listening is important - silences
Facilitators can dominate because of uncomfortable silence
Many diff languages and backgrounds - English as second lang
Art abroad sometimes diff or no critiques
Some cultures not questioning
awareness of group backgrounds - intro
Harder to improvise in 2nd lang
I have lost a few pages of notes from the rest of the day. I hope to find them and update.
24th October 2013
More raw response - unmediated
React without the artist justifying
Perhaps a little context or questions to start
Art - different needs at diff times of development
Showing work in progress can be confusing - assume finished, unclear intentions
Silent convening
Artist talking at diff times in critique
Value can be inbalanced in time
Emphasis changes throughout depth of study
1st - show and tell, led by staff
Moves forward - self directed
Talking about potential
1st - learning the language of art - forms, concepts
Show and listen - artist can respond after, the group interprets
Semi exhibition set up as if artist not there - critical discussion
Perhaps look at everyone's work first like group show
Understanding work has to be viewed and contextualised outside of studio
Duration / site specific work - very diff - who for, where
Technical and conceptual ideas crossover
Learning curve - knowledgeable self reflection
Paths of thinking - self reflective artist
Also how to talk to technicians as well as audiences and curators
Emerging artists - sustain - community of support
Problems and solutions in critiques
Impact on confidence, motivation, etc
Anxiety of showing - care
Always have sound recorder?
Or notetaker - listening, remembering
Allows to relax and reflect
Rational decisions about critique
listen accurately
Emotional response - feeling being judged - work/feelings/ego
exposed and vulnerable
Not feel constructive
Critical about work/them - personal
Open up about fears - rules
Don't be too defensive
Critical not negative
Don't lose opportunity to open up work
Feedback may not be correct - must make own decisions
Suggestions may be off course
Inappropriate advice
Give methodology, not approval or disapproval
Student should be free of tutor to assess and interpret by end of course
Language of the art field - terminology
Dependent on experience, etc
Similar vocabulary in a group - make self clear
Complex ideas - everybody can understand
No dropping names, etc, without explanation
Etiquette - must contextualise and explain names
Hefty references - unpack
not particular sector - everyone diff cultural backgrounds
Have to hear own thoughts, not assume common language
Critiques not always about talking
Facilitator - some have dominant personality
If this was your piece of work, what would you do next?
Brief group first
Active participants but quality/quantity of speech
Prepare questions
Everyone has a responsibility - diverse responses
Not always about getting people to speak - listening is important - silences
Facilitators can dominate because of uncomfortable silence
Many diff languages and backgrounds - English as second lang
Art abroad sometimes diff or no critiques
Some cultures not questioning
awareness of group backgrounds - intro
Harder to improvise in 2nd lang
I have lost a few pages of notes from the rest of the day. I hope to find them and update.
24th October 2013
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