Critiquing Art: Look for What is Alive

Courbet, The Painter's Studio, 1855, oil on canvas, 12 x 20 feet

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Critiquing Art: Look for What is Alive

Courbet_LAtelier_du_peintre.jpg
Courbet, The Painter’s Studio, 1855, oil on canvas, 12 x 20 feet

Representational art students are taught to be critical. During critiques, the stress is on the work’s problems. It is not uncommon to see students turning red with embarrassment or anger. Sometimes one will cry. Aside from a bully or two, most of them will accept the critiques as a necessary evil. “Grow a tough skin” is said to oneself and others. The idea is that in the art world only the tough survive.

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Critiquing Art: Look for What is Alive

Courbet, The Painter's Studio, 1855, oil on canvas, 12 x 20 feet

Critiquing Art: Look for What is Alive by Michael Newberry

Courbet, The Painter's Studio, 1855, oil on canvas, 12 x 20 feet
Courbet, The Painter’s Studio, 1855, oil on canvas, 12 x 20 feet

Representational art students are taught to be critical. During critiques, the stress is on the work’s problems. It is not uncommon to see students turning red with embarrassment or anger. Sometimes one will cry. Aside from a bully or two, most of them will accept the critiques as a necessary evil. “Grow a tough skin” is said to oneself and others. In the art world, only the tough survive, at least that is the idea.

Alone and long after college artists agonize over their work by aggressively focusing on their mistakes. This activity does at least demonstrate that the artist knows what is wrong, but it also serves to crush their spirit. The process doesn’t address the one question that matters most: what makes an artwork alive?

Continue reading “Critiquing Art: Look for What is Alive”