2. Artworks created to support worship ceremonies (rituals and celebrations). Artworks to express or communicate emotions, ideas, feelings, or to decorate objects. Artworks that tell stories, describe and illustrate experiences, communicate information, or document historical events. Artistic objects used in everyday life Artworks that promote ideas, philosophies, or products.

3. What is shown in the artwork. Art that contains shapes that simplify shapes of real objects to emphasize form instead of subject matter. Art that has no recognizable subject matter. The elements become the subject matter

4. What TYPE of subject matter? OBJECTIVEABSTRACTNON-OBJECTIVE NON-OBJECTIVE Jackson Polluck, Lavender Mist, 1950

5. What TYPE of subject matter? OBJECTIVEABSTRACTNON-OBJECTIVE ABSTRACT Pablo Picasso, The Three Musicians, 1921

6. What TYPE of subject matter? OBJECTIVEABSTRACTNON-OBJECTIVE OBJECTIVE Dorothea Lange, The Migrant Mother, 1936

7. ART CRITICISM PROCESS

8. What is an ART CRITICISM?  An ORGANIZED approach for studying a work of art. What other ART FORMS use a criticism process? DANCE DRAMA MUSIC FOOD DESIGN

9. What is an art critic?  What do you think of when you think of a critic?  Do you think of someone who is mean and finds everything they can wrong with an artwork?

10. How to become an art critic  Be highly respected. Having a higher degree such as a PhD in Art history or Art Theory helps.  It helps to have an outlet to share your voice such as a job as a journalist or columnist.  You visit gallery openings and follow the ART CRITICISM process when you write reviews.

11. Anyone can be an art critic!  Art criticism is the process of evaluating artworks.  The process does not have to be negative.  In art criticism you follow four steps to make a judgment about an artworks success.

12. Why art criticism?  Art criticism allows you to judge an artwork more objectively.  This allows you to make a judgment that is based on factual information instead of simply opinion.  Making judgments based on fact instead of opinion is much stronger and more thorough way of looking at artworks. ? ? ?

13. When do I use art criticism?  Art criticism is appropriate to use whenever you are asked to judge an artwork.  With a few changes it could also be used to judge music, literature, dance or drama.  The process prepares you for making other judgments such as decisions about major purchases such as cars and homes. The more you practice making an educated informed judgment, the easier it will be for you to make important decisions!

14. A few definitions  CRITERIA: standards of judgment.  AESTHETICS: The philosophy or study of the nature or value of art.  AESTHETIC EXPERIENCE: Your personal interaction with a work of art.

15. DESCRIPTION What do I see? ART CRITICISM PROCESS ANALYSIS How is the work organized? INTERPRETATION What is the artist trying to communicate? JUDGMENT Is this a successful work of art?

16.  This stage is like taking inventory.  When you describe an artwork, you identify the things about the work that you can see ( the visual FACTS-- -BE SPECIFIC)!  You should not include opinions, evaluations, or possible meanings.  Imagine that you are describing the artwork to someone over the telephone who can’t see the artwork. This is a long and detailed section. DESCRIPTION

17. FIGURE 2.3 José Clemente Orozco. Barricade. 1931. Oil on canvas. 140 x 114.3 cm (55 X 45”).

18. FIGURE 2.2 Alma Thomas, Iris, Tulips, Jonquils, and Crocuses, 1969. Acrylic on Canvas, 152.4 x 127 cm (60 x 50”).

19. ANALYSIS  In this step consider the subject matter as well as the most significant art elements that were used in the artwork and describe how the artist used the principles to organize the composition.

20. ANALYSIS How is the work arranged? Break down the painting into its composition, or the way the art principles are used to organize the art elements.

21. FIGURE 2.4 Leo Twiggs, The Blue Wall, 1969. Batik and paint on cotton mounted on board. 61 x 76.2 cm (24 x 30”).

22. INTERPRETATION  An interpretation seeks to explain the meaning of the work based on what you have learned so far about the artwork, what do you think the artist was trying to say? Use the information from your description and analysis to help you.

23. INTERPRETATION What do you think the artist (Matisse) is trying to communicate? Give your opinion based on the clues you have collected. What ideas, moods, emotions, and stories do you think the artwork communicates? Be sure to explain and justify your answer, don’t just put “the artwork looks sad”!

24. FIGURE 2.4 Leo Twiggs, The Blue Wall, 1969. Batik and paint on cotton mounted on board. 61 x 76.2 cm (24 x 30”).

25. JUDGMENT  After careful observation, analysis, and interpretation of an artwork, you are ready to make your own judgment. This is your personal evaluation based on the understandings of the work(s).

26. JUDGMENT First decide what philosophy or purpose best describes the work. Choose ONLY one. Is the emphasis on: (a)good design (b)communicating ideas (c)advancing a cause (d)imitating the real world? How do you judge the success of a work in terms of that philosophy or purpose?

27. A.IMITATIONALISM: C. EMOTIONALISM B. FORMALISM: Focuses on a REALISTIC representation of the work. Composition(the arrangement and placement of the elements and principles) is the most important factor in judging the artwork. Concerned with the content of the work. It must arouse an emotional response in the viewer. Literal qualities Design qualities Expressive qualities THREE AESTHETIC THEORIES

28. FIGURE 2.5 Georgia O'Keeffe, Cow's Skull: Red, White, and Blue, 1931. Oil on canvas. (101.3 x 91.1 cm 39 7/8 x 35 7/8”).