M‌‍‍‍‌‍‍‌‌‍‍‍‌‍‍‍‍‌‍‍odule 6: Artist Critique Narrative Note: This is a continua

M‌‍‍‍‌‍‍‌‌‍‍‍‌‍‍‍‍‌‍‍odule 6: Artist Critique Narrative Note: This is a continuation from the Artist Critique Assignment Directions/Expectations are on PAGE 2 Introduction Critiquing artwork is an integral part of art making. Skill in evaluating art constructively is a must for every artist. Critiquing combines the ability to study an artwork’s formal qualities and reach conclusions about them based solely on the artist’s use of materials and ideas, with the ability to articulate clearly your thoughts in writing. Artists constantly view other artists’ work, learning from it and sharing their views within the artist community. In order to gain a better understanding of the visual arts, you must begin to approach art with a critical eye, with the intent to understand, agree, disagree and express opinion. Critiquing artwork gives artists an opportunity to learn, grow, absorb and evolve in their fields. By articulating your ideas you will begin to develop an appreciation of art. What is a critique? Critiquing an artwork means reviewing and discussing the elements and principles of that work in order to gain a better understanding and appreciation for it. A critique is part of the natural process of artistic creation that all artwork requires. Some vulnerability is called for, since the artist’s private thoughts and creative technique are laid bare. But informed, constructive criticism serves to help the artist better realize his/her goals—the revised art will “work” better. A critique serves the artist in many positive ways ? it assists in identifying their strengths and weakness ? it discusses how the artistic principles can be viewed within the work ? it provides constructive feedback of how an artwork can be improved Learning to critique the work of others will enable you to better review your own work, which is a valuable skill for creative improvement. Purpose This is a two-part assignment. First you will write an artist critique outline, submit it and then use our feedback to write an in-depth artist critique narrative. The purpose of this assignment is to give you an opportunity to interact with art in person, learning to view it and discuss it constructively. You must visit (in person or virtually) a LOCAL art exhibit (museum, gallery, arts festival, or public art space etc.) and select one work of art you would like to research and discuss. Important: You should obtain permission to use a photograph of the work. If you cannot document it with a camera, you cannot use it. Please see specific photography requirements in the directions for the outline. Your goal is to demonstrate your ability to understand the chosen artwork based on its formal qualities and its conceptual significance. This assignment will strengthen your ability to recognize course concepts and terms in another artist’s work, in addition to improving your research, writing and critical thinking skills. Objectives After completing this assignment, you will have demonstrated your ability to: 1. Analyze and evaluate art constructively. 2. Demonstrate research of the selected work. 3. Plan your critique by first creating a critique outline. 4. Apply course terminology and concepts to an outside artist’s work. 5. Offer your personal opinion about art, but also make clear your reasoning. Artist Critique DirectionsDirections for the Artist Critique Narrative Please remember that you must see the artwork you are researching in person. You will be writing about the same artwork you discussed in the outline. Please be sure to review your grader’s feedback to your outline prior to proceeding. 1. Although you provided images with your outline, include the images again with this submission. ? Provide 1 main view of the work and 2 different close-ups focusing on important details that you will discuss in your writing. ? In addition, you must photograph the label next to the artwork that indicates the artist, title, medium and date. ? Total of 4 images. 2. Write a narrative paper that is at least 400-600 words in length (you are welcome to write much more), using at least 12-pt font, using at least 7-8 vocabulary terms from all of the previously assigned readings (written in bold). You should thoroughly research the background of your work, prior to expressing your personal views about it. This can include the artist’s life, art philosophy, other artworks created by the artist. You can also discuss this artwork in relation to previously learned artists/artworks. 3. In your paper address the following questions: ? What does the work represent? What are the subject matter, form, and content? ? What were the artist’s intentions? ? How does the artist communicate his/her ideas to the audience? ? How were the course concepts viewable in this work? ? How would you approach the same subject matter? 4. Follow the intro, body, and conclusion format to organize your writing. Tips on structuring your narrative can be found in the Course Orientation under “Creating an Outline”. 5. Make sure to cite all of your sources (books, internet, etc) in a Works Cited page at the end of your narrative. You should have at least 3 reliable, scholarly sources such as books, art magazines, as well as online museums, art publications, etc. Wikipedia is not encouraged as one of your main sources. In order to get credit for the “citing” portion of the grading rubric, you must list all of your researched sources in the “Works Cited” page (even if you didn’t include any quotes from those sources in your writing). 6. Please include your narrative’s word count at the end of your paper (ex: Word Count: 767 words). 7. Finally, thoughtfully select a meaningful title for your assignment you do not have to do the art part im doing that you just have to write and make up facts based off this Art Critique First impression statement: Micheal Watson’s Here Comes Trouble shows three raccoons jumping over a log. The raccoons are emerging from a dark green leafy environment. One raccoon has already made it over the log, while two others inspect the basket laying on rocks in front of the log. The raccoons appear to be curious as to what is in this closed basket. In front of the basket are two tan colored fishing poles. This leads the viewer to assume the raccoons are preparing to steal fish out of the basket. The precise details of this artwork bring a realistic feeling. It is as though this painting is a memory of the artist that is remembered as clear as a photograph. Main Idea: Michael Watson’s acrylic painting, Here Comes Trouble made in 1986 properly uses formal qualities to bring his piece together. Topics: The precise and detailed texture of the subjects successfully bring a natural and lifelike mood to the piece. In addition the use of darker and duller colors throughout the piece adds to the overall composition. Similarly the shapes and lines used in the painting aim to create a realistic appearance. Body paragraph 1: Texture is used to convey true to life, authentic characteristics in this painting. Example 1: The basket the raccoons are heading toward is shaded so detailed, which brings a smooth, yet bumpy texture. The texture is so realistic the person viewing the art can imagine the feeling just by looking. Example 2: The log looks old, pale and dried out, as if it has been there for a long time. The bark looks lifelike and enhances the overall realistic impression of the artwork. Example 3: The texture of the fur is created with small concise lines and proper shading. The detailed lines create a genuine appearance of the fur, adding to the artist’s realist demeanor. Body Paragraph 2: The tone of this painting is portrayed by dark, dull colors. Example 1: The darker, nonvirbrant colors seem to suggest it is starting to get dark, or it is a cloudy day. This adds to the sneaky mood created by the raccoons piering over the log into the fisher’s basket. Example 2: The dark leaves and background intensify the mood, as well as produce a greater focus on the raccoons and basket. Example 3: Despite the overall darker tone of this artwork, the raccoon’s eyes are the darkest element. They stand out against their lighter fur and the light log.‌‍‍‍‌‍‍‌‌‍‍‍‌‍‍‍‍‌‍‍ It helps to represent their devious goal of getting into the basket. Body Paragraph 3: The artist uses shapes and lines to effectively create a realistic scenario. Example 1: Organic shapes are used to portray the items of nature, while geometric shapes represent the man-made matter of the painting. For example the organic shapes can be seen in the leaves of the background, and the geometric shapes are used in the fishing poles and basket. Example 2: The curved lines are used to depict fur, leaves, rocks and grass. The only use of straight lines are in the man-made fishing poles and basket. Example 3: The painting exhibits the use of positive and negative space. The dark shaded areas around the curved lines of the leaves is an example of negative space. The dark filler suggests that there could be more behind the bushes. you have to use 7-8 of these vocab words academic .:_rt that conforms to established traditions and ::Dproved conventions as practiced in formal art ochools. Academic art stresses standards, set Jrocedures, and rules. achromatic =?.elating to color perceived only in terms of neu- :–al grays from light to dark; without hue. additive color =:olor created by superimposing light rays . Add- 1g together ( or superimposing) the three pri- “1ary colors of light-red, blue, and green-will roduce white. The secondaries are cyan, yel – ow, and magenta. analogous colors =:olors that are closely related in hue. They :ore usually adjacent to each other on the color ·,heel. chroma . The purity of a hue, or its freedom from 1hite, black, or gray (and wavelengths of other :olor). 2. The intensity of a hue. 3. Computer ::rograms often refer to chroma as saturation. chromatic ::>ertai ning to the presence of color. chromatic value ne re lative degree of lightness or darkness :emonstrated by a given color. color ‘”le visual response to different wavelengths of oJnlight identified as red, green, blue, and so on; -aving the physical properties of hue, intensity, :.1d value. color tetrad =our colors, equally spaced on the color wheel, :ontaining a primary and its complement and a :omplementary pair of intermediates. This has :. so come to mean any organization of color on :~e wheel forming a rectangle that could include :. double split-complement. color triad Three colors, equal ly spaced on the color wheel, forming an equilateral triangle. The twelve-step color wheel is made up of a primary triad, a sec- ondary triad, and two intermediate triads. complementary colors Two colors directly opposite each other on the color wheel. A primary color is complementary to a secondary color, which is a mixture of the two remaining primaries. high-key color Any color that has a value level of middle gray or lighter. hue The generic name of a color (red, blue, green, etc.); also designates a color’s position in the spectrum or on the color wheel. Hue is deter- mined by the specific wavelength of the color in a ray of light intensity The saturation, strength, or purity of a hue. A vivid color is of high intensity; a dull color is of low intensity. intermediate color A color produced by a mixture of a primary color and a secondary color. intermediate triad A group of three intermediate co lors that are equally spaced on the color wheel and form an equilateral triangle; two groups of inter- mediate triads are found on the color wheel: red-orange/yellow-green/blue-violet and red-violet/blue-green/yellow-orange. local (objective) color The color as seen in the objective world (green grass, blue sky, red barn, etc.). low-key color Any color that has a value level of middle gray or darker. monochromatic Having only one hue; may include the com- plete range of value (of one hue) from white to black. neutralized ( color), neutralization (of color) Color that has been grayed or reduced in intensity by being mixed with any of the neu- trals or w ith a complementary color (so that the m ixture contains all three primaries, in equal or unequal amounts). neutrals I. The inclusion of all color wavel engths wi ll produce white, and the absence of any wave lengths will be perceived as black. With neutrals, no single color is noticed-only a sense of light and dark or the range from white through gray to black. 2. A color altered by the addition of its complement so that the original sensation of hue is lost or grayed. patina I. A natural film, usually greenish, that results from the oxidation of bronze or other metallic material. 2. Colored pigments and/or chemicals applied to a sculptural surface. pigment A color substance that gives its co lor prop- erty to another material by being mixed with it or covering it. Pigments, usually insoluble, are added to liqu id vehicles to produce paint and ink. They are different from dyes , which are dissolved in liquid s and give their color- ing effects by staining or being absor!Jed by a material. primary color A preliminary hue that cannot be broken down or reduced into component colors. Primary colors are the basic hues of any color system that in theory may be used to m ix all other colors. The Vocabulary of Color 183 primary triad The three prima,y colors on the color wheel (red, yel low, and blue), which are equally spaced and form an equilateral triangle. secondary color A color produced by a mixture of two primary colors. secondary triad The three secondary colors on the color wheel (orange, green, and violet), which are equally spaced and form an equilateral triangle. shade (of color) A color produced by mixing black w ith a hue , which lowers the value level and decreases the quantity of light reflected. simultaneous contrast When two different colors come into direct contact, the contrast intensifies the difference between them. spectrum The band of ind ividual colors that results when a beam of white light is broken into its compo- nent wavelengths, identifiable as hues. split-complement(s) A color and the two colors on either side of its complement. subjective color I . That which is derived from the mind, instead of phys ical reality, and reflects a personal bias, emotion, or interpretation. 2. A subjective color tends to be inventive or creative. subtractive color The sensation of color that is produced when wavelengths of light are reflected back to the viewer after all other wavelengths have been subtracted and/or absorbed. tertiary color Color resulting from the mixture of all three primaries, two secondary colors, or comple- ment ary intermediates. Tertiary colors are characterized by the neutralization of intensity and hue. A great variety of tertiary colors, created by mixing differing amounts of the parent colors, are found on the inner rings of the color wheel, which lead to complete neutralization. tint (of color) A color produced by mixing white with a hue, which raises the value level and increases the quantity of light reflected. tonality, tone (color) I. A generic term for t he quality of a color, often indicating a slight modification in hue, value, or int ens ity-for example, yellow with a green ish tone. 2. T he dominat ing hue, value o r intensity; for exam ple, artwork containing mostly red and red-orange will have an overc. tonality of red (the dominant hue), and areas of color might have a dark tonality (indicating the dominant value) or a muted tonality (inc – eating the dominant intensity level). value ( color) 1. The relative degree of lightness or darkn es_: 2. The characteristic of color determined b. its lightness or darkness or the quantity of _ reflected by the color. value pattern The arrangement or organization of values :- control compositional movement and crea: c’ unifying ‌‍‍‍‌‍‍‌‌‍‍‍‌‍‍‍‍‌‍‍effect throughout a work of art.