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Critical Writing Ii & Judgments
Critical Writing Ii & Judgments
“Criteria are rules for making art…assumptions about what art should be.”
- Terry Barrett
DEFINITION: Critical judgments are informed arguments about the value of a work of art based on
definable criteria (theories). Making judgments is the act of making decisions, providing reasons and
evidence for those decisions, and formulating arguments for conclusions.
1) Critics seek to determine how good the work is, or isn’t, and why.
2) Critics judge artworks, not artists. It is possible to both dislike an artist and value their work.
3) Critics are explicit about what they think art should be.
4) Critical judgments are usually tentative and open to revision.
5) Judgments of art works are neither right nor wrong, but convincing or unconvincing.
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DIRECTIONS:
1) Choose one artwork from recent exhibition visit to write a judgment (1~3 paragraph) using
(or a combination) of the criteria we have discussed.
2) Using about 30 minutes, take notes in each of the areas below.
3) Use these notes to select a theory as criteria for judgment and begin writing 1-3 paragraph
judgment of the artwork (about 45 minutes).
4) The paragraphs will be exchanged with another member of the class, commented on by
them and then returned to you for revision/expansion. The finished judgment paper (2-3
pages) will be submitted as the final project.
USE THE ARTIST STATEMENT AND BIOGRAPHY TO TAKE NOTES AND TO ASSIST WITH FURTHER
RESEARCH ON THESE TWO SECTIONS.
BASED UPON THE ARTIST STATEMENT, HOW SUCCESSFULLY DOES THE WORK REFLECT THE ARTIST’S
CONCENRS?
* Use this information to select a theory (or combination of theories). You will exchange your
paragraph with another student.
CRITICAL WRITING II : JUDGMENT BASED UPON CRITICAL THEORY EVALUATION
(2-3 pages)
Theoretical basis is clearly stated; the value of the work is determined through the correct use of
criteria that is clearly defined. The judgment is not without reason, uninformed or unresponsive.
Open to revision, it is not dogmatic or doctrinaire.
Subject is identified. Reactions to the subject are stated and the writer’s feelings are referred back
to specific elements in the work. Subject matter (theme/symbolism) is separate from external or
obvious subject.
Medium and materials are described and obviously understood. Importance of formal elements is
evaluated. Everything in the work is accounted for. There are no suspicious omissions.
Relevant research on the artist, historical time period, artistic genre, relationship to the history of
art, etc. is used as a foundation for judgment and evaluation of the artwork. The artwork, not the
artist, is criticized.
Opinion is presented persuasively using lively, colorful writing. Knowledgeable and based upon
evidence, it is compelling, fresh and insightful. There is a distinction made between general value
and personal preference.