UNIVERSITI TEKNOLOGI MARA, CAWANGAN SELANGOR, KAMPUS PUNCAK ALAM

COLLEGE OF CREATIVE ARTS

BACHELOR OF VISUAL CULTURE STUDIES

VCS551

TITLE: ASSIGNMENT 1 ART CRITISM

CLASS: CAAD2324A

PREPARE FOR : DR MOHAMAD KAMAL BIN ABD. AZIZ

PREPARED BY :

MUHAMMAD NABIL BIN ANWAR (2021480768)

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 TABLE OF CONTENT

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1 1.0 INTRODUCTION 3

1 2.0 BIOGRAPHY ARTIST 4-5

3 3.0 FOUR-STEP SYSTEM OF ART CRITICISM 6-8

3.1 Description

3.2 Analyze

3.3 Interpretation

3.4 Judgement

4 4.0 CONCLUSION 9

5 5.0 REFERENCE 10

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 The analysis or discussion of visual works of art is known as art criticism. Most of the
time, art critics evaluate works of art in terms of aesthetics or the theory of beauty. However, it is
debatable whether such criticism can prevail given the current socio political climate. Art
criticism seeks to establish a rational basis for art appreciation.The variety of artistic movements
has led to the division of art criticism into various disciplines, each of which may employ various
standards for evaluation. The most typical division in the field of criticism is between
contemporary criticism of the works of living artists and historical criticism and evaluation, a
subset of art history.

Despite the idea that criticising art is a much lower-risk activity than creating a work of
art, current views on art are always subject to significant changes over time. For rejecting artists
who are now revered (like early impressionist works), critics in the past were frequently made
fun of. Some art movements have been given satirical names by critics, but stylistic artists have
since adopted them as a sort of badge of honour (e.g., impressionism, cubism), rendering the
original negative connotation meaningless. Artists frequently have a tense relationship with their
critics. In order for their work to be seen and purchased, artists typically depend on favourable
reviews from critics; unfortunately for the artist, perhaps only later generations are aware of this.

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1.0 BIOGRAPHY ARTIST

Born in 1967 in Kuala Kangsar, Perak, Raja Shahriman Bin Raja Aziddin graduated
from the University of Technology Malaysia in 1990.He had originally intended to major in
painting, but by the fifth semester had switched to sculpture. After three years of working as a
teacher at the Malaysian Institute of Art, he relocated to his hometown in 1994 to pursue art
full-time and be closer to nature, religion, and culture. He visited local ironsmiths in an effort to
increase his understanding of metallurgy and metalworking. His later learning of their traditional
keris-making techniques greatly contributed to the qualities of his sculptures.

Shahriman has created at least six sculptural groups up to this point. The majority of them
are a result of his fetishistic obsession with the poetics of human movement in combat and the
practical and mystical romanticism of weapons. His first entry into the Malaysian art scene was
with the 1994 release of Killing Tools. He continues the violent subject matter present in nearly
all of his previous work by including lethal weapons. He subverts the social-cultural essence of
Malay weaponry by creating keris and swords out of scrap metal and transforming them into

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"functional sculptures" of pure aesthetic pleasure. He also deconstructs the functionalism and
mythic protocols of Malay weaponry.

His influential status in the local art scene is marked by his first solo exhibition, Gerak
Tempur (1996). He creates ferocious yet graceful free-standing warrior figures brandishing
menacing yet alluring lethal weapons by fusing discarded auto parts with hand-made structures.
Anatomical components reduced to abstract bones, joints, and tendons; nearly perfect body
proportions; expressive textured surfaces; animated gestures, fluid movements, and violent
attitudes that convey dramatic tension; and an ingenious plan to manipulate the notation are just
a few of the remarkable sculptural aesthetics that Gerak Tempur highlights in light of the dearth
of significant prototypes of figurative sculpture in Malaysian art.

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3.0 FOUR-STEP SYSTEM OF ART CRITICISM

3.1 Description

Lok 99 Pohon Lok is the main artwork in the entire series of Loks in this exhibition.Raja
Shahriman appeared to put all of his effort into this Lok series, which took close to three years to
complete. It is comparable to him translating into space and form a vision of beauty that has been
long stored in his mind and imagination. Lok's artwork includes 25 sculptures of variously
shaped torsos, 10 paintings, and research sketches. Inspired by the curve on the dagger as a
metaphor for the difficulties and tests that people face today, including the challenges of life that
take many different forms.

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3.2 Analyze
Shahriman has demonstrated a remarkable commitment to the principles of sculptural
design in this body of works, ensuring that critical aspects such as orientation, proportion, scale,
articulation, and balance are carefully accounted for to create a cohesive and striking
aesthetic.The primary component of this iron sculpture is keris. The sculpture's final product,
which uses 13 different keris shapes, displays contrast. It is constructed with the human body's
anatomical structure in the centre. The keris’s is clearly stated to stand for the head in this
sculpture.

3.3 Interpretation

This master sculpture showcases various forms of "lok" and is truly a sight to behold. At
the top of the sculpture, you will find 13 keris blades with various types of "lok". Interestingly,
this is connected to the 13 pillars that the sculpture upholds, which are the Pillars of Religion.
The Pillars of Faith consist of 6 points, the Pillars of Islam consist of 5 points, and the Pillars of
Ehsan consist of 2 points. This number 13 is known as Rukun Agama and is considered a sacred
holding that is upheld and carried with much reverence.Intriguingly, there is one "lok" that is
noticeably bent downwards in this masterful sculpture. The sculptor's intention behind this is to
convey the message that during the time of upholding these pillars, some individuals inevitably
faltered due to the imperfections and weaknesses that are an inherent part of human nature.
Simply put, this sculpture represents the idea that humans have many shortcomings in upholding
the 13 pillars mentioned earlier. On a different note, the keris blades that are positioned vertically
towards the top of the sculpture signify the 99 monotheisms of Hasma Al-Husna, which refers to
the One God.

3.4 Judgement

Shahriman's work has truly revolutionised the use of the keris by incorporating it into the
art of sculpture. Through his innovative approach, he has managed to not only create beautiful
and striking works of art, but also preserved the aesthetic value of the keris to the community. By
using the keris in such a unique way, Shahriman has brought new life to this traditional tool and
has opened up new possibilities for its use in the modern world. His sculptures serve as a
testament to the timeless beauty and versatility of the keris and showcase its potential for

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creating captivating and thought-provoking works of art.This artwork also serves as a powerful
vehicle for conveying important religious values to the wider community.By using metaphor and
symbolism, this work subtly communicates the artist's beliefs about religion and spirituality,
promoting thoughtful discussion and reflection among viewers.

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4.0 CONCLUSION

In terms of criticism’s role in connecting a work of art to public discourse, there is always
a need for more and more varied perspectives on this relationship. As a result, the art world is
always in need of more art critics. The work of art is frequently treated as a creative phenomenon
rather than the starting point of a critical discussion as the creative industries have grown in
prominence.[5] Instead of looking at the conversations that are sparked by and exist within
artworks, creativity is frequently celebrated as an end in itself. One of the very intentions and
results of the artistic practice is rejected by the attitude that subtly implies that critical friction is
a hindering force on advancement.

The critic's job is to recognise the best in the enormous variety of art that we are exposed
to in a culture that is obsessed with galleries and the staggering amount of subpar art that is
produced. Artists can reflect on their creative process and make continual improvements to their
work by reviewing other people's art and providing feedback. A good art critic today must be
aware of educating the public, encouraging discussion, and persuading the audience to engage in
the art, whether it is good or bad, and cause them to think for themselves. In the past, the primary
focus of art criticism was quality control.

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5.0 REFERENCE

1.Art criticism articles. Artnet News. (n.d.). https://news.artnet.com/opinion/art-criticism

2.Artist detail. Ilham Gallery. (n.d.).

http://collection.ilhamgallery.com/artists/raja-shahriman-173

3.Encyclopædia Britannica, inc. (n.d.-a). Art criticism. Encyclopædia Britannica.

https://www.britannica.com/art/art-criticism

4.Encyclopædia Britannica, inc. (n.d.-b). Art criticism summary. Encyclopædia Britannica.

https://www.britannica.com/summary/art-criticism

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