Click on the following ASSIGNMENTS for guidelines and due dates
20%
In-class course participation including: (1) Multivocal Art Criticism Activity Responses, Part I & II, (2) the Internet Beauty Aesthetic Assignment,,, (3) an Interactive Art Criticism Hyperdocument Card, and (4) Email communication, Context Presentations (in-class 2/27 & 3/1) and Discussion of Readings. (each worth 5% of course grade)
5% Visual Vocabularies Activity: Studio assignment demonstrating use and understanding of visual vocabularies.
30%
3 Studio assignments based on 3 different aesthetic perspectives. (each worth 10% of course grade)
10%
"Select an Art Critic" assignment & resources: An art critic presentation & handout
10%
Re-presentation in a Virtual Museum Politics of Display Assignment: Computer Studio Project (create a "room," hotspot, & "prop" for your persona).
15% Role-play art critic/artist presentation of an in-depth examination of a work of art
10% Final essay exam


(5%) Weekly Email Communication (Requested during weeks 2 & 3 of the class). Each individual should write a note to me (K.Keifer-Boyd@ttu.edu) that might:

(1) Ask a question about something mentioned or that occurred in the class.
 
(2) React and reflect on what has occurred in class.
 
(3) React to a reading or Internet resource that relates or was assigned to the class.
 
(4) Connect the class's session to a current social or personal issue.
 
(5) Describe a concern related to the course or your degree program.

 

Continue to Use Email Communication in this Course to:
(Use ATLC computers or our own computer & modem or hardwired dorms.)
 
(1) Connect with others: professors, students, listservs (both informal and scholarly exchanges)
 
(2) Send resources to others and receive them too.
 
(3) Ask questions, get feedback, or give comments & feedback.
 
(4) Network with a global community (e.g., ArtsEdNet Talk-- a listserv)

(5%) An Interactive Art Criticism Hyperdocument Card
In-class on 3/27 explore Finster & Miro as Hypermedia Interpretations and Select An Artwork for Individual and Linked Interpretations HyperStudio project.
 
Hyperstudio interpretations due by 6 p.m. on 4/5.
 
In-class string connection activity on 4/10
 
In-class view hypermedia linked interpretations of selected work on 4/26


Final Project: Preparation & presentation of an in-depth examination of a work of art.
Choose to present on either April 19 or 24.

Grading Criteria for FINAL PROJECT (Worth 15 points or 15% of your course grade)

I. Preparation Documentation (8 points)

a. Due 4/3: Turn in your decision of title of the artwork, date, media, identify the art theory that applies to the work, art critic you'll model, art criticism strategies you'll use, and the artist that you have selected to present in the final project.

b. Due April 19 / 24: Turn in (on the day of your presentation) a short typed paper that has at least one paragraph or section on each of the following: (Each team member writes their own paper.)

Team Member that plays the Artist, describe the: (1) artist's aesthetic theory that the artist believes in as exemplified in the artwork selected for your presentation, (2) artwork using an art criticism model aligned with the artist's intent/aesthetic beliefs, (3) artist's social or life influences, and (4) full citation of resources that you used.

Team Member that plays the Art Critic, describe the: (1) art critic's aesthetic theoretical orientation evidenced in his/her art criticism writings, (2) art criticism strategy that you chose with a list of the questions used, (3) reasons why the selected art criticism strategy was appropriate for interpreting the artist's art work, and (4) full citation of resources that you used.

II. Presentation (7 points): (20 minutes for all parts, a. ­ c.)
a.
Art critic interviews artist (5 min.)
b. Art critic interprets the work and presents an evaluation of the artwork interacting with the team member that first appeared as the artist and who has now changed roles from the artist to a gallery dealer, art collector, or some other person. The gallery dealer (or patron, etc.) does not have to agree with the art critics view. (10 min.)
c. Both presenters lead the class in a discussion about critical issues that arose from a. & b. Prepare 3 questions to lead the discussion. (5 min.)

Presentations will be evaluated on:
(1) knowledge of subject matter and preparation of props & other presentational materials;
(2) how well you knew and kept in character;
(3) how creative and engaging the presentation was delivered;
(4) full and effective use of time (not too short or overtime),
(5) interaction with students in stimulating dialogue

ART CRITICISM GENERAL CRITERIA:

A good critique is when . . .
the participants involved in a critique are knowledgeable about a range of criteria and specifically the criteria, purpose, and/or aesthetic theory that the artist operated from when creating the art that is being critiqued. The participants are also familiar with various models or strategies of art criticism and how each one will both emphasize and hide some aspects of the art. The participants are also aware that interpretation is largely self-understanding and that they reflect on what in their experiences influenced them to pay attention to some things over other things in the artwork. It is a good critique when multiple models of art criticism are utilized on the same work and connections are discovered between the disparate views and interpretations. It is a good critique when resources, knowledge, and experiences are integrated and utilized to help one understand the artist's thinking and making processes; and the social, political, economic, and cultural milieu from which the art is a part. It is a good critique when the participants are aware of how context has influenced their interpretation and judgment.

A bad critique is when . . .
the respondents are turned off or on by the work but do not know why, and do not care to know what the work is about, or why they reacted the way that they did toward the art. They can not imagine possible meanings and do not have any enthusiasm for inquiry about the art.
Part I: Preparation
1. Select a partner & sign up by April 3 to present your final project. Choose either April 19 or 24 to present.

One member selects an artist and artwork and researches the artist, artwork, and influences on the artist. The other member of the team selects an art critic and reads about this critics point of view and method of discussing art

By April 3 each member needs to write the decision that they made: The sign up sheet asks for:

________________________(artist) & _______________________ (art critic)
(your name) (partner's name)
title of specific artwork: _____________________
artist's name: __________________
date of artwork: ______________
media: ___________
art theory /tradition / style [used by artist &/or tradition/theory that the work fits]:________
art criticism model or strategy [that you will use]: ________________________________
interviewer (art critic's name):
______________________ & interviewee (artist's name): ___________ & artist changes to whom in the performance__________________________
setting: __________

2. Prepare to turn in (on the day of your presentation) a short typed paper (see components of paper in I. b. of "Grading Criteria."

3. Develop your research into a presentation.

a. 5 min. - Art critic interviews artist.
Discuss the work by role-playing. One person is the art critic interviewing the artist. You create the setting (the artist's studio, in front of his or her art (a slide), or some other meaningful setting). The artist may demonstrate the art process to help explain to the critic the meaning of a specific work of art. Focus on one work, but in doing so you may need to show the work within the body of the artist's work or by comparing it to similar or very different work. Some students opt to videotape their performance in a setting outside of class and show the video in class. We have a camcorder for check out.

b. 10 min. - Art critic interprets the work and presents an evaluation of the artwork. The artist changes roles from the artist to another character. The "other" does not have to agree with the art critic's view.
Continue the dialogue/performance, only the artist changes character. The artist has left and returns as another person. Your characters might take on different aesthetic preferences and attitudes than you actually hold. This is called "counter-attitudinal role-playing." The art critic interprets the painting and makes a judgment based on specific criteria. The "other" may or may not agree with the art critic. Be creative with how you perform this. For example the dealer could read the critic's review in a newspaper or magazine, and then meet the critic at an art opening. There are many possibilities for presenting this.

One team member should model her or his character after a real art critic or aesthetician such as Clement Greenberg, Howard Risatti, Theodor Adorno, Immanuel Kant, Arthur Danto, Rudolf Arnheim, Jacques Derrida, Jürgen Habermas, Clive Bell, Frederic Jameson, Victor Burgin, Roland Barthes, Maurice Merleau-Ponty, Harry Broudy, Ralph Smith, Dan Nadaner, Harmony Hammond, Per Johansen, Arthur Danto, Janet Wolff, Laura Chapman, Edmund Feldman, Vincent Lanier, June McFee, Arnold Hauser, John Berger, Lucy Lippard, Joanna Frueh, Donald Kuspit, Jean Baudrillard, Ellen Dissanayake or from Pluralistic Approaches (Terry Barrett, Mario Asaro, Shifra Goldman, Betty LaDuke, jan jagodzinski, Linda Ettinger, Doug Blandy, Kristin Congdon, etc.). You may select the art critic that you studied and presented about on March 21. See the art critic assignment or the Barrett textbook for further suggestions.

c. 5 min. - Both presenters lead the class in a discussion about critical issues that arose from a. & b. Prepare 3 questions to lead the discussion.
Based on the stimulating performances lead the class in a discussion based on critical issues that arose from the performance, from the work, and/or from the course. Prepare at least 3 questions to stimulate discussion.