Music to paint by

Some days I like to paint in total silence, while other days I crave music. The choice has nothing to do with the kind of work I'm creating; it's just that some days are music days. One of my favourite female vocalists is Amelia Curran who currently lives in Nova Scotia. A friend gave me her last CD War Brides and I was smitten from the first note. Reviewers had a similar response.

"Amelia Curran’s latest CD, War Brides, is one of those intimate gems of an album that you have to discover for yourself. There isn’t a big publicity machine forcing it down your throat, and it’s an album you have to seek to find. One thing that is very clear upon listening to it is that you realize that Curran, a St. John’s native now based in Nova Scotia, creates music that is instantly satisfying, and in a world full of folk singers, Curran’s music is a cut above.”
~Kevin Kelly. The Newfoundland Herald. (St. John’s, NL) August 2006

Fernery

Whenever I hear a word that refers to the natural world, I automatically create a visual in my mind complete with sensory effects. When I was reading about Birr Castle Demesne before my two week stay there, I was attracted to the description of the fernery and it was high on my list of "must see right away".

From my young days crawling around the soft moss in the woods behind our house, I loved ferns. As a child I pretended they were umbrellas for the fairies. Their ruffled texture, rolled edges, bumpy undersides and leprecaun greens remain vivid in my memory today.

My first visit to the fernery sent me back in time and I viewed it with a child's eyes and feelings. I know this because of how the fernery made me feel.

Let's take a visit....

From the Millennium Garden, through the gate and straight ahead......

to follow the path to the fernery....

be careful if it's wet, you might slip....

on moss covered rocks,

or slick wood.

This is the world of gnomes, of stunted trees, dampness, decay....Watch out for them near the bridges...

and under roots and rocks. They use ferns to draw you in.

Remember the division between two worlds is close.

SherWords

I love the blog title of the newest member of my blog roll because it's what we do in blogland. Now I'm very honoured to be a topic of his SherWords. Sheerwood and I have both spent time staying (separately of course, since we both have spouses) at The Bothy, the cottage on Birr Castle Demense in Ireland. It was his phtotographs of the area that convinced me I wanted to stay there when we were exploring places to stay in central Ireland. The idea for my art project, "Reading a Garden", came after I had made the arrangements. I find that is how many ideas come about in art. One thing leads to another if your mind is receptive to possibilities and you are willing to cease the moment.

I am so excited we have found each other in blogland. I never cease to be amazed by how small the world really is and how my virtual community has extended since I started my blog.

More yellow chairs

Yellow is becoming my new favourite colour. It's a far cry from my current love of gray. What could bring me to such a colour mood swing? It all began when I was working on one of my family history paintings posted several weeks ago. Then I saw van Gogh's famous yellow chair in an article about absence and presence as a theme in art, followed by Blue Sky Dreaming's painting which is an ode to van Gogh. I took this as a sign that I should explore yellow chairs a little more to see what was out there needing to be discovered. I've gone off on research forays for more trivia reasons than this. Join me on the yellow chair art journey. My findings were intriguing.


The Deco Detective has the most luscious yellow chairs in a range of styles. This design blog with an eco friendly mandate is a new find for me and one I will return to. Perfect bound is my favourite which is surprising given my need for clean, uncluttered lines in my home. I see it as an art piece, the pattern drove it over the top in the choice department.

Perfect Bound

Katy Elliott loves her chairs yellow too as she goes about renovating her newly purchased home. If you are wondering how prevalent yellow chairs are in furniture design, a Google Image search reveals that the design variations are mind blowing.

Moving away from furniture, I found Tales from the Yellow Chair which is "a live service design intervention". Anab Jain, an art student in London is exploring connections using technology as a lead in. I found this 8 minute video very fascinating on several levels. The isolation of big cities, how technology is changing our communication patterns, how we are skeptical about things we aren't familiar with, and much more came to mind as I watched it. The yellow chair is quite a calling card here. Get a cup of tea and have a look.

Not only van Gogh used the yellow chair as subject matter. Richard De Quattro placed a yellow chair in a very intriguing position.


Jeff Jensen's yellow chair is being eaten by six beetles while Lewis Miller uses a yellow chair to support his nude paintings. Then there's Gareth Lane's yellow chair that defies sitting and a yellow chair overlooking St. John's harbour thatis all about relaxing.

Not my cup of tea but Christie's price tells us they are pretty special if you are in a certain income bracket. I've named them "The Ends"

Defining spring

The solution to no blog topic for today came from Illustrated Life's Jeanette Jobson, another Newfoundland artist blogger, who put out a challenge to choose the sixth photo in my sixth file and present it. I couldn't believe that this photo was yet another version of spring- Newfoundland style. I can't seem to escape it.



This photo was taken outside my summer house in Duntara, Bonavista Bay, NL which is right on the edge of the Atlantic Ocean. In this part of the province the icebergs are usually heralds of spring. This was shot in April 2007. Ice bergs and pans of ice were made for artists. Although icebergs appear white, there is no end to the range of colours created when they are hit with sunlight. But it is the area where the ice touches the water that always intrigues me. That's where I find the most beautiful greens in the world. Maybe that's why they appear in spring!

A cool view from my patio

An even cooler view from my sofa!

It's beautiful, but...

I am ready for colour in the environment. As I've gone about my days since the beginning of March, I'm attracted to every bright, vibrant colour I see. This happens every year at this time. I am even looking at colourful clothes I would never think about wearing any other time of the year. The loads of snow and the gray weather that is part of the Newfoundland winter engulfs you and you slowly become accustomed to grayness . You don't even realize it's happening.

Now it is officially spring. I have to keep reminding myself that it does eventually arrive, usually in May! This is the scene outside my window. I concede that it is beautiful, sculptural etc. etc. but it is not spring!


This is spring .

The chair in art

Lynda Lehmann brought my interest in chairs to the forefront with a recent post. One of the positive aspects of writing a blog and following other blogs is the stimulation and cross pollination of ideas. This post is a perfect example of this. I wouldn't be thinking about chairs today if I hadn't read Lynda's post.

There's a long history of chairs used as subject matter in art. Arthur Danto, Professor of Philosophy at Columbia University, wrote a thoughtful essay examining the use of the chair in artistic representation. He begins his discussion by focusing on a first century Buddhist carving of a chair placed below a tree and flanked by a group of alluring maidens who are sent to seduce the Buddha. Riders can be seen in the background. In this temptation scene, one never sees the Buddha, only an empty seat with a cushion is shown to symbolize his presence.

The second chair he speaks of is also empty. It is the unoccupied, rustic, yellow chair with a pipe resting on it that van Gogh painted in the late 1880's. The simplicity of the chair references van Gogh's "conspicuous humility". Danto refers to this work as "Self-portrait as chair". van Gogh's painting of Gauguin's chair around the same time was also unoccupied, but it was elaborate, authoritative and arrogant. If you would like to explore these two images further, this site provides visuals and an interesting commentary.

The final chair Danto explored is the electric chair Warhol used in 1967 in different formats. Danto describes it as an obscene and terrifying image and points out that it was an electric chair, not a flat bed or electric noose that the penologists came up with. Why a chair?

On Flickr, BillyRook questions artists' fascination with empty chairs. He decides that his interest is piqued only when the chair is out of place either spatially or temporally. It is this out-of-place-ness that raises interest and transforms this everyday object into a metaphor. I agree with this.

Jerseyside, NL 2006

Whenever I look at this photo I took several years ago while exploring my childhood haunts, it is a physical reminder of all the people who lived, worked and played in this area. The idea of a chair as a proxy for human presence is an intriguing one. There is presence and absence in this image. This duality is often explored in my work.

Ken Browne

I was exploring an Irish Gallery site that I follow and found an interesting artist whose abstract work is influenced by music. Ken Browne is a self taught Irish artist who has been painting full time for ten years. I emailed him and asked permission to present his work; he graciously agreed. While preparing this post, there were many things I wanted to know about Ken which left me I sorry I didn't ask more questions in my email. Possibly there will be a second post.

Ken currently has a solo show at Urban Retreat Gallery, a new gallery on Hanover Quay in Dublin. I was not able to locate a website for this gallery. Hopefully it is in progress. His show is called Vibrations and he describes his work as "inscapes" derived from memory and emotive response to sound and rhythm.

In his artist statement Ken writes:

"Music is fundamental to my art as it determines the mood of the piece. Every piece is an emotional journey and music is the medium."

From my exploration , I discovered that Ken is also a musician and his passion for music began early in life. Today according to a press release for Vibrations, he paints to the sound of Japanese pianist Izumi Kimura.

Cill Rialaig Morning Song
Mixed media on canvas ( 2007) 40 cm. x 40cm.

Untitled #2
Mixed media on canvas (2008) 32 x 32 in.

Untitled #1
Mixed media on canvas ( 2008) 100 cm. x 100 cm.

The rich colours in many of the works created in 2008 remind me of the work of the old masters found in museums and churches in Italy. The richness of the golds, browns and reds are unmistakable. These are the works that hold my attention because they are the colours I carried home with me from Italy and which appeared in many of my own works for several years.

As I tried to find more information about Ken and his influences, I discovered he had indeed visited Italy and was fascinated with the backgrounds of many religious paintings.

New work

It's over a week since I've been in the studio, but my mind is constantly on art. I now honour these lapses in physical production as part of my process. I've been asked to create a painting as a surprise birthday gift for a friend of mine. We've already settled that it will be mixed media, but the subject matter is totally up to me. Sometimes that is a good thing and sometimes not. In this case it is good. I plan to create a diptych with two very different images having the same theme. The content relates to the interests and sensibilities of my friend. It is so much easier to create something when you know the person who will recieve the work. Here's a look at the source material I'm considering . It will be a challenge to pull this off. I'm feeling positive.

Reflection

An artist's photograph collection reveals more than topic choice. When you take the time to view your collection, you will find direct references to how you perceive the world and how this translates directly into the work you create. While I have always used photographs as reference material, it is only recently that I've begun to discover many links between the photographs I take and how I create work. At this point you may be thinking "duh" and have already made these links in your own practice.

Two previous posts Looking down and Looking down again testify to my need to always be aware of where I'm walking and what I am walking on. While I find panoramic views beautiful, they never hold my interest for long. I am drawn to the close up- the bits and pieces of information that many miss.

Registering too much visually often leads to problems in my work. When you are constantly inundated with too much information, it is difficult to screen most of it out and focus on several elements. Looking back over my body of work makes me realize this viewing pattern could account for my forays into layering. This technique allows me to include quite a bit of information initially and then to push some of it back or totally eradicate it, and let the important bits float to the surface. Layering gives me time to decide what is important. Wow, I just realized that! So much of what we do in art is instinct.

My favourite orientation for my work is vertical. I choose long, nonstandard size verticals that are difficult to compose. The eye is so accustomed to viewing horizontally that there is a tendency to move quickly over horizontal orientations in art. It is what the eye expects. It also encourages the use of too much information for me personally. The vertical forces you to change your usual viewing pattern; it makes you stop. This small pause captures the viewer in a way a horizontal orientation doesn't. Then there is the energy of the vertical that is hard to ignore. Verticals also mimic the coveted glance - what is seen through doors, gates, and windows. They also provide a slice of information, like looking through a partially opened door.

The most difficult task compositionally when you are attracted to vertical orientations, is to slow the viewer's assent through the work. When you include a path this makes the job that much harder. While I guess some of these thoughts about working vertically were always with me in varying levels of recognition, many came to the forefront when I was responding to a work Miki Willa posted on her site. That testifies to the value of looking at another artist's work with a critical eye, which is what Miki had requested.

The vertical is my preferred orientation in photography also. It appears I like to look up as much as I like to look down. These shots all come from one community near my summer home. Keels is where my mother was born and where I spent my summer holidays when I was a child. It is a spectacular little community with interesting architecture and geological features. Looking at some of these shots makes me wonder how much of the walking and climbing as a child influenced my interest in the vertical.

You can choose which orientation tells the story best.

Remember when?

When I was a child my mother and grandmother made quilts from remnants of clothing, furniture coverings, traded scraps from friends, fabric that my aunt sent from New York (very exotic in my childhood world), fabric my grandfather brought home from material salvaged from his job, and even old quilts that had been retired. The backings were often flour bags (then flour was purchased in large cloth bags) which were bleached white. Sometimes used sheets were used for backings. Nothing was wasted. I didn't know at the time how these pieces would provide a record of my years at home.

Many years later when my mother moved from our family home to a small cottage the quilts needed a new home. I claimed most of them because I saw them as memory markers. I knew that these patterns would some day end up in my art work. I've had many of my photographs printed now, and I'm in the process of sorting and resorting, waiting for an idea to attach itself to me.

This was a Sunday dress my mother had. I always loved that dress. I thought the red bits made it very exotic. To this day I love paisley type prints.

For many years there was a Singer sewing machine in the corner of our kitchen. It was beautified by a cover. This was the pattern that was on it for most of my teenage years.



Can you believe this was a cover for our sofa when I was a teenager (1960's)? I sure doesn't fit in with my minimalist look today.

What a smashing number I must have been in an mini dress made of this material!

An then there was the move to the flower power stage of my life.... And I wonder why I'm so attracted to memory, floral motifs and pattern in my work. I need look no more. It's ingrained.

Saying good-bye

Wallpaper with hinge (2008) 14 x 28, mixed media (photo transfer, paper, acrylic paint and gels) on board

One of my favourite pieces from the Remnants series has sold. It's bittersweet. It's been hanging in my dining room for almost a year and now it is going to its permanent home. It's been purchased by the Art Bank Program which is a yearly art procurement program sponsored by the Government of Newfoundland and Labrador. What I like about the program is that it puts money directly into the pocket of artists and the the work is juried. This is the third year that my art and this program has been good to me.

What's on my wall?

One of my favourite things about visiting is checking out what people have on their walls. Other artists must have this same curiosity because several people have asked me in the last month what kind of art I have in my home. This is the first sneak peek at the walls of my home.



For my first installment I'm highlighting a piece of art I have a personal connection to because it was created during a painting holiday I took in France in 2001. France II by Elena Popova, a Newfoundland artist, is a monotype on paper (25 x 50inches) composed of six separate panels, each is a response to some aspect of a two weeks stay in the French countryside . Elena creates lush, colourful work that is full of energy and excitement. It was creating monotypes with Elena in France that convinced me I wanted to be an artist. Not only does this piece remind me of the great time we had in France, it is also a constant reminder of the right choice I made for my second career.

photo by: Brenda Stevenson

Elena at work outside Ilse Hughes house in L'lirondelle, France . Elena uses oil paint on plexiglas and often uses her hands or other inplements to etch into a painted ground. Once the plate is completed it is put through a printing press to create a one of a kind print - a monotype.

photo by: Brenda Stevenson

These are the two works Elena created during her two week stay. The first piece above is called France I and someone else is lucky enough to own it.

Here is where France II lives. I depend on the art on my walls to add colour to my otherwise bland colour schemes.



This is another piece I have by Elena. It is 9 x 14 and hangs in my downstairs hallway. I bought it at an auction to raise money for the Red Cross. The colours are even more vibrant than those depicted here. It is under glass and difficult to photograph. It is the perfect picture for spring.

Elena currently has a solo exhibition at Red Ochre Gallery in St. John's. Check out the work.

New work from old

I'm at it again... cutting up paintings that aren't working. This is the second mixed media work from my In the family line series that I've cut into smaller paintings and then reworked. A little background information on the series might help you view this work.

My family was one of 160 families forced to leave their home when an American base was built in Argentia, Newfoundland in the early 1940's. This community had a long history with the first census in 1687 showing 35 inhabitants. The main occupation was fishing and the community was large and close knit. Having to take your belongings and leave house and outbuildings behind to be bulldozed into the ground was a very traumatic ordeal for my family and I'm sure for everyone involved. To add insult to injury, they received approximately $ 3000 in compensation for their property. While they moved to a community, Jerseyside, only 20 minute drive from Argentia, it was another world to them. Many of the everyday objects painted in my Remnants series made that move from Argentia. Throughout my career, I've explored this event in a number of ways.

In this work, I've taken many liberties with composition in my effort to give the feeling of being disrupted, dislocated, and unsettled. One of the techniques I've used is shifting many of the images out to the edges (bad karma in composition ) and leaving open spaces in the middles. I guess this is a case of breaking the rules to achieve a specific feeling. I would appreciate any feedback you might like to give on this work.

All three are 8 x 8 inches on board.

I need to integrate the organic shapes above the house more. This was even more obvious when the work was photographed. Since I now photograph my work throughout the process of creation, I find it a very helpful way to stand back from my work to decide what's next. Another strategy I use to help with overall value considerations is to copy the photograph on my black and white laser printer.

While the upper left looks white, it is blue green and fairly integrated. For some reason- light reflection or my poor photography skills - it won't photograph that way.

I'm considering this one complete.

There are two others that are not working out that well. They may have to be abandoned.

Looking down again

My mind is wandering here and there and I can't seem to focus on the two concurrent bodies of work that are spread all over the studio. This happens to me quite a bit. I am not one of those artists who works consistently day in and day out. I certainly have the time to do that, but it doesn't happen that way for me. I have come to honour my need to be away from the production of work and to accept that even when I'm not physically producing, I'm still being an artist.

Today it must be the melting snow and the imminent approach of spring. I seem to want warm weather and vacation which are all a long way off yet. These longings led me to my digital trip folder. Anything to keep me from focusing on the task at hand. I'm a pro at side tracking. Who else do you know would write four articles on art critique to avoid painting? That accounts for the past six days.

I've posted several other photos from my Looking down folder before. I know I want to work on this subject, but up to this point, I have no idea what this idea can/will/should look like. I hope if I look at my reference images enough times, inspiration will hit. These attracted my attention today.
Rome, I think. I was attracted to the green grate first and then the image was sealed when I saw the leaf.

I obviously need to start keeping tack of my photos better. I leave it too long to sort them and then if I've been away for any length of time, everything blends together. Any good tips on how to solve this problem would be appreciated.

Dublin, thanks to the date (which is there because I had a new camera and couldn't figure how to get the date off). Isn't there a wonderful range of colours in these images which many would call gray ? Gray happens to be one of my favourite colours. Yep, that's my gray foot sticking our in the second one. Obviously these are reference photographs not masterpieces!

Critique groups

Critique groups are a great forum for artist feedback . These groups can be in cyberspace, held in a community space as a membership service of an arts organization, or in an artist's studio. If you are joining a group that has already begun, you may have to follow the established structure, but if you initiate a group you can have some say in how it operates.

I've belonged to a critique group for three years. There are five artist members, working in different media with different levels of experience. Sometimes a member invites a guest along. All members are conscious of being fair and constructive in their responses. The location rotates each time. We usually bring 2 or 3 pieces of work and meet for two hours. Other times, an artist may request a special gathering of the group to discuss work for a show or some other special event. Our procedures have evolved over time, and we continue to change to meet our needs.

From this experience and other experiences in workshop situations, I make the following suggestions for effective group critiques that happen face to face.

• You need comfortable seating for the group and a location that permits everyone an unimpeded view.
  
• A sturdy easel and good light are essential (as are a cup of tea or coffee and a snack).
  
• Decide who will go first. Some groups are very organized and keep track of this from meeting to meeting; we just decide at the meeting.
• Limit the viewing to one work at a time unless an artist has a series that needs viewing together. Once everyone has had a turn, begin again. It might be necessary to use a timer to control the amount of time spent on any one piece.
  
• Set at least one minute to quietly look at the work before anyone speaks. This helps control the "blurters".
  
• Sometimes the response can be to a specific question about the work, other times the artist just presents the work without any comment. There are certainly times that an artist might want to set up the viewing experience by providing background information.
  
• If a member of the group is getting bogged down in minute details about the work, try to raise the level of discussion by making a more general comment or asking how these details affect the success of the overall artwork.
• Sometimes the discussion never gets past the analysis level which is very limiting. It is a good idea to keep a copy of the critique process questions handy to prompt higher order questions/comments about the work.
• Have a notebook handy to jot down all the words of wisdom for future consideration.
  
• Try different response structures for variety.

Additional response structures

I love "What's the first work that pops into your head? This is a rapid brainstorming technique where group members keep providing descriptive words for the work until everyone's ideas have been exhausted. The artist records the words so the members can see them and then the work is discussed based on the words that have come up. I love the spontaneity of this process and the range of words that come up. Some of the most insightful discussion about my work have come from this approach.

Another simple but effective approach is Two stars and a wish. I know, it sound hokey, but it works well. I've actually used this in primary grades to get children looking and responding to work in group settings. The two stars are two strengths of the work. The wish is something your would like the artist to think about in reference to the work. It works best if group members jot down their responses before beginning the discussion.

Then there's If this was my painting... This is a quick and dirty response activity whereby the responder steps into the artist's role and suggests one thing they would do differently and why. Remember the artist doesn't have to accept any of the suggestions, but they provide lots of ideas for consideration.

Critique Etiquette

So you've decided to jump into the critique vehicle for a short trip. You have a structure to use to help you look at a piece of work, but is that enough? Exactly how should you make those comments without sending the other person into a state of depression for a week? It is important to find ways to engage in a discussion about an artwork that provides the artist with objective and helpful feedback. It is always easier when critiques occur when the artist is present because it allows for questions and clarification. Both the viewer and the artist have roles to play in the critique process.

The Viewer/Responder
Consider the artist's level of experience
The approach taken to critique and the depth of analysis carried out should be balanced with where an artist is in terms of his/her career. Emerging artists might need a little more TLC than artists settled into their career.

Separate the artist from the work
When a work is critiqued, the focus should be on the work not the person who created the work. The best way to place attention on the work is to avoid the use of “You” statements. E.g., You didn’t …., You used… You can’t… “You” statements put the artist on the defensive, causing that to become the focus rather than what is being said about the work

Involve the artist in the discussion
In face to face situations when it is a struggle to find positive in a work, or the work is confusing, ask questions to draw the artist out. This will provide more information about the work that will enable the responder to move the discussion of the work along.

Highlight areas of concern; don't boss
While the responder wants to help the artist, it isn't his/her role to tell an artist what to do and how to do it. Remember the artist has a personal style, a reason for creating the work, ways of handling materials, etc. that is unique to his/her creative process. It is better to provide comments that highlight any concern or issue with the work rather than telling the artist how to fix an identified problem.

Encourage the artist to problem solve
If the artist responds to a comment with a question, try sending the question back to the artist by asking a more general question like “Have you had this problem in the past?, What did you do then?” or “Do you have any thoughts about it? “

Provide suggestions if the artist asks
Sometimes an artist is truly stuck and would like to have suggestions to ponder. You can help by brainstorming ideas and discussing possible solutions with the artist.

The Artist

Be Willing to Grow
No one is perfect all the time. Even if an artist has reached dizzying career heights , there is always room to grow.

Feel free to ask questions
If the artist isn’t clear about a comment made during critique, questions should be posed that will help the responder elaborate on the comments.

Don't take it personally
Remember the critique is about the work you created- a product, not about you –the person. It is important to separate your own emotions from your art.

Take notes for future reference:
It is helpful to record comments from a group critique so the artist can decide in the comfort of his studio what might be acted on or ignored.

References that informed this post:
How to Give an Art Critique and How to Handle Art Criticism -Empty Easel.
You Suck, the (not so) gentle art of critique.

A process for art critique

Where do you start when you are asked to critique someone's artwork? I find it a bit daunting because I don't want to hurt the feelings of the artist who is often a friend. I have to keep reminding myself that I was asked to comment and that a considered response could be very helpful to the artist. It also helps me if I think about it as giving feedback or response rather than critique. I know, it's just semantics, but it helps me. It became a little easier for me when I discovered a process for viewing and responding to an artwork that allows me time to sort through the work and reach a conclusion or judgment about the success or failure of it. Always I try to be considerate of the other person when making comments. I'm currently writing a post on the "Etiquette of Critique" which will be up in several days. Now on to the purpose of this post.

Feldman (1972, 1981) proposed a formal, objective and open structure for viewing an artwork that encourages describing, analyzing and interpreting prior to placing a personal judgment on the work. This sequence of viewing steps ensures that the viewer has gathered information before leaping to like/dislike conclusions. It certainly isn't necessary to answer all the questions listed in each section. They are there to give ideas about what could be considered in each one.

Description
Describe what you see in the work. This is a listing of facts without judgment statements.

• Note the title and the year created.
• Describe the materials used
  
• What type of work is it? e.g., landscape, still life, etc.
  
• What style is it? e.g., photo realistic, abstract, impressionist, etc.
• What is the subject matter? Describe it.
  
• If it is non-objective work, describe the art elements used (line, shape, colour, texture, value etc.)

Analysis
Focus on the elements and principles and how they are organized. Separate the composition into its parts in order to determine the expressive power of each part and the relationship between the parts and the whole.

• Has a range of values been used ? Has a value dominance been established?
• Has colour temperature dominance been established? (warm or cool dominance)
• Has colour harmony been achieved?
• Are colours repeated throughout the work?
  
• Is there variety in the shapes represented? Have the shapes been grouped together to create a coherent whole?
  
• Is there a clearly organized structure to hold the viewer's eyes?
• If a centre of interest is included, is it effectively established? How?
• Are active areas balanced with passive areas?
• Does the design in this work break the rules, and if so, is it successful?
• What principles of design are used?
  

Interpretation
What does the artwork mean ? This is the viewer's opinion. Here you try to formulate a specific explanation of meaning that fits with the evidence gathered in the first two steps.

• How does the artwork make you feel? What does it make you think about?
• What do you think the artist is trying to say?
• What is the most memorable aspect of this artwork?
• Why do you think the artwork was created?
  
• How does this work relate to other ideas or events in the world or to other artwork?

Judgment
Evaluating an artwork means ranking it in relationship to other works in its class; it is a way of deciding on its artistic and aesthetic merits. It moves well beyond I like, I don't like; it is about how well the artist has succeeded .

• How does this work relate to comparable works? Does it conform to or depart from other works in its class?
• What is original or compelling about the work?
• Does the artwork communicate any major feelings or ideas? (What value do you find in the work? ) e.g., beautiful image, conveys important social message, created insightful connections, connects with history etc.
• Are the ideas /feelings in the work historically or culturally relevant?
• Does the technique used support or diminish the impact of the artwork?
• What are the qualities of the work that engage you?
• Does the artwork come together as a whole?
• Has the artist created a successful image?
• How could the piece be improved on?

Who knew there was so much to giving your opinion ?

Pursuing art critique

The term art critique can have negative connotations, especially for artists who endured demeaning experiences as part of their post secondary art training. I would argue that critique is an invaluable part of creation, and that its success depends on the knowledge of the viewer and the viewer's ability to present feedback in an objective and supportive manner.

In this post, I am referring to any situation artists initiate to gain feedback about their work, not what happens when your work is complete and presented for public consumption. I guess you could refer to it as " in process" critique. Art blogs are a wonderful vehicle for in process critique, but interestingly enough, most of the comments readers give are very positive and supportive. While that makes us feel good, it does not move us along in our thinking about what we create. I think most people don't get into the discussion because of fear of offending the artist, or because they don't quite know how best to express what they truly think about an art work. There are other opportunities for "in process"critique that artists can pursue:

• posting your work on an online critique site,
• organizing a studio visit with a curator, gallery owner or visiting artist;
  
• joining a critique group;
  
• calling upon a trusted artist friend to discuss your work.

Sometimes we are blind to aspects of our work and it takes a conversation with someone else to bring forward things we never thought about. There are certain points to remember if you are going to actively pursue critique of your work and not be crushed by the process. Remember that:

• Artists put themselves in a strong position when they engage in self critique of their work before bringing it to a more public forum for discussion.
  
• Viewers look at art from their life experiences, education, likes and dislikes, emotional state and personal tastes.
• All responses to an artwork are the l opinions of the viewer and should not be taken as a personal criticism of the artist. (that's the most difficult to remember)
  
• There can be great disparity in interpretation between the views of the artist and the intended audience.
  
• Artists do not have to act on or agree with the information gained from a critique.

Over the years as a teacher, curriculum specialist and workshop leader, I've had reason to research formats for art criticism. While there are different formats in use, I was interested in one that allows the viewer time to develop an informed opinion that can be supported with specific references to an art work. One very established method was put forward in 1972 by Edmund Feldman in Varieties of Visual Experiences. This is a much used format for art critique in education today. In my next post I will explore the four elements of this process - Description, Analysis, Interpretation and Judgment and how we can use the sequence to lead to more informed discussion of art work.