Customer Reviews

The Critique Handbook

5 star:		(5)
4 star:		(4)
3 star:		(1)
2 star:		(1)
1 star:		(1)

 

 

I am an adjunct photography professor at a private college. This book was used as a text for a joint workshop on The Critique for the art department of our school and another local college. Given the complexity of the subject matter, this book does a good job of covering the basics of an art school critique. I particularly appreciated the discussion regarding the role of faculty and the personal baggage we sometimes forget we can bring to the party. It's impossible to cover all the possible permutations of The Critique, but this book does a fine job of highlighting the peculiarities of several art disciplines and the details that should be addressed. It gives you a springboard to make the conversion even if your discipline isn't specifically covered.

If you teach art or hold critiques in your class, I believe you will find this book very helpful.

My only quibble is the type size for my aging eyes. Don't be fooled by the physical size of this book. It may be compact but it makes up for it with density.

First off, thirty bucks is waaaaay to much to spend on this book. For that reason alone I'll never assign it to students, they can read it on reserve or in the library. The content is not worth that money since so much of the same information exists on the net. Whats good: It covers basics of old school critiques such as leave your ego at the door, talk about the formal qualities of the work, etc. What's not so good: It presents a model of critques implicitly stressing formative assessment (judging each work). The model also does not readily account for various contemporary ideas about what might make a work of art exciting, such as how many questions the work of art raises, which can directly contradict the old school model of judging art. I worry too that the book does not deal very well with art that doesn't conform to the European/North American idea of "good", which students will tell you is a bagful of outdated rules. It's a start, but by no means would I recommend putting all your eggs in this basket, as a student or as an instructor. A good second year class, for example, will already want to break many of the "rules" found in this book.

What a fantastic idea! How is it that something as essential and ubiquitous as the studio critique had not been examined in this way before? This book takes on the task brilliantly. "The Critique Handbook" is a wonderful mixture of how-to manual, theoretical analysis, irreverent debunker and basic gameplan. The authors' analysis of how to make the best use of the critique applies both to those giving the critique as well as to those receiving them. While students will find the book quite useful in learning how to negotiate the critique and find the best uses for the information presented to them there, professors and other professionals will also find much to think about in the authors' analysis of what makes a critique helpful and harmful. And, delightfully, the authors are not afraid to take on the sacred cows of the profession. Any art professor will appreciate the witty and deadly portraits of their colleagues sketched by Buster and Crawford in their analysis of the types that can be found in the artist's studio.

This is a well-written, insightful and important manual that every professor, teacher, curator, gallery owner, student and professional artist should have on their bookshelf. It IS extremely expensive, but worth every single dime. There is a million bucks worth of info between its covers! Run and place your order...I'm glad I did!

This book is very specific about how to conduct a critique and how to survive one without becoming emotionally involved. Although it only discusses the traditional fine arts,i.e. painting and sculpture, the techniques involved can be easily adapted to othere less trasditional forms of art, i.e. fiber art or photography. A very good book.

Way Cool! Proud to boast about this great project! Kendall Buster and Paula Crawford have tackled a very difficult and taboo subject with wit and wisdon, keen insight and thoughtfulness that transforms the culture of studio art education into a clear discussion of the artistry of creative presentation and all of the thinking, doing, and planning that support it. The authors unravel a mystery for art students to ingest that can only have positive impact on their the work. Artists who are eager for depth, breadth, and better ability to plan and present their ideas to others - this is a must read! The content is completely applicable to all art discipline areas. From painting to sculpture, printmaking, ceramics, design, photography - it cuts across all areas of the visual arts and binds the conceptual with the end product in an engaging discussion of the ways and means of creative evidence, philosophy, and discussion. An excellent required and affordable text for studio classes across the board! Harold Linton, Chair Art & Visual Technology, George Mason University.

When we are asked to explain why a work of art is great, or even why it is not, this book enables you to work through specific criteria that helps you to critique any work of art; be it a painting, a sculpture or video installation.

I would recommend this book to any art student.

I first came across this book while researching for teaching. It's a great resource for fine art teachers and professors as well as students and art enthusiasts. It helps build constructive, more objective critiques and gives anyone interacting with art a foothold to begin and facilitate dialogue.

This book is well thought out and presented in a logical manner. That being said, I would like to point out that I wish there was a more indepth discussion of language usage in critique situations. To use words such as "like", "interesting", or any variety of everyday words which are abused in an effort to express an attraction to work of art are absolutely ineffectual and a waste of everyones' time. In offering a critique of a given work you MUST be able to explain WHY you are having the reaction so the maker can learn what to do, or not do, again in the future. This isn't rocket science, but it does require a decent command of one's vocabulary.

This book guides you in the area of critique. It helps you to take another look at art/design. The book has options on how to critique and you can take what you want out of it to critique your own work, check on your progress and others.