how I critique
Marvin P Bartel
Critique is a difficult issue, but very important in the teaching/learning
setting. A good critique is an important and wonderful teaching/learning
moment. A bad critique essentially ends the teaching/learning relationship.
(I don't get too concerned about correcting the braggers. They don't
ingratiate themselves with many of their peers, but it doesn't bother me if
they have an inferiority complex and need to boast. Everybody seems to
ridicule them behind their backs and I sort of pity them.)
As an experienced artist it is hard not to comment on mistakes in student
work. For what its worth, I try to follow some advice others have given me.
As a general principle, it is fairly safe to make positive comments about a
student's work. I often bite my tongue and hold off until I find a way to
explain something that is working, at least for that student. I try to ask
to see more than one piece at a time. This allows me to say which one I
think works better and why. Nothing much has to be said about the other
piece unless the student specifically asks for clarification, and why it
wasn't selected.
However, there are times when we need to find a way to deal with the
negative aspects in order to raise awareness. I have a colleague who wrote a
book on criticism. I asked him how to deal with negative stuff. He suggested
using QUESTIONS when dealing with the bad stuff. The questions are stated in
a way that the instructor (not the student) owns the problem. He/she (the
teacher) finds it hard to understand the reasons or the intentions of the
student and needs help from the student to understand the issues being
expressed. "Hmm, can you help me understand the thought behind this, or why
you did it this way?" "If you could make that handle larger or smaller,
would you change it? Which do you think it should be?" "Can you help me
understand the style you are after with this? Are you modeling it after
something, or are you working at originating a new style?" "Where is your
inspiration coming from?" "What skill improvement are you concentrating on?"
"What feeling are you after?"
Instead of offering direct criticism, I am trying to help them discover the
things I am seeing in their work. It is so easy to say what is wrong with
something made by people who are at an earlier stage of development. It is a
lot harder to figure out where they are so they can be nurtured into higher
aspirations.
When several students are together, I often ask them to help each other
"read" each other's work. They are not encouraged to simply "like" something
- better to explain it. Students can accept another students reading with
less loss of face than when the professor fails to read what was intended in
the work. When directing a group, I might ask them to start with the good
stuff and point out the first good thing they notice about another student's
work.
I don't want to leave the impression that these things always work for every
student. A few are wanting more "honest and straight forward" do's and
don't's. Some don't want to be creative. Some may want to learn THE
"correct" way so they can go sell some mugs. A few have little interest in
learning from the class, but simply want a place to play. A few simply want
to get the credit. These are the minority. To combat this, I try to start
the term with a very rigorous (but enjoyable) assignment the first day of
class. My intention is to weed out those who lack self-motivated.
Marvin Bartel
> ----------------------------Original message----------------------------
> AHHHHH=21=21=21
>
> I have a question for the list. My Studio assistant is very good at the =
> little
> jobs I give him, but.... His pots are, well to say the least 1st term =
> student work at best.
> The problem is he thinks they are the best, even to the point he has told =
> some of his instructors that he is well above all others in his ceramic
classes. =
> And
> when I have tried to help he just says you need to look at all my work. =
> Well I have and AHHHHH=21=21=21=21=21
>
> I do not think I am the best, but I have been throwing pots for around 20 =
> years and making a living at it for the last 5 full time. I have am a Best of
> Missouri Hands Juried Artist as well as suppling several gallerys and doing =
> the show routine also.
>
> Am I wrong to try and help? Should I have to keep quiet about BAD pots? =
> Maybe I am just blowing steam?
>
> Any help would be very very helpful at this point.
>
> Jeff
***********************************************
Our November, 98, Visiting Artist, Mary Ellen Mark is at:
http://www.goshen.edu/art/DeptPgs/MarkProg.htm
Our current gallery schedule:
http://www.goshen.edu/art/exhsc98.htm
***********************************************
Marvin Bartel, EdD., Professor of Art
Goshen College, 1700 South Main St., Goshen IN 46526
Office (219) 535-7592 Fax (219)535-7660
Studio (219) 533-0171
To preview my October, 98 exhibition: www.bartelart.com/exhibit.htm
The show runs through Oct 25
In the Goshen College Art Gallery, Good Library
Fax (219) 535-7660
e-mail marv...@goshen.edu
http://www.goshen.edu/art/
http://www.bartelart.com/
***************************
http://www.bartelart.com/acorn.htm
"Plant trees. It's a good thing."
Marcia Selsor
Dear Marvin,
I appreciated your response on critique just before I was facing a day of 6
hour critiquing. I think the service of Clayart is the offering of support
such as yours. I have taught for 24 years and find it no easier to critique
especially when the students have less and less time to put into their work.
A huge THANK YOU for starting my day with a refreshing reminder of what
teaching is all about and what my job should be.
Marcia in Montana
Marvin P Bartel wrote:
>
> ----------------------------Original message----------------------------
> Critique is a difficult issue, but very important in the teaching/learning
> setting. A good critique is an important and wonderful teaching/learning
> moment. A bad critique essentially ends the teaching/learning relationship. <s
Jonathan
A funny story about a teacher, criticism, and me:
Several years ago I began an apprenticeship with a potter who worked
mostly with porcelain and had been a painter and sculptor before
throwing clay. She constantly was after me to throw a constant curve in
my bowls, but I just didn't get it, and the way I didn't get it was to
become defensive and pretty much refuse to listen.
One day down in her studio, she looked at a set of bowls I had thrown
and shook her head. "Jonathan, I don't understand why you throw bowls
in this shape."
"But people buy my bowls!!!" I responded.
"People buy bad pottery," she responded.
I got it that day, and that interchange has remained with me. Thank
goodness I can smile about it now, and I tell this story to my own
students who get quite a kick out of it!
Jonathan in DC, watching my dog leap after a bit of a carrot she found
somewhere.