Ur doin it wrong!

During my undergrad experience I witnessed the most vicious critique I had ever heard.  While I was not the "critiquee," I never forgot the experience or the effect on the remainder of the class.  The class was an advanced photography course and this student had produced several pieces throughout the course that were conceptually strong but not well executed and tedious to experience. The final straw came when she presented a 45 minute, silent, static video piece. The critique quickly turned ugly. Instead of focusing on the work, the comments became personal attacks that ended with her leaving the room in tears. She refused to return to class for the last few remaining weeks of the term.

Since then I have been in many critiques.  Students and faculty have recounted similar horror stories and the resulting battle scars.  I recently had a student express concern over an upcoming group critique because they were worried about receiving harsh feedback.  This led me to examine the critique process, what it should and shouldn't be, and how we can all get the most benefit from the process without resorting to making people run from the room never to return.

So what is the function of an art critique?  Let's start by defining what it is not:

• It is not a chance to show off how wordy you can be.
  
• It is not a chance to rip on someone you don't like.
  
• It should never be an attack on personal qualities.
  
• It should never be mean-spirited.

So what should it be?  In my introductory level course I use the analogy of a friend or relative having toilet paper stuck to their shoe.  You wouldn't let them walk around like that would you?  So you tell them, but not with malice or to embarrass them, but to save them from embarrassment.  This is the approach I try to take and instill in my students.  The long term goal of a critique is to give productive feedback that leads to a better product that communicates with intention. 

• Any critique comment should always be constructive and should have the ultimate goal of improvement of the work.
  
• Someone doesn't have to make work you like, but they should be helped to make the work that they are making better.
  
• Style does not connote quality.
  
• Before speaking ask yourself, "How will this suggestion/comment make the work stronger?"
  
• Have your students pair up and have one take notes on the other's critique.  While you're in the "hot seat" it's hard to remember the good things that are being said.
  

At the end of the day the critique should help each student to become a better artist.  I often tell my students this has nothing to do with me.  You might never see me again.  So who cares if I like your work?  What matters is you.  Who are you?  What do you want your work to say?

I still feel badly about that critique in undergrad.   We were tired and frustrated and we took it out on her.  That was not constructive.  And the real lesson was that we should give someone the critique we would want to receive - toilet paper and all.