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Critique: A Powerful Tool -- Use Responsibly!

by Susan Holland

Separating helpful critique from destructive commentary is sometimes a tricky business, but it is wise to understand it from both the critic's end and from the point of view of the person whose art is being critiqued.

There are several things to consider:

1. Obviously there is the matter of opinion and taste. This can vary for a thousand reasons, and that is as it should be! The critique to worry about the most is when no comment is made at all!
2. There may also be (as in the story of the boy and the candy bar) extenuating circumstances brought to the interchange unbeknownst to the parties involved. Has the critic just come away from an argument with another person? Does he or she have a grudge against the artist for some reason? Does one of the parties have indigestion, or a toothache? Making a responsible critique would be an effort in these circumstances, and receptivity to honest commentary might be difficult as well. Do consider the source, and discount the comments of irresponsible people.
3. It is the product on the easel that is subject to critique, not the person who created it. This is a tough thing to remember when the art work contains "blood, sweat and tears" that feel as if they are the soul of the artist.

This third item on the list is what can make or break the potentially helpful process of critique.

The purpose of a critique is not to accept or reject an artist; the purpose is to discuss an art work's strengths and/or weaknesses. Whether the comments given are sweet praise or painful criticism, responsible critique can be a very positive force that will lift the artist toward accomplishing better work The process ideally should be a learning experience for both the artist and for the critic! The critic should approach with a fresh eye, seeing the art as an entity by itself, not as an extension of anything else; the art must stand on its own.

What is responsible critique? Try these examples on for size:

1. "The drawing is strong, but the color balance seems not yet solved."
2. "You don't know color from a hole in the wall."
3. "Oh no, it's another landscape!"
4. "You're a great artist!"
5. "The concept is rational but the presentation is semi-esoteric and psychically elusive."
6. "I would like to see you develop this theme."

Now try to imagine what the artist is thinking about each of these comments:

1. (I did a good job of drawing. I can work on getting the color balance stronger.) HELPFUL
2. (I fail color. I may not be an artist after all!) NOT HELPFUL
3. (My painting is trite.) NOT HELPFUL
4. (I'm really a terrible artist--you should see the stuff I throw away.) DESTRUCTIVE
5. (Huh?) USELESS BABBLE unless these terms are well defined to all involved.
6. (I'm onto something interesting that deserves more time and effort.) VERY HELPFUL

One of the best things about subjecting your art to critique is that it gradually becomes a better and better experience. The more times you experience critique (yes, even the negative kind) the more the percentages will encourage you. For every minus, you may get a balancing plus or two. As you benefit from many eyes looking and many minds sharing about your art, you will gain confidence and a bit of perspective about what others have to say -- what to take in and what to ignore.

There is much to be gained from both roles in the critique process, and artists who have been in either role will be the wiser when it comes to the next critique session. Happy and healthy critiquing to all!

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