Critique Handbook - Chapter 2

In chapter 2 of the Critique Handbook, Buster and Crawford look deeper into the granular nuances of art. The overarching focus in chapter 2 seems be to give more attention to the broader social aspects of the art and to give a critical clarity to the importance of the relationship between the art and the artist. They do this through a series of clear definitions and examples of formulaic methods that are very easy for the reader to grasp without the need to look at specific paintings either on-line or in person. They also expand the vocabulary of the artistic viewer and give a broader helping of methods for understanding the deeper societal aspects of art as a whole. The techniques outlined lend themselves to a greater understanding of where an individual artist might be communicating from with a particular work or body of work and should give both artists and critics a cause for reflection about what a work might be attempting to communicate beyond the artist’s approach to technical adherence.

Through clearly defining meaning, signification, denotation and connotation, content, subject matter and the subtle nuances of objectification, Buster and Crawford dissect the very nature of what could be construed as primitive or beginning works. Along with forcing the viewer to engage with the work and possibly understand the vast motivations and peculiar psyche of the artist, the viewer is also directed to connect with themselves and their own particular motivations and psyche. No work, regardless of its overarching simplicity, material choice, color, content or perceived/assumed hierarchy should be discounted until the viewer asks why its there and connects to it in such a way as to understand the motivations for its very existence in the first place.

What I came away with reading this chapter was a deeper respect for art outside my taste culture. I historically have disregard work when I didn’t find myself connecting to it esthetically on some level or if my initial response was that it academically inadequate in some capacity. In short, if I didn’t like it, I kept moving. What this chapter gave to me was a reason to stop and look again, and a vocabulary as to why that’s important. While almost impossible to discern the motivations of every individual artist that I encounter in my journey through appreciating the unfathomable amount of art around me, I can try to begin to understand why a particular piece doesn’t appeal to me and connect a little deeper as to the how and why of that encounter. In short, I can try to figure out why the artist was trying to speak to me, how they were attempting to do that and why they made the choices that they did to attempt to communicate with me the way they did. I often critique harshly but do so internally and try to embody respect for every endeavor as each moment that we dedicate is a reflection of our divinity. While idealistic and true, I am not always my best or particularly patient. In a way, chapter 2 of the Critique Handbook is about just that, being your best when you view a piece and being patient with both the work and the artist that is giving you the gift of their work.