Media Art Essay Assignment Available Here

Media Art
Media Art

Media Art

In art making courses, critique is the primary pedagogical tool. The student artist presents their work to the group, which is engaged with, interrogated and interpreted. The purpose of critique isn’t simply criticism, it’s to ascertain levels of meaning (both intentional and otherwise), effectiveness in terms of technique and representation, and to provide the artist with the opportunity to articulate their intention while comparing that with the interpretations of artist peers in order to determine if they’re communicating what they think they are. This is where my dictum that good/bad and like/don’t like aren’t useful. What matters is critical engagement with the elements and operation of the work.

A common method for critique has three parts: 1) Description: Take an inventory of all the elements presented in the work, such as light, color, size, camera movement, sound, etc., 2) Interpretation: Consider what the process and the elements in that inventory suggest in terms of meanings and associations, 3) Evaluation: Determine the effectiveness of the formal techniques employed in expressing the ideas, as well as the operation, i.e. what the work is doing in terms of its over-riding action and affect.

For example, if we think of Andy Warhol’s famous Brillo boxes, the operation was a conceptual gambit to introduce commercial product design into the lexicon of high art as sculptural (found) object. It was subversive both as a critique of consumer culture and art world hierarchies of value. The work harkened back to the seminal moment of conceptualism in 1917 when Marcel Duchamp placed a white porcelain urinal on a pedestal in a Paris exhibition, called it The Fountain, signed it as R. Mutt (the manufacturer) and declared it a work of art. This was the birth of the found object, what Duchamp called a ready made. Not every artwork is ambitious, savvy or conceptual enough to contain an operation, but it’s a question that should be asked.

So pick the work of one of the following artists in the module: Nathaniel Mellors, Ryan Trecartin, Petra Cortright and Doug Aitken. Subject their work to the methodology outlined above and provide an analysis of 500+ words. Remember, a critique isn’t a review. As always, avoid simple good/bad, like/don’t-like opinions. Rather, does the piece work, does it make effective use of materials, techniques and concepts?

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