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literature
A Guide to Good Criticism
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There are few things in this world that are certain: death, taxes, “Love Shack” being played at a wedding reception and, if you’re an artist, criticism.
Criticism is a very natural part of the creative process. As humans, we often stink with the odor of imperfection and need to be told by our peers so we can clean up with the long, hot shower of revision.
It’s not a bad thing to give criticism, just as long as you’re not an utter jerkwad about it. The first known lesson on providing polite, constructive criticism can be traced back to the oldest known cave paintings in Lascaux, France, where what could possibly be the world’s first critic gave a particularly scathing review of a fellow Neanderthal’s depiction of a bison. The artist was surprisingly gracious in giving a rebuttal for the time, waiting until the critic had fallen peacefully asleep before he smashed his skull with a large rock.
Unfortunately, some do not seem to know how to provide constructive criticism. They timidly approach a piece, give a quick “Nice job!” and scurry away with their hands protecting what they consider their most vital organs. It does not need to be this way, though, and hopefully the following tips will help those who wish to express their opinions in a civil, non violence-enticing manner.
Always try to start off with something you like about a piece (“The colors are very clear and vivid.”). This is, admittedly, harder to do with some of the more “lacking” works (“Your choice of font size is exquisite.”). If you have absolutely no clue how to compliment something, just say it has nice imagery. No one knows exactly what that means, anyway.
After establishing goodwill, give your suggestions as nicely as possible. And let them be just that: suggestions.
Your rendition of “The Last Supper” is very creative, but I have to say that I don’t quite understand why you decided to depict Jesus as a cross-dressing Godzilla and Judas as Slash from Guns and Roses. Also, why did you replace the dinner table with an image of a nude Larry King suspended from the ceiling by lace (although I do greatly admire the placement of the lace at crucial areas)? Does there happen to be some other way you could represent these objects?
If you are forced to become a little mean or implicit in your criticism, there are four magical words that will help you diffuse the situation. These words are more magical than, “Will you marry me?” and even, “I’ve got your money.” They are, “Maybe it’s just me.” See how an effective employment of this phrase helps soften a mildly intense criticism:
This is the worst compilation of idiotic ramblings and flaccid developments I ever hope to lay my eyes upon. It makes my mind reel attempting to conceive what kind of single-celled organism your mother procreated with to result in a creature with as base and unrealized a concept of art as yourself.
Or… maybe it’s just me.
Finally, the best way to learn how to give good criticism is to study the criticism that is made on your own art. Not only will you get first-hand experience on what are nice and not so nice ways of expressing opinion, you’ll also learn how to respond to these opinions effectively.
Just be warned that sometimes, no matter what you do, there will always be people out there who will never be happy with your work no matter what you do. Do not let these people get you down. Sometimes you just need to take such criticism with a grain of salt, or a large rock.
Criticism is a very natural part of the creative process. As humans, we often stink with the odor of imperfection and need to be told by our peers so we can clean up with the long, hot shower of revision.
It’s not a bad thing to give criticism, just as long as you’re not an utter jerkwad about it. The first known lesson on providing polite, constructive criticism can be traced back to the oldest known cave paintings in Lascaux, France, where what could possibly be the world’s first critic gave a particularly scathing review of a fellow Neanderthal’s depiction of a bison. The artist was surprisingly gracious in giving a rebuttal for the time, waiting until the critic had fallen peacefully asleep before he smashed his skull with a large rock.
Unfortunately, some do not seem to know how to provide constructive criticism. They timidly approach a piece, give a quick “Nice job!” and scurry away with their hands protecting what they consider their most vital organs. It does not need to be this way, though, and hopefully the following tips will help those who wish to express their opinions in a civil, non violence-enticing manner.
Always try to start off with something you like about a piece (“The colors are very clear and vivid.”). This is, admittedly, harder to do with some of the more “lacking” works (“Your choice of font size is exquisite.”). If you have absolutely no clue how to compliment something, just say it has nice imagery. No one knows exactly what that means, anyway.
After establishing goodwill, give your suggestions as nicely as possible. And let them be just that: suggestions.
Your rendition of “The Last Supper” is very creative, but I have to say that I don’t quite understand why you decided to depict Jesus as a cross-dressing Godzilla and Judas as Slash from Guns and Roses. Also, why did you replace the dinner table with an image of a nude Larry King suspended from the ceiling by lace (although I do greatly admire the placement of the lace at crucial areas)? Does there happen to be some other way you could represent these objects?
If you are forced to become a little mean or implicit in your criticism, there are four magical words that will help you diffuse the situation. These words are more magical than, “Will you marry me?” and even, “I’ve got your money.” They are, “Maybe it’s just me.” See how an effective employment of this phrase helps soften a mildly intense criticism:
This is the worst compilation of idiotic ramblings and flaccid developments I ever hope to lay my eyes upon. It makes my mind reel attempting to conceive what kind of single-celled organism your mother procreated with to result in a creature with as base and unrealized a concept of art as yourself.
Or… maybe it’s just me.
Finally, the best way to learn how to give good criticism is to study the criticism that is made on your own art. Not only will you get first-hand experience on what are nice and not so nice ways of expressing opinion, you’ll also learn how to respond to these opinions effectively.
Just be warned that sometimes, no matter what you do, there will always be people out there who will never be happy with your work no matter what you do. Do not let these people get you down. Sometimes you just need to take such criticism with a grain of salt, or a large rock.
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This one is sort of strange. I started off with the sole purpose of making some tongue-in-cheek commentary on criticsm, but ended up giving some real advice, too. Does it work?
© 2003 - 2024 triptychr
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Yes, it works. I think you've nailed down some really helpful and insightful notions, especially that opinions, assessments, aesthetic judgments, evaluations are all a natural part of the creative process that accompanies both constructing a work of art (the artist's behavior) and perceiving it (the viewer's/listener's behavior).
And I especially like your focus on how language mediates the critical communication.
A concern: While certainly there are times when something like "maybe it's just me" is quite appropriate, I'm a little leery of concluding that such a phrase is always a magically appropriate diffuser/defuser of tough criticism. Sometimes these kinds of "personal disclosures" can be read as disingenuous, even manipulative, or as merely a way of deflecting justified reaction. Context is important, and realizing that the intent of a critic will not always be its impact on the artist is a salient caution.
Having said that, I want to add that I just left a long critique of someone's gallery that I'd never seen before. I left a long string of positives, followed by a couple of concerns. Each of the concerns was qualified with phrases like "To me" or "Speaking only for myself." So yes, this kind of language use can be helpful to a critic, and to an artist receiving such critiquing.
What I believe is that it's not enough to list negatives in a critique, even if tempered with the "maybe it's just me" thing. What's really important in good critiquing is to be specific about positives, and be just as specific about one or two concerns or wishes. Balance is key, and so is sincerity.
Finally, notice that I have not used the word "criticism" ( = negative evaluation). To me, a good art critic's job is not to criticize, it is to CRITIQUE. And those are two very different things. And in my very, very long experience of training people in how to do evaluations of other people's performance, the recipient of a balanced and fair critique is likely to be much more open to behavior change than someone who has only received criticism, especially when the critique contains a specific request or recommendation or demand,
Just some thoughts to add to the discussion.
And I especially like your focus on how language mediates the critical communication.
A concern: While certainly there are times when something like "maybe it's just me" is quite appropriate, I'm a little leery of concluding that such a phrase is always a magically appropriate diffuser/defuser of tough criticism. Sometimes these kinds of "personal disclosures" can be read as disingenuous, even manipulative, or as merely a way of deflecting justified reaction. Context is important, and realizing that the intent of a critic will not always be its impact on the artist is a salient caution.
Having said that, I want to add that I just left a long critique of someone's gallery that I'd never seen before. I left a long string of positives, followed by a couple of concerns. Each of the concerns was qualified with phrases like "To me" or "Speaking only for myself." So yes, this kind of language use can be helpful to a critic, and to an artist receiving such critiquing.
What I believe is that it's not enough to list negatives in a critique, even if tempered with the "maybe it's just me" thing. What's really important in good critiquing is to be specific about positives, and be just as specific about one or two concerns or wishes. Balance is key, and so is sincerity.
Finally, notice that I have not used the word "criticism" ( = negative evaluation). To me, a good art critic's job is not to criticize, it is to CRITIQUE. And those are two very different things. And in my very, very long experience of training people in how to do evaluations of other people's performance, the recipient of a balanced and fair critique is likely to be much more open to behavior change than someone who has only received criticism, especially when the critique contains a specific request or recommendation or demand,
Just some thoughts to add to the discussion.