Critique is an essential component of art and design education, serving as a pedagogical tool that encourages metacognition and creative output.
Through the critique process, students learn to articulate their thoughts on their work and the work of their peers, fostering a culture of constructive feedback that can significantly enhance artistic development. Critiques provide an opportunity for students to build self-efficacy, as engaging in public speaking about their work can bolster confidence and fundamental communication skills. The public aspect of critique makes it a nerve-wracking experience for many students, particularly those who are shy or unfamiliar with the process.
There are various approaches to conducting critiques in art and design classes, each with unique benefits and challenges. The traditional critique model generally involves a group discussion led by the instructor, where students present their work in front of their classmates. This method encourages open dialogue and facilitates peer feedback. However, it can be overwhelming for those less confident in public speaking or those who are not used to hearing criticisms of their work. To counteract this, instructors may opt for small group or 1:1 critiques, where students present to just a few peers or one individual. These models can create a more intimate and supportive environment, allowing for deeper discussions and reducing anxiety.
Another approach is the structured critique, which utilizes a rubric to guide the discussion. This method provides clear criteria for evaluation, helping students understand the expectations and standards for successful work. Rubrics can demystify the critique process and ensure that feedback aligns with specific learning outcomes. As students become more familiar with these criteria, they can critically self-assess their work, fostering independence and intrinsic motivation.
Peer-led critique is also a way to conduct critique. This approach involves students taking turns leading discussions and providing feedback to one another. Doing so empowers students and cultivates a sense of ownership over their education and aligns with the Universal Design for Learning which seeks to make learners responsible for their learning. Additionally, peer-led critiques can teach students valuable skills in facilitating discussions and providing constructive criticism.
Finally, integrating digital platforms into the critique process has emerged as a modern solution, especially in increasingly hybrid learning environments. Online critique sessions can provide flexibility and attract different perspectives by shifting participation modes away from verbal feedback. Digital tools can also help document feedback for future reference, enhancing students’ ability to engage with critique more reflectively.
In conclusion, art and design education critiques are vital for fostering communication skills, enhancing self-efficacy, and encouraging critical thinking. By employing various critique methods—from traditional group discussions to more innovative digital platforms—educators can create supportive environments tailored to their student's needs, ultimately enriching the learning experience and cultivating a deeper appreciation for the creative process.
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Souza, A. de. (2018). How art can be thought a handbook for change. Duke University Press.
What terms do we use to describe and evaluate art, and how do we judge if art is good, and if it is for the social good? In How Art Can Be Thought Allan deSouza investigates such questions and the popular terminology through which art is discussed, valued, and taught. Adapting art viewing to contemporary demands within a rapidly changing world, deSouza outlines how art functions as politicized culture within a global industry. In addition to offering new pedagogical strategies for MFA programs and the training of artists, he provides an extensive analytical glossary of some of the most common terms used to discuss art while focusing on their current and changing usage. He also shows how these terms may be crafted to new artistic and social practices, particularly in what it means to decolonize the places of display and learning. DeSouza's work will be invaluable to the casual gallery visitor and the arts professional alike, to all those who regularly look at, think about, and make art—especially art students and faculty, artists, art critics, and curators.
Yoon Soo Lee Functional Criticism: How to have Productive Critiques in the Creative Classroom. http://yoonsoo.com/LEE-functional-criticism-2015-v92.pdf
Dr. Martin Luther King, Jr.’s Beloved Community Guidelines https://docs.google.com/document/d/1vUuZRbH8qKSxp5iG2oMZqKZpEM-fwRoc/edit?usp=sharing&ouid=110604183040957189664&rtpof=true&sd=true
Latour, Bruno. “Why Has Critique Run out of Steam? From Matters of Fact to Matters of Concern.” Critical Inquiry, vol. 30, no. 2, The University of Chicago Press, 2004, pp. 225–48, https://doi.org/10.1086/421123. Available on jstor through Otis College Millard Sheets Library.
E-flux Conversations. Sreshta Rit Premnath: Critique as Unlearning https://conversations.e-flux.com/t/sreshta-rit-premnath-critique-as-unlearning/5722
Judith Leeman, Observations on forms and pattern of critique 2004 http://static1.1.sqspcdn.com/static/f/131936/27297882/1476969700447/Observations+on+forms+and+patterns+of+critique.pdf?token=X6EQdZ6rguxmUwPvMjowiOesLDE%3D
Antiracist Classroom - Student-led organization at the Art Center College of Design.
Beyond Critique: Different Ways of Talking About Art by 
The Problem of Assessment in Art and Design by 
Beyond Critique: Contemporary Art in Theory, Practice, and Instruction by
Critique has long been a central concept within art practice and theory. Since the emergence of Conceptual Art, artists have been expected by critics, curators, and art school faculty to focus their work on exposing and debunking ideologies of power and domination. Recently, however, the effectiveness of cultural critique has come into question. The appearance of concepts such as the "speculative," the "reparative," and the "constructive" suggests an emerging postcritical paradigm. Beyond Critique takes stock of the current discourse around this issue. With some calling for a renewed criticality and others rejecting the model entirely, the book's contributors explore a variety of new and recently reclaimed criteria for contemporary art and its pedagogy. Some propose turning toward affect and affirmation; others seek to reclaim such allegedly discredited concepts as intimacy, tenderness, and spirituality. With contributions from artists, critics, curators and historians, this book provides new ways of thinking about the historical role of critique while also exploring a wide range of alternative methods and aspirations. Beyond Critique will be a crucial tool for students and instructors who are seeking to think and work beyond the critical.
The Critique Handbook by 
Education by 
How Art Can Be Thought- Chapter 4, Critique as a Radical PrototypeOtis College of Art and Design | 9045 Lincoln Blvd. Los Angeles, CA 90045 | MyOtis
