The Voices of Critique

By Tim McCreight

When we share something we’ve made, whether it’s a piece of jewelry or a plate of cookies, we sort of know in advance that we’ll receive a compliment. Many of us were taught as children that, “If you don’t have anything nice to say, don’t say anything at all.” And I, for one, do not want to contradict that good advice. That spontaneous cheery response to whatever we’ve done is what I’ll call one “voice” of critique.

Another voice, and perhaps one you know firsthand, is the internal voice that seems to take the opposite position. You started your project with a brilliant vision of a lovely piece in which every line, texture and sparkle contributes to a breathtaking piece, and there it is lying lifeless on the bench. If you were to make the effort to describe your disappointment, the words would be harsh and dramatic. This voice is not only unkind; it is also unhelpful.

Fortunately, there are other voices available to us. An example that is probably familiar to most of us is that of a healthcare professional — a doctor, nurse or dentist for instance. This is someone who knows us only in a business relationship, but has our best interests at heart. And, importantly, has background that makes what they are saying valuable and probably important. It doesn’t make much sense to go to a doctor then disregard everything they’ve said.

That’s a good reference for an art critique as well. A proper critique starts from a position of best intention; the point is to provide useful guidance in a manner that is clear and honest. Just like in the doctors’ office, this might not be something you want to hear, but that doesn’t mean it is meant to be hurtful or disrespectful. It’s important to avoid a knee-jerk reaction and instead allow the comments time to settle in.

It’s tempting to respond to a critic’s voice, to explain your reason for choices you made regarding materials, colors or references. Personally, I start with the idea that an artwork should be able to speak for itself. The artist is not always going to be on hand to explain their work, and if the work is good, it can speak for itself. That’s why it was made in the first place.

The Mastery Modules provide a valuable voice for anyone interested in elevating their work. The first part of the equation is to find knowledgeable artists whose judgement and intentions you can trust. The other part is to open yourself to comments that you might find jarring or even disappointing at first. You don’t have to agree with every voice of critique you hear, but you owe it to yourself to reflect on what you hear with objectivity and interest.