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ART 425 Artist in Context
Why Analyze? analáyásis The process of breaking a complex thing into its parts in order to
better understand how those parts and their interrelationships create the
whole. We
analyze a work of art to better understand it. Some might argue that art
should be simply experienced without any analysis while others might argue
that a more in depth understanding of something deepens and enriches any
experience. But we donÕt have the luxury of choosing. As art producers, it is
essential we do our utmost to understand how an artwork functions. There are
lots of ways to analyze a work of art. Art historians and critics often
analyze an artwork in terms of its historical, professional, and social
contexts. This sort of analysis entails considering a broad range of factors
that fall far outside an individual artwork in itself. In our case we will
limit our analysis to the consideration of a single work of art in terms of
how and what it directly communicates to its audience (us) because this is
the type of direct visual analysis
that is often most relevant to studio artists. Note that an analysis like
this relies only on what we perceive in the work directly including depicted
subject matter, referenced content, and formal properties. That is why I call
it visual analysis. You might also
see it referred to as formal analysis,
but strictly speaking, a formal analysis
is more limited in that it only addresses form elements not image content.
Neither visual nor formal analysis takes into consideration information
outside of the work itself including artistÕs statements of intention, other
critical interpretations, or contextualizing information. Visual Analysis: A Study
of Effect and Cause efáfect –noun 1. A result: something that is produced by an agency or cause; a
consequence. 4. An impression: a
mental or emotional impression produced, as by a painting or a speech. 5. A meaning or sense; purpose or intention. cause- noun 1. That which makes something happen For
our purposes, an ÒanalysisÓ of a work of art can be understood as an
explanation of cause and effect relationships. Any artwork can be said to create certain effects. This can be understood simply
as a singular quality or impression that a work makes but more often, the effect of an artwork is a product of
interactions between multiple qualities and the inferences that may follow.
In this way effect is an aspect of
a workÕs content or meaning. Thus a visual analysis is a reasoned explanation
of the connection between the elements of the work (cause) and the impression
they make on the viewer (effect). Considering these connections broadly
enables the analyzer to address the meaning of the work. But
keep in mind that a visual analysis is not just a description of an artwork,
nor is it a bunch of observed effects, nor is it just a declaration of a
workÕs meaning, nor is it even a list of effects and their causes. You have
to make a claim about a quality or aspect of an artworkÕs expressive nature
(thesis) and name your reasons based on evidence observed within the work
itself (outline of your supporting argument), and then ÔargueÕ it in a clear,
understandable, reasonable manner (explain in detail how these causes give
rise to the effect or meaning in question). Breaking the Analysis
Process into Steps Your
final visual analysis essay must include all of these things organized and
written in a clear, connected, reasoned manner. But writing an analysis is
much like making a work of art. It doesnÕt just happen, it is built step by
step through a productive process. So we will break this process into three
distinct phases; the content development phase where you will focus on
developing the thesis and supporting argument that will form the content of
your analysis. the essay structuring focus phase
where you will focus on organizing and articulating these ideas into
something coherent for others to read, and finally the writing focus phase
where we will work to improve articulation, grammar, and readability of your
writing.
Step
1 and 2 can be complete as notes (no need to hand them in but keep them in
your notebook because I might ask to look at them). All parts of step 3 and 4
should be typed out (please label each step) and submitted as one MS Word doc
titled yourlastname_va_content.doc.
See below for exact details for each step. Step 1. Observe and
Respond (in your notebook) Step 2. Find a Focus (in
your notebook) Step 3. Develop your focus
A. Nutshell B. Ask questions C. Redraft nutshell Step 4.
Develop a thesis A. Draft a Thesis B. Assess with supplied
prompts C. Redraft thesis
The
first step in analyzing a work of art is to experience its effects. This is
done by both exhaustive observation of the works qualities in all of its
aspects and the initial responses you have to these qualities. If you have
not done this a lot I recommend using question prompts (as can be found in
Barnet pgs. 77-144) as a way get beyond the most obvious features and make
the type of detailed observations that might otherwise not occur to you. You
can choose to begin with observations only or with just your responses. But
remember it is the connection between these things that you are ultimately
after. So I recommend at least trying to do both simultaneously but keep it
simple and avoid jumping to larger conclusions (leave that for later). If you
are struck by an impression/response write that down and then ask what might
be causing that, if nothing occurs to you move on. If you make an observation
about a feature of the work write that down. Quickly jot down any initial
responses that this observed feature creates for you. But again, donÕt labor
it. My guess is that you will end up with a list that is observation heavy.
That is natural. Consider all aspects of the work beyond depicted subject
matter including all formal and physical properties, title, viewing context,
overt and implied references to other art or non-art topics. I
recommend making a two-column chart.
You donÕt need to fill in both columns immediately, sometimes
relationships between effect and quality will come to you as you go or maybe
you will have multiple things to add to what youÕve already noted. You might
even begin to organize your observations into appropriate groups such as
multiple observations about the color palette, or the way a figure is rendered,
or the way the space is organized etc. (but donÕt labor this, reorganization
will be the next step) The most important thing is to keep going and not get
bogged down and, donÕt edit out any thoughts so your list is as complete as
possible. Example:
Start
with what you have written down. Look at all your observations and responses
and see if you find linkages. Begin to physically reorganize your list by
putting related things together as a way to begin to see connections. Some
people recommend Venn diagramming, using index cards, or other visual ways of
seeing interrelationships. As you begin to reveal connections go back and
reconsider observed features that you were not at first able to interpret but
maybe now see as fitting into larger patterns. There are a number of things
you can do to move from individual bits of observations and responses: 1. Find common themes by exploring the relationships
between things (connections and parallels but also contrasts!) Does the
use of artificial colors relate to the mechanical feel of the geometrical
forms? 2. See things in terms of each other (bring one
thing to bear upon another) If this is
a ÒMadonna and ChildÓ then how might one understand the significance of the grid? 3. Go beyond generalizations by forcing yourself to
make distinctions. The form is
femaleÉwhat type of female? Is she sexualized because she is nude? 4. Broaden the scope of your observations by
considering implications. If the
mechanical female is labeled as a ÔMadonnaÕ then what is being said about
this classic relationship? DonÕt
skimp on this discovery phase. It is the very heart of this process. Do you
begin to reveal a significant idea of what this artwork is about and how it
goes about communicating this meaning? It might be undefined and disorganized
but this could be the beginning of a thesis! Once you have a germ of an
idea go back to the artwork and your list of observations and restart the
process of observation and response over again but this time with this idea
leading your search. Once youÕve thoroughly re-explored the work in this way,
it is time to begin to better define to this loose ideaÉ Note:
through this process of searching for connections, remember that meaning in
art is more connotative than denotative. We canÕt analyze a work of art like
we would a simple concrete phenomena. Meaning in art is such that it points us toward a realm of ideas and associations and
rarely resolves itself into a single all-inclusive statement (this artwork
means x).
There
are a few activities that can help you move from a rough idea to a something
that ultimately becomes a thesis.
A.
Nutshell According
to Karen Gocsik of the Dartmouth Writing Center, ÒNutshelling is the simple
process of trying to explain the main point of your observations in a few
sentences.Ó When you put your
thoughts in a nutshell, you come to see just how your thoughts fit together and
what the overall "point" is. In short, nutshelling Òhelps you to
take your observations and to transform them into something meaningful,
focused, coherent.Ó Try nutshelling a couple of times to see if you can
improve or vary your statement better express your idea. It is better to do a
number of versions and then select and incorporate as feels right rather than
trying to do it in one single pass. B.
Ask and Answer Questions To
add depth and insight to your idea, go back to your nutshelled idea and the
work itself and ask challenging questions (pretend your are me, what
questions would I ask if you presented me with this idea?) Questions might
challenge your idea, ask how other aspects of the work fit in and or ask to
explain how examples support your idea. Write out at least 6 questions and
your answers. C.
Redraft your nutshell idea in response to this activity.
A.
Draft an Initial Working Thesis Time to try to draft a complete working thesis (a
complete thesis is one that both makes a claim and gives and overview of your
argument). Develop your support by considering what needs to be said in order
to explain and prove your claim. This will mostly consist of observations
taken directly from the work but might also include addressing broader
assumptions. Identify the most
relevant examples being sure they include a diversity of elements in
the work (subject matter, material, rendering style, formal properties,
title, context, attitude etc). Then
go back and test your claim in terms of the artwork. Look for the less obvious
examples (are there ways other aspects of the work that might fit your
claim?) B. Write a one-page assessment of your initial
thesis in light of your questions and the prompts copied below thesis in response. C.
Redraft your thesis
Thesis Assessment:
Support Assessment: Are the points you make to
support your thesis well selectedÉ
1 Karen
Gocsi, http://www.dartmouth.edu/~writing/materials/student/ac_paper/develop.shtml |
