ART 100W Fine Arts Writing Workshop San José State University Instructor: Janet Silk WRITING ASSIGNMENT: Formal Analysis/Compare–Contrast Essay Draft due: 2/20 Final due: 3/5 This assignment meets the following ART100W Course Goals/Objectives and Learning Competencies: • • • • • Proficiency in reading and writing about issues in the art and design fields Write complex ideas clearly and correctly (e.g., spelling, grammar, punctuation) Use standard art and design vocabulary and forms of writing appropriate to art and design disciplines Pre-write, organize, compose, revise, and edit documents Advancement of students’ critical thinking “All the arts live by words. Each work of art demands its response; and the urge that drives human beings to create—like the creations that result from this strange instinct—is inseparable from a form of ‘literature,’ whether written or not…May not the prime motive of any work be the wish to give rise to discussion, if only between the mind and itself?” -Paul Valery (1871-1945) ASSIGNMENT OVERVIEW: For this assignment, you will write a four–five page (1000-1250 words, double spaced, standard academic formatting), formal analysis–compare and contrast essay about two-three San Jose State University student-created artworks of your choice that are in a current exhibition. On the final due date, all documents will be turned in as hard copy and online. • • • • This four-five page length requirement does not include your separate Illustration Page(s) Select two-three works from the same or a combination different artists presenting their work in any of the SJSU Department of Art & Art History Department galleries: (some may be listed here http://events.ha.sjsu.edu/art/student-art-galleries/). Remember that there is a student gallery on the second floor of the Industrial Arts Building. Also, you may choose student work presented in the display cases of the Art Building in which case you will note the display case identifying information (which is usually communicated through signage on or by the case itself). CONTENT DEVELOPMENT: • I have scheduled class time for artwork selection, and I encourage you to start your field research work when you receive this instruction sheet. • We will develop content that incorporates the basic format of formal analysis: description, analysis, interpretation, and judgment. • There are supplemental documents on Canvas. In particular, please review the documents on visual art vocabulary. THE ESSAY FORM: FORMAL ANALYSIS • The challenge of writing a formal analysis is not to simply follow a formula. You must choose what you want the reader to look at based on the point(s) you are trying to 1 of 7 ART 100W Fine Arts Writing Workshop San José State University • • Instructor: Janet Silk make about the work. Everything you choose to write about must be there for a reason. You are building a case, in essence, supporting your critique with verbal cues to the reader. Think of yourself like a tour guide, or as if you are giving a lecture or presentation and want to persuade the audience to your point of view. The following is a guideline (not a one-size fits all formula) with examples containing four basic components or stages of formal analysis as defined by art educator Edmund B. Feldman. We can use this guideline as a way to slow down and see what is in front of us. When you first introduce the work, communicate the facts of the exhibition(s), (Who? What? When? Where?) This should grab the readers’s attention and give a general sense of what you see as you enter the gallery (or other location). It serves as a way to visually orient the reader about where they are in time and space and lead the reader in to discover what you are going to talk about. Use your cinematic mindset to set the stage for the reader. For example, if it’s a group exhibition, you might start by discussing the show title, gallery name, location, and other general observations and then choose a specific artwork(s) to critique. You would then in effect, “move in closer,” to identify the artist(s), the title, the medium, and year the work was created. (If you have other ideas regarding how you want to discuss artwork [for example, the effectiveness of an installation, compare/contrast between works in a show], bring your ideas forward in class.) 1) DESCRIPTION: Describe the visual facts of the work. Describe the work without using value words such as "beautiful" or “ugly.” Make objective or value-neutral* statements about the work in question. These are the material facts of the work. Exclude interpretations and evaluations, and, instead, take an objective inventory of the work. Point out materials or technologies used to create the artwork. *A test of objectivity would be that most people would agree with your statement. Thinking style examples: • What is the size of the work and the media or material used? • What are the elements used in the work of art? • Describe the artist's use of color. How many colors have been used? • Describe the textures. • Describe the lines in the work. • What kinds of shapes do you see? • How is the work displayed? • How many objects or materials are presented? 2) ANALYSIS: Although the term here relates closely to Feldman’s notion of “description,” the term “analysis” builds upon the initial discussion of identifying and describing an artwork’s most basic visual elements and material, and going beyond that to understand why it looks as it does. This means, looking at the picture, sculpture, or 2 of 7 ART 100W Fine Arts Writing Workshop San José State University Instructor: Janet Silk whatever the work may be and identifying how the principles of the work of art organize its elements. Make statements about the relations among the things you named in the description (step 1). For example, you could note similarities and dissimilarities in formal elements–such things as color, shape, or direction. Take note of continuities (such as the color red repeated throughout the work) and of connections (for example, the shape of a window repeated in the shape of a table) between these formal elements and the subject matter. What kind of spatial devices are used to create dimensionality? Do you see examples of repetition or rhythm? Thinking style examples: • Is your eye drawn to any particular area of the image? • Is there an element that stands out in the composition? • Is the composition balanced? • Does the work look flat or does it give a feeling of depth or space? • Is there symmetry, asymmetry, use of negative space, repetition? • What is the relationship between objects in the installation? 3) INTERPRETATION: The purpose of the interpretation is to comprehend each individual's response to works of art or design. These are personal interpretations that can be emotional and/or intellectual, involving the mood and feeling or philosophical speculation that each individual sees in a work of art. For example, your interpretation can draw on art history and theory, psychology, politics, or cultural issues. Everyone brings his/her/their own experiences and associations to each and every encounter with an artwork. Therefore, works of art and design have unique meanings for each viewer. This third stage of looking allows you to vocalize your own interpretations, making connection with the work before you and, perhaps, the things that you have experienced and thought about in your own life. Ideally, the content you created in steps 1 and 2 support your interpretation. Thinking style examples: • What kind of mood or feeling do you get from the image? • Do you “see” a story? • If you could imagine yourself within the image, how would you feel? • What sounds or music do you hear? • Why do you think the artist choose this particular subject to sculpt? • What is the content of the work of art? • What meaning or ideas are being expressed by the work? • What seems to be the artist’s intention? • How does the presentation of the object within the exhibition affect your interpretation? 4) JUDGMENT: Everyone appreciates different things about art. This fourth stage of looking at art is about judging if an artwork is successful and to explain why or why not. You can compare and contrast different aspects that you think are strong or weak, or simply focus on the work’s strength or weakness. Judgment is entirely personal and 3 of 7 ART 100W Fine Arts Writing Workshop San José State University Instructor: Janet Silk does not have to match the opinion or taste of anyone else. It is important for each individual to develop an understanding of and feel confident about what they do or do not like. And to clearly and thoughtfully communicate why. Thinking style examples: • • • • • • What do you think is the most important aspect of the work? Is it successful in expressing content such as a mood, idea, or feeling? Is it aesthetically pleasing? Is it successful in representing a subject? What do you like or dislike about the work? Do you agree with its politics or social commentary? What you write as your judgment might function as a lead in to your conclusion or closing statements; it’s important not to just “drop off” at the end of your essay. Leave your reader with a sense that her time was well spent. What do you want her to learn, discover, think about, or question? COMPARE–CONTRAST: • For a discussion about how to approach writing a comparison essay, I have attached to the hard copy of the instruction sheet, given out in class, “Writing a Comparison,” which is taken from Sylvan Barnett’s book A Short Guide to Writing About Art, chapter five. • Practical advice (for creating charts and diagrams) can be found from the University of North Carolina at Chapel Hill’s Writing Center: https://writingcenter.unc.edu/tips-andtools/comparing-and-contrasting TONE/VOICE: • You may use the first/second person or third person voice for this assignment. If you need to review what that is, read this PDF compiled by the St. Louis Community College, “Point of View in Academic Writing.” https://www.stlcc.edu/docs/studentsupport/academic-support/college-writing-center/point-of-view-in-academic-writing.pdf • The tone is formal or semi-formal, even if written in the the first person. See Purdue Writing Center “Levels of Formality.”https://owl.purdue.edu/owl/general_writing/ academic_writing/using_appropriate_language/levels_of_formality.html • You must consciously attempt to use sensory description and active, vivid verbs throughout the essay. This may seem counter to some of the more “objective” aims of formal analysis, but it is a rhetorical device that will pull the reader in by appealing to their senses. FIELD RESEARCH: My suggestion is to find a few different artworks and brainstorm potential topics for your discussion, from which you will develop your paper. 4 of 7 ART 100W Fine Arts Writing Workshop San José State University Instructor: Janet Silk TAKE A PHOTO OF THE ARTWORK(S) (Be prepared to bring this image to class for in class work before the draft is due.) TAKE NOTES. Follow the four steps above as way to organize your thoughts content development. • • • • • • Write down the artist’s name Title of the piece (italicize all artwork titles [for the remainder of the course, learn that this includes movies, games, etc.]) Date (if given) Medium (in addition to more “traditional” genres, medium includes digital works, installation, performance, mixed media etc.) Size (can be approximate) Location (this means gallery name or display case number and “Art Building, [or other building] Department of Art and Art History, San José State University”) DRAFT VERSION: Should be a fairly complete version of your essay. You should have a clear idea about your topic, know what you will write about, know what your focus is and the point(s) you are trying to make, and have written at least two–three pages of content. Their should be no or few grammar or punctuation errors. FINAL VERSION: As you work toward your final version, pay attention to the assignment requirements and ask for clarification. READ MY “REMINDER/ CHECKLIST” DOCUMENTS (page 7) BEFORE YOU TURN IN YOUR PAPER! ILLUSTRATION PAGE(S): Along with the final version of your essay, you will create separate Illustration page(s). This will come after the last page of your essay. On the Illustration page(s): • Present images of each of the artist(s) work with the above mentioned identifying information typed underneath it, written in caption format. (See below.) On the final due date, all these documents will be turned in as hard copy and online. EXAMPLES AND DISCUSSION OF FORMAL ANALYSIS AND COMPARE– CONTRAST ESSAYS: Student samples of formal analysis papers: ualr.edu/art/art-history-resources/papersand-projects/formal-analysis-paper-examples. I don’t consider these outstanding or exemplary work, but they follow the basic goals of a formal analysis essay form. Purdue OWL discusses the basics of formal analysis and mentions the goals of a compare/contrast essay:https://owl.purdue.edu/owl/subject_specific_writing/ writing_in_art_history/art_history_essays.html Marjorie Munsterberg’s blog “Writing About Art” has a section about the history of formal analysis. http://writingaboutart.org/pages/formalanalysis.html 5 of 7 ART 100W Fine Arts Writing Workshop San José State University Instructor: Janet Silk Title Page example Wain, Louis, Cat with Cat Necklace, ca. 1920s. Oil on canvas, 3’ 11 7/8” x 5’ 9 ¼”. Gallery IV, Art Building, Department of Art and Art History, San Jose State University. 6 of 7 ART 100W Fine Arts Writing Workshop San José State University Instructor: Janet Silk REMINDER: CONTENT CHECKLIST FOR FORMAL ANALYSIS ASSIGNMENT 1. THE ESSAY FORM: The challenge of writing a formal analysis is not to simply follow a formula. You must choose what you want the reader to look at based on the point you are trying to make about the work. Everything you choose to write about must be there for a reason. Use sense-based verbs, adjectives, etc. to help convey what you see and give life to your prose. 2. When you introduce each work for the first time, include the facts of the exhibit, (Who? What? When? Where?). This should give a general sense of what you see as you enter the gallery (or other location). It serves as a way to visually orient the reader about what you are going to talk about. 3. DESCRIPTION: Describe the visual facts of the work. Describe the work without using value words such as "beautiful" or “ugly.” Make objective* or value-neutral* statements about the work in question. 4. ANALYSIS: The analysis builds upon the initial discussion of identifying and describing an artwork, going beyond that to understand why it looks as it does. It conveys an understanding of relationships and or “parts to whole” thinking. 5. INTERPRETATION: The purpose of the interpretation is to comprehend each individual's response to works of art or design. These are personal interpretations that can be emotional and/or intellectual, involving the mood and feeling or philosophical speculation that each individual sees in a work of art. 6. JUDGMENT: This stage of looking at art is about judging if an artwork is successful and to explain why or why not. 7. ILLUSTRATION PAGE REMINDER: WRITING STYLE & GRAMMAR CHECKLIST FOR FORMAL ANALYSIS ASSIGNMENT Demonstrates an understanding of and application of: • • • • • • • • • • • • formal vs. informal voice first person vs. third person point of view sensory description active verbs art and design vocabulary accurate punctuation accurate spelling accurate grammar, especially subject-verb/pronoun antecedent agreement conveys a sense of the author’s active engagement with the topic and with the reader overall organization of the essay makes it easy for the reader to follow the author’s point ideas within paragraphs are organized sentences are clear and make sense 7 of 7 Artist Statement I see beauty in normal things. My paintings are of surroundings I encounter in my everyday life: my home, public library, and the ceramics studio. They are all familiar to me, but when I look at a scene I am immediately drawn to their shapes and colors. My work seeks to appreciate normal scenes. Using oil paints allows me to bring out the colors and emphasize nuances that make the scene interesting. My goal with my paintings is not to capture realism, but to capture the perceptions of being enamored. : San Jose State University 1 Mundane Spaces Fe Villanueva 10 - 13 February 2020 Herbert Sanders Gallery Industrial Studies Building #236 Opening Reception: Tuesday, Feb. 11th, 6-8 P.M.
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