Criteria:
To make an installation that discusses two-dimensional catered space of a photographic image
Parameters:
The choice of subject-matter is open.
A chosen photograph is "involved" in the final installation. How the photograph figures into the final installation is to be determined by the artist. This relationship between photograph and the installation is to be understandable by the viewer.
The photograph can be the resource for the installation, or vise versa. The installation can be the subject matter for the photo.
Where the installation is situated is to be considered. The installation borders are evident for the viewers.
Scale is to be determined by the artist.
Materials are consistent with and add to the design intentions and concept behind the work.
critique parameters
Quoted from (Launching the Imagination)
Description: The first step is to look carefully and report clearly. Without evaluating, telling stories, drawing conclusions, or making recommendations, simply describe the visual organization of the work presented. A descriptive critique can help you see details and heighten your understanding of the design. The student whose work you describe learns which aspects of the design are most eye catching and readable and which areas are muddled and need work.
When using description in a spoken critique, it is useful to consider the following compositional characteristics:
- What is the format or boundary for the design? A circle or sphere presents a very different compositional playing field than a cube or a square.
- What range of colors has been used? A place and white design is very different from a design in full colour.
- What is the size of the project? Extremes are especially notable. A sculpture that is 10 feet tall or a painting that is one-inch square will immediately attract attention.
- Is the visual information tightly packed, creating a very dense design, or is the design more spacious, with a lot of space between shapes or volumes?
Cause and Effect
Build on description using cause-and-effect critique, you might conclude that because [of certain design qualities] you might conclude the design is dynamic. In a cause-and-effect critique, you discuss consequences as well as choices.
Greatest Strength/Greatest Potential
Many projects have one notable strength and one glaring weakness. To create a positive atmosphere, start by pointing out the strength in the work. Begin by looking for [formal attributes]:
The level of unity in the design and how it was achieved.
The amount of variety in the design, and how much energy it generates,
The visual rhythms used and their emotional effect.
The attention to detail. This could include craftsmanship, conceptual nuance, or compositional economy.
A conceptual spark. We all love to see an unexpected solution that redefines the imaginative potential of a project.
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