Judging a photograph is much more than offering an opinion about the piece. An effective critic is one that supplies the reader with their insight about the piece as well as an explanation for their judgments. Though the criteria for evaluating the piece varies from one critic or work to another, alternative viewpoints and insight assist viewers in thinking about the piece from a new perspective.
Barrett states, “A judgment is a what that demands a why.” Readers will only take the critic seriously if their appraisals are founded upon fact and criteria. This criteria is established from different art theories, including realism, expressionism, formalism, and activism. It is extremely important that the critic understands the difference between these categories. An artist might have the intent of creating a series to inform society about a problem to create change. This is going to be reviewed with consideration of how a social concern is relayed and the consequences it brings about. On the contrary, an expressionist’s work might be reviewed with consideration for the artist’s emotions and how they were portrayed. Critics might have differing criteria even for the same photograph. The photographer’s intentions should be kept in mind, not as a standard of whether the work is good or not but as a reminder of the work’s purpose.
A critic will only be taken seriously if they remain truthful and justified. Merely stating that an artist’s work is original or moving won’t be effective unless the writer includes more details about their viewing experience. Once they explain the reasons for their judgment, their views will be taken seriously when compared or contrasted to other critics’ judgments. Furthermore, whether a critic likes or dislikes the matter they are reviewing should not affect the rationality of their argument. A writer should be willing to educate others about their interests, but they must remember that the primary topic is about the art object, not the critic. Though passion is important when reviewing a piece, remaining educated about the work is just as crucial.
The Filter Photo Festival is a prime opportunity for photographers of all levels to learn more about the field and spark their inspiration. The workshop we attended, Funding Your Personal Photo Projects, was informative and educational. The panel of professionals has all had a large amount of experience with applying for grants and was especially helpful in providing the audience with ways to do so. A valuable tip that Rich gave was, “You have to be your number one grant-maker.” Through government, foundation, and individual or corporation grants, receiving funding for projects is quite possible. He advised to find a fiscal agent with the same mission. Similarly, Encarnacion mentioned that photographers can look for grants that aren’t photo specific. The third speaker, Carlos Ortiz, is an example of an artist receiving funding for a common purpose, social change. He posted his project, “Too Young to Die,” on Kickstarter.com, and then successfully received his funding goal through pledges of individuals also hoping to spread awareness about youth violence. Work that has an impact on an individual or historical level can undoubtedly receive funding.
Photo festivals are a wonderful opportunity for artists from the same location to network and converse with one another. The particular workshop we attended seemed to be geared toward novice photographers, especially those right out of college. Emerging artists must keep in mind that the business side of photography has to be taken seriously. Though I don’t need to start applying for grants now, the workshop reminded me that it is important to stay organized by developing an artist’s statement and creating a resume, bio, and website. This experience was different than our studio or museum visits but was equally important, as the business side of photography can’t be forgotten about.