Every artist expresses his or her personal world views and values through their work. The art critic, on the other hand, is not the artist's promoter, but is the arbitrator who facilitates healthy debate between art and its audience. For any critic to accomplish this, he/she must master evaluating with the use of the three main planes of analysis in the study of art.
Semiotic Plane
This is the plane wherein the viewer considers the elements of the work. Every part of the work is to be considered as a potential meaning conveyor. This simply means that each aspect, whether it is as trivial as a rock on sand or the color of clouds, contributes to the overall impact of the work. The mere presence of an object or material is already an evidence of its significance.
An analysis of the semiotic level, considers the aspects of the work, such as elements, media, and technique, as signifiers (coined by Ferdinand Saussure in Signs, Cours de la Linguistique Generale). When evaluating a work, one must have a more sensitve percepetion of the elements – a line must not been as merely horizontal or vertical; its density, porosity, stroke, and the like must also be observed. Also, the elements must not be studied sequentially but rather interactively. It should be noted that the materials, technique, and other elements of the work, go hand in hand with the meanings they signify and likewise with the other elements in the work.
On this level, the viewer is working specifically with the art as a language. In art criticism, it is important to be conscious of what the basic elements signify.
Iconic Plane
The term icon pertains to a single image with a unique meaning. Although this plane is concerned with the image, and may be confused as being part of the semiotic plane, an analysis in the iconic level mainly fits with representational or figurative art, as opposed to the semiotic plane that deals more with abstract art.
This plane includes the presentation of the figure relative to the viewer – its positioning, whether frontal, profile, among others – and what meaning these orientations convey. Familiar questions to be asked when observing in this plane are: “what would be the difference if the figure was centered or all crammed on one side?”, or “What does the direction of the character’s gaze imply?”, or “Why is the figure cropped?”, and the like.
The figurative style has been around for centuries, constantly evolving and multiplying. Some of the most renowned arise from the classical, realist, impressionist, and expressionist figuration. But it must be noted that the critic must not unwisely “brand” a work if a certain element fits one style.
Thematic Plane
Art always has a historical and cultural influence. This plane requires the knowledge of the time and space aspect of the work being evaluated. Every piece has its own bit of history, and certain social, economic, and political influences inseparable with it.
A good analysis within this plane demands that the viewer knows the artist’s background. Themes may be derived from the significant circumstances of the artist and hence this information contributes to understanding the meaning of the work.
In this plane, art is viewed in relation to its time, and the ideologies and concerns of that period. Works may considered as allusions or references to popular events of certain eras.
The Art Critic’s Role
Art, as diverse as its meaning is and whatever shape it may take, is best interpreted by utilizing the three planes of analysis. The essential role of the art critic is to give the viewer a sum of this meaning but at the same time, allow enough space for this audience to widen this horizon of perception. After all, “art is an experience.”
Reference: Guillermo, Alice. "Art Criticism." Humanities II: Art, Man, and Society.
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