Formal Critique Zoom Workshop | October 16 organizing/introductory meeting

INSTRUCTOR | Kevin Tully
DATE | October 16, 2024 CST organizing and introductory meeting, subsequent meeting dates and times will be discussed and decided upon during the introductory meeting
TUITION | 150.00
CLASS SIZE | limited to 4 

Kevin has developed a workshop based on a formal art critique using the elements and principles of art and design. The process showcases the importance of critique to seeing and examining images with an intentional narrative, story, or intended emotional impact.

After a brief organizing and introductory zoom meeting on October 16, each participant will be presenting their work over the next four weeks.  It will be a group conversation conducted with the four participants and Kevin. One individual presenting at each 1 to 1.5 hour sessions, preferably with images from a single body of work. Dates and times for the four meetings will be mutually decided by the group during the October 16 meeting.

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“After almost thirteen years as an artist immersed in the fine art photography world, as a gallerist and gallery director — conducting portfolio reviews, workshops, mentorships, and group critiques, I have developed a group critique workshop based on the concept of a formal art critique, based on the principles and elements of art and design.

Over time I have discovered the seeming irony that discussing value, texture, unity, etc. in a critique is very helpful with the discovery of the effectiveness of story, narrative, graphic chronicle, or allegory intended by the photographer in an image and body of work.

It is also natural and often unavoidable that reviewers, us that do critiques and other participants, unconsciously bring our personal biases to the moment. The process can be subjective. The uniqueness of this approach is that, by examining an image through the lens of the principles and elements of art and design, it can lend itself to a more objective examination of images.

In the art world there is significant emphasis put on the necessity of working in bodies of work. In my opinion, this is a very good thing. However, when reviewing or critiquing bodies of work the individual images may not be as closely examined as possible. It is natural that once those doing the critiquing have been informed of the title, read the statement, and talked about the idea behind the work, for those involved to focus more on the work as a whole. The formal critique process allows for more examination of individual images and consequently how they relate to the whole.

Most importantly, because of the group setting, with five sets of eyes on the work, there is the wonderful advantage of what the others in the group bring to the discussion.”

Kevin Tully
August, 2024

Any questions, email kevin@asmithgallery.com.

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I have been participating in a photography critique group with Kevin Tully for over a year now. Kevin is everything you could wish for in a group leader: knowledgeable, insightful, supportive, inspiring, generous, and passionate about art and photography. He has really helped me with understanding and developing my own work, and with gaining a deeper appreciation of modern fine art photography.     Jim Turner  

Kevin’s approach is unique. His training as an artist enables him to critique an image within an established design framework, strengthening his comments by relating them to relevant formal criteria. He begins by asking the photographer their intent. He then briefly describes the image, allowing the photographer to see the work through the viewer’s eye.   Finally, he goes beyond the personal to consider elements of composition such as color, value, balancing of positive and negative space, texture and form.  Kevin’s interest is in how these elements combine to create a sense of unity within an image.  Do they work together to communicate the intent as previously stated?  Or could fine tuning the composition make the work more effective? An additional benefit of this approach is that it generalizes.  Appreciating the results of improved composition in one image affects the seeing /composition of images yet to be made.     Robin Boger

Kevin is an amazing critique leader—friendly, knowledgeable, and incredibly creative. He fosters an inspiring and supportive environment that helps us all grow as artists. Kevin blends his vast knowledge of various art mediums to elevate your work and create a cohesive story for your viewers. Since joining Kevin’s critique workshop, I’ve seen significant improvement in my work. I highly recommend taking any class with Kevin as the instructor!     Bryan Galgano                                                   

“Do not miss the opportunity to work with Kevin in his ongoing group critique workshop! Kevin’s eclectic background in fine art painting, woodworking, and landscape design provides him a solid understanding of design, aesthetics, and elements of fine art photography.  Kevin is a gifted mentor, teacher, and group facilitator.  His compassion, empathy, and capacity to meet the artist where they are is unparalleled.

I have had the pleasure of working with him in numerous workshops, private mentoring and always come away excited to be an artist.  His program provides a solid framework and understandable algorithms for approaching your photographic practice.  As a long-time photographer, I find his guidance and system provides a reproducible approach to expanding my fine art projects. ”     Keith Kesler