Using Art Criticism Strategies in Ethnographic Research

Abstract

This is an examination of the use of art criticism strategies to enhance ethnographic research in art education. First, premises for making such a connection are outlined, then the goal and philosophical foundations of such research are described. Next, a structure and strategies for a method for critical ethnography are described. Finally, evaluation of findings and the potential generalization from such findings are discussed. Ethnography, the research method that centers anthropology, is becoming increas ingly popular in art education. Ethnogra phy consists of engaging in fieldwork, closely observing and recording behaviors and ways of being of a group of people, then writing an interpretive account that emphasizes descriptive detail (Marcus & Fischer, 1986). In process and spirit, this is very much like what an art critic does in the face of a work of art in examining it closely and in detail toward the end of in terpretation. Both anthropologists and art critics con struct narratives related to the human meanings they believe to be embedded in that which they examine. Both accounts are figurative/metaphorical in nature. Critics and anthropologists usually don't try to measure, quantify, or scientifically predict anything based on what they examine. Rather they try to get the picture, then present the story as they see it. Further, both kinds of reports are pri marily individualized rather than general ized. Both critics and ethnographers look first at specific, singular phenomena for meaning, only then (if at all) attempting to generate theory about art or life in general. This is a recent change on the part of an thropologists, however. Traditionally, they did attempt to arrive at generalized under Standings of people and cultures based on their field research (Benedict, 1934) in a positivist-systematic way (L?vi-Strauss, 1963). Today, however, borrowing espe cially from literary theory (Clifford & Marcus, 1986; Marcus & Fischer, 1986), many postpositivist anthropologists are no longer persuaded that shared (universal) beliefs or ways of doing things exist outside the bounds of local history and culture. Rather, they see behavior as localized, individual ized, and in a continuous process of inter pretation and reinvention (MacDougall, 1995). This has fostered a growing ten dency to accept individualized and subjec tive interpretations as appropriate ends for ethnography (MacDougall, 1995). Although these individualized findings may serve as vantage points indicating collective expe rience, Fernandez (1986) describes an thropology as focused on being there spe cifically rather than on the nature of being in general, which is the role of philosophy. This closely parallels art criticism which seeks individualized, subjective meanings of particular works of art, and its relation ship to aesthetics which constructs gener alized theory. It shouldn't be surprising, then, that with all these similarities in goals and spirit, the means employed?the inquiry or research strategies?are also very compatible. In what follows, I will suggest how art criti cism strategies might consciously be em ployed in ethnographic research in art edu cation. I will refer to this fusion as ethno

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