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    Author: Jasana

    If you are an art student, were an art student or know an art student, then you probably already know this. We hate critiques. Well, most of the time. For me, it wasn't that I couldn't take criticism about my work —although, if I'm honest, it's one of my least favourite things to do — it was that to me, critiques felt like a waste of time. Let me explain.  I get why critiques are beneficial. They are an opportunity for an artist to get feedback that they may then use to improve their work, and they are also an excellent opportunity to learn about new techniques, explorations, and even subject matter. At least, that's what they are/were supposed to be.  One of the reasons I hated critiques is because there were always only a handful of students who actually tried. Those were the students that made crit semi-tolerable for me because experiencing their art was always an absolute pleasure. They made art school feel like art school, and they encouraged the other trying students and me to bring our A-game every time. But then were those who didn't try. Seemingly, at all. They showed up with things they slapped together 30 minutes before

    In the second year of my undergrad, I took a 19thC European art course with one of the most amazing Professors I have had so far, Professor Alison Syme, and it was in her course that I first learned about the Pre-Raphaelite Brotherhood. I was immediately obsessed

    When I was growing up, hearing Nina Simone blasting from my father’s CD player was a regular thing, so I was familiar with and enjoyed her music, but I knew very little about who she was. That was until I watched the Netflix documentary, What Happened, Miss Simone?

    In the 19th c, exhibitions were commonly organized to promote particular European worldviews. Most of the worldviews that were pushed forth were extraordinarily problematic and often helped to elevate curious European spectators into self-avowed hegemonic positions