Page 29

The Herald And The l^antern

Thursday, July 12,1979

BARBER'S

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PAINTING/, from the gr-OTJ-rad ^ Jteryt t'rtu'f

"Study the Masters and paint from Nature". This approach to Art has appealed to me since I first noticed it. ('Substitute your favorite verb for "paint" and your'll have an inspirational guideline through life.) Art is a civilizing process in which a representative of mankind produces an image which is acceptable or alien to its viewers. The impact of the image may depend upon several factors: the strength of the artist's viewpoint; the relevance of the image; the receptivity of the viewer. • Today’s artist has an open- ' ended framework on which to structure his approach. There seem to be no limits as to that which is considered "Art" and so each artist sets up her own conditions. (Out of this "no holds barred" attitude has sprung/ conceptual Art which includes any idea and malm-ial. or no idea and no material. As ambiguous as conceptual Art is. it nevertheless includes the factors of intent of the artist. Jhntent of the work, and extent of viewer’s perception. • A viewer may reject a piece for being "to abstract". which simply means that it does not have relevance for him. The dominant imaged of an era are those which are agreed upon to be “"real”. For example, to us, the motionless figures of the Ehyptians seem stone-cold strange. Their formalism and rigidity (and monumental power) runs counter to the culture of the 20th Centruy which is rather free-wheeling. To the ancients, however, the meaning behind the statues and the ideas for which • they stood ran as currents within their daily lives, and so. oecause of their relevance, the statues were certainly real. Considered the images of our time which are agreed d|>ontobe"rear’: imprints on film, dot and line screens on T.V., paintings by copyists; etc. Since we are conditioned to accept it, we naturally assume that photorealism

is the ultimated of descrition. In fact, our lives are so full of photographic images that we view and judge the world through them; they are indeed shaping our reality though not necessarily bringing us any closer to the Truth. We are dazzled and wellinformed of the multitude of varieties of things in this world, but we are not seeing them with depth. Photophaphs are 2dimensional toned shapes on paper which are hounded by the fact that they capture an instant in Time, a superficial section. Contrasted with Life, there is no sense of movement, and though they are immediately recognizable, they sacrifice subjectivity which is the key to understanding. and the core of humanity. Understand that I agree that a photograph is a marvelous thing, as far as it goes But it is naive to think that it gives us a realistic picture of things. And it is disturbing to consider how convinced our culture is by these images* Some artists wish to go beyond photo-realtsnn They subjectively experience a thirtg, run it through them, so to speak, accenting a certain aspect of its, or seeking a pattern within the whole. Of course, when (hey do, their followers begin dropping like flies. However, astute viewers will benefit by their personal focusing and perhaps even begin to develop their own subjective awareness, and trust its veracity. I have '‘taught” Art for more than to years now, but 1 still share the thrill of a student "seeing" things for the first time. I suggest to the armchair spectator to peel the film from your eyes and Look.

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