My thoughts on the second chapter are that formal matters are a lot easier to talk about than content. Meaning is messy. There are a lot of chips and axes to watch out for. By bringing up different scenarios and changing certain elements, the chapter illustrates how details like the artist's history or formal choices can really change the effect and meaning of a work. Knowing this, I guess the thing to do in my artwork would be to make formal choices that work best to convey whatever meaning I decide upon. Although people could still argue that I didn't make the best formal choices for the message, as well as disagree with my view. oh well. I tried.
What I find very interesting is that the only thing concretely true in that chapter is that every aspect of a given piece has its own meaning. That meaning is most likely different in some fashion for each individual who views that piece.
Yes, I agree with Eames. Seems any piece has its own meanings once people find its references, relations or the artist's theories. It's like "everything exists with reasons." Personally, I prefer artworks that can be easily perceived by most people. It means the artworks are not about artists themselves, their inner hearts. I don't like the artwork that is too mysterious. Viewers need to guess its meaning and can give many meanings by personal experiences or imaginations. The chapter2 give some theories about how to judge the forms and contents of artworks which are useful. Does an artwork use found objects high profile?
Meaning and content are the very core of art as "conversation piece." If one of the purposes of art is to instigate dialogue, then it is the very subjectivity of meaning and content that give art its ability to engage us as viewers and cause that dialogue to begin. It is rare that an object or a symbol has a universal meaning; an axe may be a tool to many cultures but it may also be seen as an ancient symbol of war to others. As an artist, to be aware of the subjectivity of symbolism is to make a more sophisticated work of art. We should be aware of the universally symbolic tendencies of particular objects, but also make every effort to realize that they should not be taken as concrete facts.
Like the 1st chapter, re-reading the second I found new things. "Meaning can change as the work ages... meaning never be finite or stable." I thinks can also be applied to form as well. As the work ages the form can break down, and become unclear. I thinks this relates to what Trevor is saying about universal meaning, meaning changes with the time and the society. Also - I agree with Angela about meaning being messy- I love the part in the reading talking about "loaded message" and personnel issues being a "minefield"- Mike
In chapter Two, the author interpreted many complications related to the meanings of a work. It expanded my thought and understanding of the abstract work a lot. Since I spent long time on learning drawing and sculpting figurative work before, I know the meaning of the work mostly from the gesture of the figure ." Indeed, form carries with it an emotional content. An abstract form can suggest figurative gesture. Gesture can also be explored in abstract work through movement of the viewer's body or eye." " Gesture is also present in work when the act of its making, that is, the artist's gesture--remain evident in the form". So meanings of the work is not simple anymore. It comprises so many factors ( like culture, material, color, size.... ) that we can consider.
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My thoughts on the second chapter are that formal matters are a lot easier to talk about than content. Meaning is messy. There are a lot of chips and axes to watch out for. By bringing up different scenarios and changing certain elements, the chapter illustrates how details like the artist's history or formal choices can really change the effect and meaning of a work. Knowing this, I guess the thing to do in my artwork would be to make formal choices that work best to convey whatever meaning I decide upon. Although people could still argue that I didn't make the best formal choices for the message, as well as disagree with my view. oh well. I tried.
What I find very interesting is that the only thing concretely true in that chapter is that every aspect of a given piece has its own meaning. That meaning is most likely different in some fashion for each individual who views that piece.
Yes, I agree with Eames. Seems any piece has its own meanings once people find its references, relations or the artist's theories. It's like "everything exists with reasons." Personally, I prefer artworks that can be easily perceived by most people. It means the artworks are not about artists themselves, their inner hearts. I don't like the artwork that is too mysterious. Viewers need to guess its meaning and can give many meanings by personal experiences or imaginations.
The chapter2 give some theories about how to judge the forms and contents of artworks which are useful. Does an artwork use found objects high profile?
Meaning and content are the very core of art as "conversation piece." If one of the purposes of art is to instigate dialogue, then it is the very subjectivity of meaning and content that give art its ability to engage us as viewers and cause that dialogue to begin. It is rare that an object or a symbol has a universal meaning; an axe may be a tool to many cultures but it may also be seen as an ancient symbol of war to others. As an artist, to be aware of the subjectivity of symbolism is to make a more sophisticated work of art. We should be aware of the universally symbolic tendencies of particular objects, but also make every effort to realize that they should not be taken as concrete facts.
Like the 1st chapter, re-reading the second I found new things. "Meaning can change as the work ages... meaning never be finite or stable."
I thinks can also be applied to form as well. As the work ages the form can break down, and become unclear. I thinks this relates to what Trevor is saying about universal meaning, meaning changes with the time and the society.
Also - I agree with Angela about meaning being messy- I love the part in the reading talking about "loaded message" and personnel issues being a "minefield"- Mike
In chapter Two, the author interpreted many complications related to the meanings of a work. It expanded my thought and understanding of the abstract work a lot. Since I spent long time on learning drawing and sculpting figurative work before, I know the meaning of the work mostly from the gesture of the figure ." Indeed, form carries with it an emotional content. An abstract form can suggest figurative gesture. Gesture can also be explored in abstract work through movement of the viewer's body or eye." " Gesture is also present in work when the act of its making, that is, the artist's gesture--remain evident in the form". So meanings of the work is not simple anymore. It comprises so many factors ( like culture, material, color, size.... ) that we can consider.
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