The Meaning of Artwork is Collaborated
between Artist and Viewer
– Research on the Work of Francis Bacon and Juan Muñoz
Abstract
This paper aims at analyzing a collaboration
between artist and viewer through the work of two artists in the twentieth
century – Francis Bacon and Juan Muñoz. Both of two
masters radically challenged the conventional pictorial and sculptural art in
their time, and enabled viewer to become aware of the their own identity in the
perception of the work. To some
extent, research on the way artist communicates with viewer could exert
beneficial impact on the creation of artwork that contains the viewer rather
than drawing the viewer’s attention towards some concrete external objects.
The findings of the research have led to the
conclusion that – firstly, the collaboration between artist and viewer bases on the extent of
research towards artist, the society and the times in which he/she lives; secondly, the meaning of some artwork is unclear or even non-existent when they
are created, but waiting for individuals to find out, so that the uncertainty
of artworks’ meaning results in multifarious interpretations from different
viewers.
In conclusion, viewers, as appreciators
of artwork, receive and interpret the intention of artwork without an authoritative criterion, which depends on the kind
of artwork, the extent of acquaintance towards artist and personal artistic
accomplishment. Moreover, art is a process of mind communicating between artist and viewer; in which artist collaborate with
viewer intangibly through the artwork.
Key Words:
Aesthetic Experience, Artist and Viewer, Collaboration, Existence, Expression of Meaning
Introduction
It is clearly natural that the development of art
is intimately bound up with the advancement of the society. If artwork, as a special mental production
in the society, separates from the public, they will be entirely insignificant.
For example, as Perricone (1990) points out in reference to the
relationship between artist and viewer, ‘work of art
is like a magnet between creators and appreciators that occurs as a sort of
connected relationship with attributes just like the things it links together
are more dynamic than they been exhibited in isolation.’ Artists
express the thought in their work, from which viewers receive the information
by appreciating and thinking by themselves. However, there is no
absolute consensus on the issue whether the meaning produced by the viewers as
well as the artists.
Since my practical
project focuses on theories of communication that deal with functional system between
viewer and myself, I have considered the elaboration of these systems a
priority. The research paper
mainly focuses on two of the greatest artists of all time – Francis Bacon (1909 - 1992)
and Juan
Muñoz (1953 - 2001), who took a sledgehammer to conventional pictorial and sculptural
art, and the work of whom was radically and provocatively new in their time.
Their work runs contrary to our usual experiences and expectations and
challenges us intellectually and emotionally, in a sense, can tell us about
ourselves, about our own obsessions and desires in the past and future.
But
what and how can these magnificent relics possibly have to say to us in our
video-saturated and digitally-enhanced age? Berger stated that in the way of seeing, ‘… we never look at
just one thing; we are always looking at the relation between things and
ourselves. Our vision is
continually active, continually moving, continually holding things in a circle
around itself, constituting what is present to us as we are.’ (1972 p. 9) In other words, the meaning of artwork
is intimately bound up with experiences and surroundings of viewer; therefore,
to some extent, research on the relationship between artist and viewer could
exert beneficial impact on the creation of artwork that contains the viewer
rather than drawing the viewer’s attention toward some concrete external objects.
Chapter One: The Work of Francis Bacon and Viewer
On the one hand, it
must be said that the understanding of artworks can depend on the acquaintance
of the background of artists or artwork in some cases: that is, the collaboration between
artist and viewer bases on the extent of research towards artist, the society
and the times in which he/she lives.
Every piece of artwork is not isolated, which is created in a particular
circumstance. Due to the fact that
times and social
environment exerts
intangible impact on the artist, the cultural features of such a particular time period always
accompany the personal emotions of artist in the artwork.
Images were
first made to conjure up to the appearances of something that was absent. Gradually it became evident that an
image could outlast what is represented.
It then showed how something or somebody had once looked – and thus by
implication how the subject had once been seen by other people. (Berger, 1972 p. 10)
The original purpose of artwork is to record and
represent the historical event or experience of artists themselves or other
persons on a particular occasion by creators’ extraordinary form of artistic expression.
However, some kinds of overwhelmingly emotional way of expression make
it difficult for people who live in the contemporary society to know exactly
what is the original meanings of old images, what is worse, the confusion
could make the historical evidence totally meaningless. Undoubtedly, it is the devastating disaster of art, even of human
beings. As a consequence, in order
to avoid the mistake, it is very essential for people to do research towards the
background of the specific image. Understanding
the meaning requires people to know the artists’ personal and social status
when they create the works, and then the transformation between reality and art
in the meaning of artwork can be achieved.
Take paintings of Francis Bacon as an example. When people look at his work, they
encounter depictions of human bodies twisting, melting away and in some cases
dissolving. ‘Basically, all his pictures are metaphors of life in which the
dialectics of coming into being and perishing, life and death are inscribed.’
(Zweite, 2006 p. 9) So if people
do not know that he experienced the Second World War and witnessed the
bloodiness of the war, they cannot understand the meaning of the twisted faces
of lonely, brutal, horrible, angry and excited figures.
One of Bacon’s work Painting 1978 (Fig. 1) that is untitled shows a male figure turning
a key with his foot. When you
first see this work, you would be confused – who are two persons, why do the
naked man turn the door with his foot?
Actually, this work is to memorize George Dyer (1934 - 1971) who is
Bacon’s most intimate lover and model, and to express Bacon’s long shadow of
the suicide of Dyer. Because of
his death, Bacon fell into a longtime sadness and could not stop to miss him,
even through Bacon experienced the darkest time of the world. Also, he believed the sadness cannot be
healed by time, which only by painting to relieve the feeling.
In painting an individual, in the interview with
David Sylvester in the 1960s and 1970s, he mentioned, he is ‘trying to get near
not only to their appearance but also to the way they have affected you,
because every shape has an implication’. Indeed, when you research his paintings, you can find out his
paintings continues to push the boundaries of form and colour by portraying an
emotional response to reality rather than merely replicating the external
world, which means the implication of some objects in his works is beyond the appearance to the inner complicated emotion. The locked domestic door, which is
used in some of his works, as a symbol of existential imprisonment, in a sense,
could be transformed to an ineffaceable memory or a huge sadness in this
picture.
Compared with Painting
1978, the door, as an abstractly symbolic object, in Triptych – In Memory of George Dyer (Fig. 2), which is created in
the year of Dyer’s suicide, is the key connection of three images and seems
easier to understand the inner meaning. Thus it can be seen, the meaning of the door is
gradually changing over the seven years, from a visibly connected object to an
intangibly abstract symbol of the brutal reality. If people do not pay attention to the original meaning of
it, how can they exactly know the further meaning of the latter one and the
relationship between them?
The brutality in his paintings reveals not only the
sadness of his own but the chaos of society to some degree. Indeed, in its own
way his work is close to the world that people see every day and is the
reflection of the society in that time by transforming the way people felt and
thought and visualizing different emotions. Just as Bacon said ‘I would like my pictures to look as if a human being had passed between
them, like a snail, leaving a trail of the human presence and memory trace of
past events.’ (1955/56 p. 63)
It is universally
acknowledged that Bacon likes to take deformity and morbidity as his theme, and
he is good at using different painting skills and powerful brushes to represent
loneliness, brutality, ghastfulness, indignation and excitement of human appearance. What is more, he bases on his inner mirage and suffering to
express the ruined mentality of twisting and crush by maniac brush. It can be seen clearly from the Painting 1946 (Fig. 3), the
representation of human appearance is odd, in some cases, aggressive and terrified. Compared with the Jean Dubuffet (1901 - 1985) who depicted the
existence sense of isolation and sadness after the 2nd World War,
his distress is more spiritual and profound.
‘In Sylvester’s eyes Bacon is a tragic
painter who succeeded in a unique way in distorting forms to just such an
extent that they did not lose their connection with reality, thus heightening
the viewer’s attention.’ (Zweite, 2006 p. 79) Indeed, as far as impact force is concerned, the mental
panic in his paintings is dramatic, which comes from disastrous reportage and
the visual description of concentration
camp and
bloodbath after the 2nd World War, which is accompanied with a kind
of crisis awareness of surrealism and unapparent
innervation of imagination. He
describes the despair of the postwar Europe by different transformed scenes
based on a large number of photographs, which consist of some elements of
entirely different types, such as photographs of newspapers, stage and moving
animals.
Despite the intention
of violence and disaster in Bacon’s work with which people are bombarded, the
turbulent and overwhelmingly emotional works make people feel them and get
under our skin, which exactly is what they intend to say to contemporary people
in the video-saturated, digitally-enhanced age. It is, I think, as Schama mentioned in the television
series Power of
Art – Picasso (2006, 60 mins.), ‘the ultimate backhanded
compliment to the power of art’.
‘Great art is always a way of concentrating,
reinventing what is called fact, what we know of our existence – a
reconcentration, ’ said Bacon in an interview in 1973. Naturally, the meaning of the work
for people nowadays is to evoke them to reconcentrate the fact of their old
time, as well as Bacon’s life in that time. Thus, only by understanding the information of background
above, can people truly interpret the relationship among the twisted shape in
paintings, Bacon himself and the society of such a particular period and the
meaning of his paintings. Also, it
is the fundamental requirement to achieve the meaning of great art, which means
the meaning of Bacon’s work should be collaborated between Bacon and viewer.
Chapter Two: The Work of Juan Muñoz and Viewer
On the other hand,
the meaning of some artwork is unclear or even non-existent when they are
created, but waiting for individuals to find out, so that the uncertainty of
artworks’ meaning results in multifarious interpretations from different
viewers. Such kind of work mainly
focuses on the interaction between the artwork and appreciators,
which makes the work full of mystery and promotes viewers to think critically,
to some extent. Thus, the
feeling of viewers plays a vital and essential role in the work, which means that although
artist creates the work without definite meaning, the public can create a wide
variety of meanings: that is, a part of ‘Relational
Aesthetics’ (Bourriaud, 1998), to discuss the relationship between individual
and community, interaction
between individual and individual, and transaction of aesthetic experience among
different individuals.
Under this circumstance, the artist enables viewers to become
aware of their own present status in the perception of the artwork. For instance, Juan Muñoz (1996) claimed
that his work is about waiting, waiting for something to happen that might
never happen. Thus, it can be seen, that, essentially, the
meaning of Muñoz’s work is pure potentiality and the uncertainty of the future.
When people asked Muñoz’s
occupation, he would respond simply that he was a ‘storyteller’. Actually, in some cases, he just creates
or reforms a scene of unsettled story, in which the viewer is half part of
‘storyteller’ together with Muñoz.
In the work Double
Bind (Fig. 4), Muñoz creates a space – a given room
for the public, in which viewers can receive a given experience at a specific
given time instead of ultimately trying to transcend the physicality of
experience. In Susan May (2001) ’s
opinion, the viewer becomes part of the space and the space becomes part of the
viewer, and the physical sense of being is enhanced to such a degree as to
almost become an ‘out of body’ experience. Thus, in a sense, the viewer acts as an integral supplement
to the space and every objects of stillness in the room are to highlight the
viewer of movement. In a given time when a viewer sees the exhibition, the process
of which exactly fulfils the uncertainty of the meaning, so that each and every
one of the viewers can achieve his/her individual value in the given room, and
then the meaning of the work is accomplished between Muñoz and viewers.
We are
confronted in modern times with the task of placing and displacing objects in a
given environment. It requires an
understanding of the physical framework, but also of the spectator’s arrival
into the room. You have to make
this person trust for a second that what he wishes to believe is true. And maybe you can spin that into
another reality and make him wonder.
(Muñoz, 2001 p. 74)
In this day and age – a media-saturated age, high
technology has become prevalent.
With the wide application of computers, some people claim that public
exhibitions will not be needed because people can have a look at artistic
objects works online. However, the
work of Muñoz can overwhelmingly refute the claim – when people stand in the
given space, they can feast their eyes on all kinds of objects there and
experience the exquisite layout and the wonder of another reality with their
own eyes in an active way instead of in a passive manner by looking at what are
being displayed to us by others on the boring, inactive and static screen. Consequently, what we see from a computer screen is, after
all, not exactly the same as what we see and feel with our own eyes on site, not
to mention that, for Double Bind, the
viewer is intimately bound up with it.
Indeed, this kind of confused meaning promotes
people to think intellectually and emotionally on the grounds that his
installations are contrary to people’s usual experiences and expectations in
terms of aesthetic experience. Unlike
Bacon, whose aim of paintings is to record memory
trace of past events, Muñoz’s installations are about the future – cannot
completely be forecast, which means he leads viewers to think of their life and
things happening in the world, either happy or sad. According to Chunchen, ‘Just as our age is more and more
globalized, art becomes more synthesized.
In this new tendency, art imperceptibly becomes more closely associated
with audience, which results in collaboration and participation forms of art.’ (2009,
p. 89) As a consequence, the collaboration between such
kind of artists and viewers is more intimate, complicated and diversified,
which is beneficial for viewers to think more about the meaning based more on
themselves and realize the importance of themselves in the process of
appreciating artwork.
Nevertheless, in some cases, artists express the meaning of artwork
hiddenly and potentially,
which seems they merely express their personal emotions or viewpoints rather than focusing
on the interaction between the public and artists themselves. It is clearly natural that such kind of work is difficult to
entirely be interpreted and the collaboration between artist and viewer seems non-existent. However, it is, I think, an indisputable fact that all artwork has the meaning of
existence, so that the expression of meaning in such work and the
relationship between creators and appreciators is much more
subtle.
Towards the metaphorical function of two elevators
in Double Bind (Fig. 5), in the
conversation with James Lingwood in May 2001, Muñoz pointed out, ‘They aren’t
metaphors for anything. They are elevators
going up and down.’ By researching
most of his work, I am convinced that the medium of metaphor is the moment of
elevators’ movement in the space of stillness instead of the objects themselves
that are placed artificially. In addition, the elevator and the
movement of the elevator reflect the stillness and the movement, in which Muñoz
creates a new space – an instant wonder moment, which is exactly the ‘another
reality’ he mentions and the medium of metaphor he unintentionally hides. In the metaphorical space, the viewer
is the leading role of creating different unsettled stories.
According to Willats, ‘The artist directs the
audience’s attention towards a given view, and provides them with the means to
examine it in a particular way, but does not prescribe specific meaning that
should be brought to bear on it.’ (1976 p. 3) Though Muñoz called his work ‘sculpture’, it was more
concerned with the movement of the object than with its presence. Rather than showing us how objects look
from one vantage point at one moment in time, he tends to be more interested in
making viewers aware of the system of interaction, communicate everything they
know and feel about a special space created by objects which, like visionary
architecture, contains the viewer, thus encouraging them to question rather
than passively accepting the ‘official’ version of things. The process of questioning is exactly the
process of collaboration
between artist and viewer.
Naturally, it will result in multifarious outcomes.
Indeed, ‘the way we see things is affected
by what we know or what we believe’ (Berger, 1972 p. 8). That is, what people can gain from the
artwork depends on their artistic accomplishment and aesthetic experience, and naturally,
the meaning produced by the viewers is different
from the artists because nobody can truly speculate on the original intention
of the work. But the process of
guessing and research is already meaningful, which is exactly a part of meaning
of appreciating a piece of artwork no matter what the intention of the artwork
is.
Conclusion
Based on the above elaboration, whether people appreciate oil
paintings of Bacon or explore installations of Muñoz, what they get requires
they get involved with the work by different ways. The meaning of the work does not exist isolatedly, but is collaborated
between viewer and artist. Viewers
come across the uncommon and intangible in both Bacon and Muñoz, and they, to
some extent, as narrators, intangibly encouraged people to help them present
the passing brutal reality and diverse stories of future, so that the audience occupy a dual
role as both spectators of, and participants in, the narration. This duality of viewer is a key
determinant of formation of meaning together with artist.
Through art, what is temporary and
ineffable is expressed in terms that are permanent (even eternal), vivid, and
beautiful. What is common becomes
sublime. What is incomplete becomes
whole. This is crucial to our understanding of creativity: The artist does not
simply express feeling; rather, feeling must be expressed in an ideal
form. It is the accomplishment of
an idealized formal organization that gives cohesion, vitality, and continuity
to the aesthetic experience, and thus to the self-experience of the artist, and
by extension to the experience of his or her audience. (Hagman, 2005 p. 71)
It can be seen, then, that, viewers, as appreciators
of artwork, receive and interpret the intention of artwork without an authoritative criterion. Indeed, each person has different interpretations of
different pieces of artwork, which depends on the kind of artwork, the extent
of acquaintance towards artist and personal artistic accomplishment. Furthermore,
art is a process of mind communicating between artist and viewer; in which artist collaborate with
viewer intangibly through the artwork.
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