This blog post explores how the visual qualities of artworks influence our perception and understanding, using examples from a Yoruba crown, Gustave Caillebotte's painting, and Cindy Sherman's photography to illustrate the dynamic relationship between artist, artwork, and viewer.
Art is not just about what we see; it is also about how we see it. The visual qualities of an artwork significantly influence our perception and the meanings we derive from it. This blog post delves into the dynamic relationship between the artist, the artwork, and the viewer, highlighting how different strategies in art can shape our understanding of social positions, settings, and gender.
Artists employ various techniques to engage viewers, often positioning us in relation to the subject matter in ways that provoke thought and reflection. For instance, an artist might use a confrontational gaze or strategic sight lines to hint at unseen elements, creating a dialogue between the artwork and the observer.
One compelling example is a beaded crown from Nigeria, crafted by the Yoruba people, one of Africa's largest ethnic groups. This crown is not merely a decorative object; it embodies the king's royal power and his ancestral ties to his subjects.
The crown features a conical shape with a beaded veil that serves a dual purpose: it protects the king's subjects from the potentially dangerous power of his gaze and obscures the king's individuality. This veil activates the abstracted faces that adorn the crown, representing the king's ancestors. The protruding eyes of these faces symbolize their ability to see both the physical and supernatural realms. Additionally, birds on the crown signify the essential support of women in the community, with the king's senior wife perched at the top, reflecting the social hierarchy.
While we can admire this crown in a museum today, it is crucial to recognize that we are missing its original ceremonial context, which adds layers of meaning to its visual form.
In contrast, Gustave Caillebotte's 1877 painting "Paris Street; Rainy Day" was designed for the art gallery. Caillebotte, born into the Parisian upper class, utilized his education and tools like the camera lucida to capture the rapidly changing world around him.
This life-sized street scene emerged shortly after Paris underwent significant modernization. The painting's composition, organized around key buildings like the Arc de Triomphe, reflects the city's new layout, which aimed to control social interactions among different classes. The large format of the painting draws viewers into the bustling life of late 19th-century Paris, connecting us to the fashionable couple in the foreground while simultaneously distancing us from the working-class figures in the background through a plunging perspective.
American photographer Cindy Sherman offers a critical perspective on contemporary society through her work. Gaining recognition in the 1970s, Sherman often casts herself in various roles, exploring themes of femininity and identity.
In her piece "Untitled Film Still #92," Sherman presents a vulnerable female subject cowering on the ground. The tight cropping and composition position the viewer to look down on her, creating a sense of power dynamics. Although the image resembles a film still, it stands alone without a narrative, emphasizing Sherman's control over the viewing experience. By not directly challenging the viewer's gaze, the subject allows for prolonged observation, yet it is Sherman who ultimately directs how we engage with the scene.
From the veiled Yoruba crown to Caillebotte's expansive Parisian scene and Sherman's provocative photography, understanding how we look at art is essential to grasping its meaning. Each artwork invites us to consider the power dynamics at play and how they shape our experience. The next time you find yourself in a museum, take a moment to reflect on how the power to look influences your interpretation of the art around you.
