Photos by Vinod Dave
Article by Philip Kennicott for The Washington Post
Photographs in this post document confused reactions of a museum audience in front of art works that are not of a representative nature. People visit museums regardless of their interest/non-interest in art as it is a symbol of cultivated taste. Visitors to a museum of representational art could pass their pretense for real interest, but concealing bewilderment in a modern art museum is not easy. A sizable number of people do not have a clue of what they are looking at when it comes to modern/contemporary art. Their body language proves that. And for a really amusing pastime, try to overhear their comments on art.
These images explore this long observed phenomenon. In order not to plainly document this, a deliberate imagery was created with black & white slow exposures to simplify and center the idea by blurring the moving subjects - the blur symbolizing the perplexity. The
in Museum of Modern Art is an obvious and
effective venue for this - though not the building. Ironically, the MoMA
architecture is not symbolic of the art collection it houses. So the most
recognizable works that can stand for the museum were incorporated. New York
1. Take time
The biggest challenge when visiting an art museum is to disengage from our distracted selves. The pervasive, relentless, all-consuming power of time is the enemy. If you are thinking about where you have to be next, what you have left undone, what you could be doing instead of standing in front of art, there is no hope that anything significant will happen. But to disengage from time has become extraordinarily complicated. We are addicted to devices that remind us of the presence of time, cellphones and watches among them, but cameras too, because the camera has become a crutch to memory, and memory is our only defense against the loss of time.
The raging debate today about whether to allow the taking of pictures inside the museum usually hinges on whether the act of photographing is intrusive or disruptive to other visitors; more important, the act is fundamentally disruptive to the photographer’s experience of art, which is always fleeting. So leave all your devices behind. And never, ever make plans for what to do later in a museum; if you overhear people making plans for supper, drinks or when to relieve the baby sitter, give them a sharp, baleful look.
Some practical advice: If you go an hour before closing time, you won’t have to worry about what time it is. Just wait until the guards kick you out. Also: If you have only an hour, visit only one room. Anything that makes you feel rushed, or compelled to move quickly, will reengage you with the sense of busy-ness that defines ordinary life. This is another reason that entrance fees are so pernicious: They make visitors mentally “meter” the experience, straining to get the most out of it, and thus re-inscribe it in the workaday world where time is money, and money is everything.
2. Seek silence
Always avoid noise, because noise isn’t just distracting, it makes us hate other people. If you’re thinking about the mind-numbing banality of the person next to you, there’s little hope that you will be receptive to art. In a museum, imagine that you have a magnetic repulsion to everyone else. Move toward empty space. Indulge your misanthropy.
That’s not always easy. Too many museums have become exceptionally noisy, and in some cases that’s by design. When it comes to science and history museums, noise is often equated with visitor engagement, a sign that people are enjoying the experience. In art museums, noise isn’t just a question of bad manners but a result of the celebrity status of certain artworks, such as the Mona Lisa, which attracts vast and inevitably tumultuous throngs of visitors to the Louvre. But any picture that attracts hordes of people has long since died, a victim of its own renown, its aura dissipated, its meaning lost in heaps of platitudes and cant. Say a prayer for its soul and move on.
Seek, rather, some quiet corner of the museum full of things no one else seems to care about. Art that is generally regarded as insipid (19th-century American genre paintings) or hermetic (religious icons from the Byzantine world) is likely to feel very lonely, and its loneliness will make it generous. It may be poor, but it will offer you everything it has.
3. Study up
One of the most deceptive promises made by our stewards of culture over the past half century is: You don’t need to know anything to enjoy art. This is true only in the most limited sense. Yes, art can speak to us even in our ignorance. But there’s a far more powerful truth: Our response to art is directly proportional to our knowledge of it. In this sense, art is the opposite of popular entertainment, which becomes more insipid with greater familiarity.
So study up. Even 10 minutes on Wikipedia can help orient you and fundamentally transform the experience. Better yet, read the old cranks of art history, especially the ones who knew how to write and have now become unfashionable (Kenneth Clark, Ernst Gombrich). When visiting special exhibitions, always read the catalogue, or at least the main catalogue essay. If you can’t afford the catalogue, read it in the gift shop.
Rules for the gift shop: Never buy anything that isn’t a book; never “save time” for the gift shop because this will make you think about time; never take children, because they will associate art with commerce.
Many museums have public education programs, including tours through the galleries with trained docents. Always shadow a docent tour before joining one. If the guide spends all his or her time asking questions rather than explaining art and imparting knowledge, do not waste your time. These faux-Socratic dialogues are premised on the fallacy that all opinions about art are equally valid and that learning from authority is somehow oppressive. You wouldn’t learn to ski from someone who professed indifference to form and technique, so don’t waste your time with educators who indulge the time-wasting sham of endless questions about what you are feeling and thinking.
4. Engage memory
The experience of art is ephemeral, and on one level we have to accept that. But beyond the subjective experience, art is also something to be studied and debated. Unfortunately, unlike most things we study and debate, art is difficult to summarize and describe. Without a verbal description of what you have seen, you may feel as if nothing happened during your visit. You may even feel you can’t remember anything about it, as if it was just a wash of images with nothing to hold on to.
But even if the actual experience of art is difficult to retain and remember, the names of the artists, the countries in which they worked, the years they lived and were active, and a host of other things are easily committed to memory. Some museum educators, who know these things, will tell you this kind of detail doesn’t matter; they are lying. Always try to remember the name of and at least one work by an artist whom you didn’t know before walking into the museum.
When trying to remember individual art works, make an effort to give yourself a verbal description of them. Perhaps write it in a notebook. The process of giving a verbal description will make details of the work more tangible, and will force you to look more deeply and confront your own entrenched blindness toward art. If your description feels cliched, then go back again and again until you have said something that seems more substantial. If all else fails, simply commit the visual details of the work to memory, its subject matter, or general color scheme, or surface texture. Turn away from the work and try to remember it; turn back and check your mental image against the work itself. This isn’t fun. In fact, it can be exhausting. That means you’re making progress in the fight against oblivion.
5. Accept contradiction
Art must have some utopian ambition, must seek to make the world better, must engage with injustice and misery; art has no other mission than to express visual ideas in its own self-sufficient language. As one art lover supposedly said to another: Monet, Manet, both are correct.
Susan Sontag once argued “against interpretation” and in favor of a more immediate, more sensual, more purely subjective response to art; but others argue, just as validly, that art is part of culture and embodies a wide range of cultural meanings and that our job is to ferret them out. Again, both are correct.
The experience of art always enmires us in contradictions. I loathe figurative contemporary art except when I don’t; ditto on abstraction. When looking at a painting, it’s often useful to try believing two wildly contradictory things: That it is just an object, and an everyday sort of object; and that it is a phenomenally radical expression of human subjectivity. Both are correct.
Art is inspiring and depressing, it excites and enervates us, it makes us more generous and more selfish. A love-hate relationship with an artist, or a great work of art, is often the most intense and lasting of all relationships. After years of spending time in art museums, I’ve come to accept that I believe wildly contradictory and incompatible things about art. The usual cliche about this realization would be that by forcing us to confront contradiction, art makes us more human. But never trust anyone who says that last part: “art makes us more human.” That’s meaningless.
Rather, by forcing us to confront contradiction, art makes us ridiculous, exposes our pathetic attempts to make sense of experience, reveals the fault lines of our incredibly faulty knowledge of ourselves and the world. It is nasty, dangerous stuff, and not to be trifled with.
Some practical advice: If you feel better about yourself when you leave a museum, you’re probably doing it all wrong.
Philip Kennicott is the Pulitzer Prize-winning Art and Architecture Critic of The Washington Post. He has been on staff at the Post since 1999, first as Classical Music Critic, then as Culture Critic.