Eloquence

Principles of Interpretation, pathos

In his book, Criticizing Art, Terry Barrett makes the point that "… art is always about something." A work of art, he explains, is an expressive object made by a person. Unlike a tree or a rock, artworks are always about something. Since artworks have "aboutness" they demand interpretations. Art critics and aestheticians readily accept that there is more to art than letting the art speak for itself. Interpretations are meant to be persuasive arguments, yet can vary widely in their resolve or point of view. ¹²

Criticism is persuasive rhetoric. A critic would like the readers to see a work of art the way the critic sees it. Yet, there is more than one way to be persuasive about an interpretation. The critic could approach an argument through syllogism- offering a formal logical argument, with premises and a conclusion. However, critics are much more likely to be persuasive by putting their evidence in the form of lively writing, using colorful terms in carefully fashioned phrases. The idea in this is to engage the reader with the critic's perception and understanding so that eventually the reader will be likely to align his or her thinking with the critic's. The reader may subsequently respond with comments such as "yes I see what you mean", or "yes I agree with the way you see it. " ¹³

Critics rely on evidence in making their interpretations, either made from observations about the artwork, the artist, or the world in which the artist works. They present their interpretations less as logical arguments, but rather as persuasive literary essays. Whether or not the interpretation is persuasive can be determined through analysis of the argument itself. All interpretations are not the same, nor are they of equal merit. Some are better argued, better supported by evidence and therefore are accepted as more reasonable. On the other hand, an interpretation can fail to be enlightening if it is too subjective or narrow in accounting for what is in the work, or doesn't account for the context in which the artwork was done. Sometimes an interpretation just doesn't make sense. ¹⁴

Interpretations can be affected by a variety of influences such as a person's philosophical or political response to a work. Often, interpretations are based on a worldview. A response to a work can be emotional as well as intellectual therefore a person's feelings about a work of art are important to guiding an effective analysis. This intertwining between thought and feeling should be recognized as crucial in evoking one's authentic response to a work. Without this correspondence, an interpretation may become overtly subjective and irrelevant. ¹⁵

Barrett acknowledges that a single artwork may generate different good interpretations that may compete with each other, encouraging the reader to choose between them, especially if they are contradictory. This principle encourages a diversity of interpretations from a variety of perspectives and stances. It is upon this principle that the class activities in this unit are presented. Performing as art critics, students will examine works of art as rich depositories of expression that allow for a wide variety of responses. That one critic's interpretation contributes to another critic's interpretation enriches our understanding of a work of art as well as our appreciation for the human mind. ¹⁶

That interpretation is neither right or wrong is a crucial consideration for students' discussions on the topic of art criticism. Interpretations are not so much absolutely right, but more or less reasonable, convincing, enlightening, compelling, insightful, informative and so forth. Interpretations can be judged according to their coherence, correspondence, and inclusiveness. Coherence is an internal criterion. A good interpretation should be a coherent statement and correspond to the artwork. If a critical interpretation makes sense we can appreciate it even without seeing the artwork. Correspondence is an external criterion that asks whether or not he interpretation seems to fit the artwork; does it adhere to what is actually in the artwork? The requirement for inclusiveness ensures that everything in a specific work is attended to, or that everything in a body of work is accounted for. Typically, critics discuss several of an artist's works, not just one. A confident interpretation of one piece of art is risky without knowing something of an artist's other works. ¹⁷

Barrett makes the point that an artwork is not necessarily about what the artist wanted it to be about. Likewise, the meaning of an artwork should not be limited to the artist's intent. Whether or not an artist works with specific conscious intentions to express specific ideas, an artist's interpretation is only one explanation among many. As Barrett affirms, this important principle places the responsibility of interpretation firmly upon the shoulders of the viewer, not the artist. Though the objects of interpretations are artworks, not artists, interpretations ought to present the work in its best light. This practice is in keeping with a spirit of fair play, generosity and respect for intellectual rigor. ¹⁸

Analytical Frameworks

Students will consider the following attitudes toward a work that can affect its interpretation.

Social Context-the influences of the historical time and place, purpose, cultural and political settings in which a work was made. How do social, political, or religious contexts or cultural or gender values contribute to the meaning of the artwork? How have historical or contemporary events shaped the intention of the artist or our understanding of the artwork's meaning?

Formal Framework-used to analyze how an artwork's formal elements contribute to its meanings and messages. How have the formal elements of line, color, tone, texture, shape, and form including focal point, space and audible components as applied by the artist contribute to the meanings and messages of the work?

Iconography-visual content, symbols and associated meanings. What physical aspects or presentation of the artwork contain symbolic meaning or explore the use of metaphor?

Beauty-is beauty an objective feature of a thing, or is it a perceptual preference of individuals?

Human Nature- works of art are based on aesthetic points of view grounded in lived experience. How is the artwork linked to people, places or experiences of personal significance to the artist such as the artist's personal feelings, aspirations, beliefs, desires (conscious or subconscious) or preoccupations with memories, dreams or fantasy?

Appropriation - the intentional copying of another's image or idea for inclusion in one's own work. To what extent is the artwork an original expression or an imitation based on another's work? How might artworks of the past take on new or different meanings, in the context of contemporary ideas and issues?

Temporalism - some artistic forms of expression are not permanent; they change, disintegrate, or are dismantled after a period of time. What effect does permanence or the lack of it have on the value of an artwork?

Environment-consider the effects of geographic location and physical environment on design, production, and marketing of art. How does the physical placement of artworks affect their interpretation?

Crafstmanship (technique)-how do the materials used or the technical skills shape or affect interpretation? How does the choice or presentation of subject matter or medium, materials and techniques reflect or challenge artistic or social traditions? What is the impact of dynamic media and other emerging art forms on the viewer such as video, digital, projection, installation, interactive, street art, sound and performance art?