Visual Arts, Columbia University, New York

This course examines ways of looking and ways of seeing, both personally & professionally as artists and in a larger cultural context. Through field trips to contemporary art and other cultural sites, conversations with visiting critical thinkers and practicioners, readings, discussions, and visual & written responses, we will examine how we look, think, act, create and respond--critically questioning our own artistic practices and ways of looking at the world.

Wednesday, February 15, 2012

JT: There is Nothing to See So We Look



“There is a black which is old and a black which is fresh. Lustrous black and dull black, black in sunlight and black in shadow.”

When I first saw an Ad Reinhardt at MOMA I was pretending that I was perceiving something. I kept looking and tried to make a sincere face giving the impression that I was indeed seeing what he wanted the viewer to see. In fact I didn't see any nuances of three different blacks. I just saw one black. The guard next to the painting obviously noticing that my stern face was just hidden ignorance tried to help: “You need to stand at this angle” pointing to a spot diagonal to the painting “then you will see”. I nodded, embarrassed and took the position. He asked me if I now could see. I nodded again and smiling gave the “oh, yes, thank you...!” But in fact I did not see at all. I watched the tourists passing it by unimpressed with whispering:”Is this really art? Its just black...how?”

But I sat in front of it really wanting to see and the less I saw the more I looked. I still have to experience the “Ahhh” moment but every time I see a black painting by Ad Reinhardt I know I will look extra hard....

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