Observing the Observer

I present here an abstraction of art (of abstract expressionism, to be exact). And so ladies and gentlemen: the artist observes and reflects, and shares this embodied reflection with another who observes and reflects, and the critic observes and reflects on it all.

Indeed, the observer can only peer, metaphorically, and at some distance, over the artist’s shoulder as he engages with a work and derives meaning from it. Being so removed from the subject and the artist’s intent, it is easy to see the space for meaning-making to take on a life of its own, try as the artist might to guide the willful beast with what aesthetic coding he may hazard.

The critic has the benefit of observing this dialogue over and over again, across time and and observers and artists and encodings, but he too is constrained but what he has observed, and his own distance…