After having established an interest in a piece and maintained a consistent level of receptivity, creative thinking needs to be applied by the viewer in order to familiarize himself with the piece on deeper levels. This involves taking a bit of personal risk, for remember: art is a form of communication. I like to perceive this relationship in the form of a conversation. You are the recipient of a message and a participant in this conversation: therefore, you must be actively connected and not disengaged or passive. Would you want to speak to someone who just stands there and ignores what you say? Or someone who just stands there and cuts you down? Or judges you? Calls you ugly and worthless? Unless you are of a masochistic temperament, I would assume you would not even bother with that person, and move on to someone who displays interest. Art is an extension of a person's consciousness-it is part of that artist. To hear the artist's message, we need to be receptive. We need to initially open our eyes and mind to what the artist is trying to share with us, especially if we have never previously met. After we have received and understood the message, then we're more equipped to make a judgment call as to whether the message is effective or not. That happens last, not first.

So let's jump into an exercise and try to apply some of these ideas. I am going to share with you artworks you might see in a contemporary art exhibit. Sometimes contemporary art (especially "postmodernist" art) is difficult to form a comfortable relationship with as it exists in our own time and place; we do not have the full benefit of time & retrospection to perceive it's complex connection to the greater world around it. For example, the American public generally did not understand Pollock at first - but as time passed, and the more familiar his "radical" imagery became, it increasingly became clear - like an image coming into focus. It's inextricable relationship to art, politics and American culture during that era of history had always been there, just not obviously so at all times. I think this quote by Soren Kierkegaard sums up this phenomenon well:

"Life can only be understood backwards; but it must be lived forwards."

Go to: http://www.assemblylanguage.com/images/Morimura1.html and carefully examine the image.

Imagine you are in a pristine white walled gallery, and here you are, standing in front of this artwork. You know nothing about the artist, after all, this is your time off, and you just desire a little escapist entertainment. When do you ever have time to actually research these weird artist people, anyhow? And, at any rate, what does it really matter? It's not like it really affects your life or anything!

You may think to yourself:

All that I am supposed to do is stand here and get something out of this picture. I better pretend that I understand whatever this Morimo guy (or whatever his name is) is trying to say here... otherwise I'll look stupid. What do those other people over there see in this guy's work?? They've been talking about his pictures for like 5 minutes now- I mean, what am I supposed to get out of this??? OK, a girl in an orange-red sweater and plaid skirt. Big whoop. I could've done that...here I am slaving away for a living and this guy makes money taking snapshots. I can't even tell where she is supposed to be. She doesn't even look pretty or happy. Who would ever buy this? Certainly not me. Why don't they ever exhibit impressionist stuff anymore..."

Sound familiar in any way? Have you ever had similar thoughts when in the presence of art you didn't aesthetically enjoy? We sometimes selectively dismiss things that do not apparently reward or benefit us in that moment. Usually, contemporary art is the "worst" offender, as it is so new and unfamiliar. Contemporary art can be difficult because viewers usually can't fully comprehend the context within which the art is presented or the history it is referring to and utilizing. You certainly cannot perceive those elements in that one, 20-second moment you chose to stare at it! The intentions of the artist may seem obscure to say the least.

Please maintain receptivity to your own impressions when observing this piece-as silly or unfounded as they may seem. Perhaps this woman reminds you of someone you have seen before; maybe it reminds you of a scene in a film. Try to connect your own life experiences and memories, no matter how trivial, to the piece. It may be as basic as realizing your daughter has that same stylish plaid skirt! The important thing is to make a human connection here. Find something that speaks to you without trying, and without rationalizing. This is your introduction to what initially seemed a stranger.

"Art attracts us only by what it reveals of our most secret self"
-Jean-Luc Goddard

Now that you've shared a bit of yourself with this artwork, let's find out something about it. First, we'll begin at the most obvious level: the subject. This is the level at which most viewers spend the least time, for images tend to be read as instant messages rather than poems. We see what it is, say O.K., and then move on to the next picture on the wall. Whoa!! Slow down, because this is one of the most important levels of the piece to examine carefully. Our objective is not to label, but to seek.

Obviously this is a female...or is it? Try to make yourself as curious as possible when observing the form of an artwork, because often you will discover things that otherwise you would have overlooked. Ask a lot of questions. Remember, you are getting to know this presence; you won't learn much otherwise.

Do you notice anything odd about this woman? Look closely. What do you think of her expression-what emotion could she be experiencing? How old do you think she is? Single? Married? How would you emotionally and physically feel lying in her position? Who would be taking the picture- and from what point of view? How would it affect your response if the photographer were male or female? Has she fallen, did she wake up from slumber, was she stricken down? Is she powerful, powerless or indifferent? Does she seem cold or warm? Is she inside or outside? What could she be looking at? Why doesn't she look to the one who holds the camera? Why doesn't she smile? What does she hold in her hand?

You will say- "I don't know what she is thinking or feeling!" And you may sense that somehow you are putting words in someone else's mouth, and that it's wrong. Let's set aside that judgment for a moment. What you are doing is very similar to reading someone's expressions when they are speaking to you-the subtleties sometimes communicate more than the words themselves. You are simply responding to nuances. Though this may initially seem just an ordinary, haphazardly photographed image of a nameless woman, it is really so much more than that. This is a story involving a person, her life, a situation.

What you respond to, and how, reveals yourself. What you receive from this piece, despite the agreed upon subject matter, will be unique from anyone else's experience, for each individual's perception is inextricably linked to his own life, memories and experiences. So conduct a little personal reflection: why did a certain element capture your attention so much? Why did you say she looked_____ when it really isn't clear what her emotions are? You may have thought she looked dreamy and wistful, while I may have thought she looked angry and spiteful. This may remind me of an unfair situation I have observed, while it may remind you of someone relaxing on the floor. These are valid reactions-but don't let it stop there. Reflect upon them and learn from them, and learn from what others say, too. It may affect your perception in a unique way.

Now let's look at the visual affects, because, they, too, influence our interpretation of the subject. The colors are predominantly warm here, with touches of contrasting cool tones in the lower right. Those colors may stimulate emotions within you. The bright orange of the sweater dominates the picture, and the color travels through her skirt, leading our eyes up and down the figure. She is set at a diagonal, which makes the picture feel off balance perhaps, and casual. Her head is crammed into the upper left corner, which seems uncomfortable, and her eyes lead us out of the picture plane into our actual environment. Her legs are cropped out of the picture, which perhaps make her appear stationary and immobile. The pattern of the floor tiles mimics the patterning of her skirt, creating visual unity...while also contributing to this claustrophobic, tight space.

One may arrive at a satisfactory understanding of the piece after establishing an emotional and sensory connection to it. However, there are much deeper levels to explore. Remember I said that this would involve effort? Don't shy away from it. It does not need to be any more effort than you would invest into a good novel, or short story. And the investment often pays of in the form of personal growth and understanding.

The next level is research. Oh, how my students despise that word!! "But Ms. Gabel, this is art! We should get it just by looking at it!" My response is often in agreement that it should speak to a viewer on that level. There are just simply more levels than that alone! We can stop at the first floor if we wish, but are you curious about what lies on the 2nd, 3rd, or 4th? Let's explore! The more we seek, the more we find...and learn.

"The rung of a ladder was never meant to rest upon, but only to hold a man's foot long enough to enable him to put the other somewhat higher."
-Thomas Henry Huxley

I will assist you a little bit here in regards to research. The artist's name is Yasumasa Morimura. He is Japanese and is 47 years old. This is in fact not an image of a woman, but the artist himself posing as one.

Is this effecting your perception of the piece now? Getting more curious, or suspicious?

This is not the only piece he has done in which he poses as the primary subject. In fact, each piece he exhibits is of himself in the guise of someone else...that someone else being the subject of other artist's works. He has posed as famous Hollywood starlets, and effectively so! Morimura inserts himself, literally, into western art history and western culture through mimesis. Yet, he comes from a non-western culture. He 'plays' both male and female roles in his images. The pieces generally are quite large; one I saw in New York a couple years ago occupied most of the gallery wall-it rivaled the size of large-scale historical paintings. Yet, despite references to history, he perceives his art as entertainment.

These are not just photographs. Photography is involved, as are computer-aided technologies. The sets are carefully planned and designed, as are the costumes and makeup. He coats his "painted" works with clear, acrylic lacquer to simulate the appearance of brushstrokes...yet no actual pigmented paint is used.

Now how do you feel? Perhaps you automatically wrote off this artist as just a poseur, someone with a serious identity crisis or other malady...or, this may stimulate even more curiosity such as: why??? Why does he do this? And, what does this have to do with art or culture? Those are the deeper levels we'll explore in the next Zoomers article. We will address the concept of originality and the function of appropriation in art.

Compare Morimura's piece with another contemporary artist's work. This is by Cindy Sherman, a world famous contemporary photographer. Go to: http://masters-of-photography.com/S/sherman/sherman_96_full.html

My, my, my...look familiar? Now I wonder what you are thinking...probably something along the lines of "Great-more of this complicated art crap!!" Please don't think that, at least not yet. Remember to be as receptive to the thinking process as possible, for you will learn from this experience. This is going to get very interesting...