The Art World is Elliptical
(See my art gallery for full illustration.)
An artist interprets objects for the viewer but something always gets lost, added, or changed in translation. Art seldom takes the direct route from object to subject. Distortion increases as the path deviates. Call it “artistic expression.”
Three-way relationships are algebraic, so I’ve based a schematic of visual perception on the ellipse with the object and subject being at either focus. To give the artist equal weight in the equation, an equilateral triangle dictates the height. Note that the term “object” also means “referent,” but becomes “concept” in the case of abstract art.
This elliptical boundary separates the aesthetic from prosthetic: fine art from eye candy. The aspects of art can be quantified by general consensus and questionnaires the likes of “How does this piece of art make you feel? Warm and fuzzy? Dyspeptic? Would you hang this in your home? “What room (or closet)?” This helps define boundaries and resolves disputes about the artistic values of, say, line-art versus clip-art, or color-fields vs. food stains.
To locate a style of art relative to the traditional visual traits of the known art world, use the following elliptical formula:
(x-h)² / a² + (y-k)² / b²
where
“a“ (major axis) charts ambiguity ranging from pure essence to physical form: a continuum from “abstract” art such as de Kooning's - located safely inside of the swamp gas barrier - to “conceptual” art which stops just short of a yard sale, e.g. “Fountain” by R. Mutt (with a tip of my hat to our own C.C. here a F.A.A. for that citation).
“b” (minor axis) is the amount of visual data packed into a given work of art ranging from the flat-line response (as in EEG) of minimalism at one end, through the metaphoric maelstroms of symbolism and the hyper-embellishments of Rococco (think Chateau de Versailles).
“h” and “k” are coefficients of historical and cultural aspects. They allow us to calibrate past perceptions towards current concepts of reality. These values adjust the Cartesian origin of the ellipse to accommodate arcane or outdated ideas of art, or perhaps just reconcile the classical ideals of Apollo and Dionysus with more contemporary visions from the likes of George Andreas to Iggy Pop.
“y” is the degree of visual data (contours, color, highlight and shadow, etc.) used to affect recognition of a given face or figure. Minimalists can also evoke emotions with subtle color fields whereas allegory or narrative art can convey an epic love story or just a ring-tailed whopper.
“x” locates the formal intentions of the artist, assuming his or her skill of expressing that vision with exacting verisimilitude or just a nervous existentialism.
The crescent-shaped area at left (see illustration) is where artistic expression operates from behind the object which is theoretically hidden from the viewer. Abstract art thereby becomes a self-representing object.
The white football-shaped area in the center is for representational art: that which projects a relatively straight-forward interpretation of an object to the observer (subject).
The right-hand crescent is home to conceptual art because the viewer must assign new meanings to things not normally associated with the given object. It’s the kind of thing that makes you wonder, “Why is that sheep in a tank of formaldehyde?” You’ll have to ask Damien Hirst.
Not shown here, the z-axis would form two cones with a common base (the ellipse) and vertices at opposite ends. This axis could represent the human disposition ranging from pure emotion – that which puts a charge in religious icons, family portraits, or puppy paintings - to the intellectual mindset of abstract art for appreciating the intuitions of Rothko, Motherwell, or even Cy Twombley. Either way, you must hook up the intellect with an emotion to get a proper buzz from art. The intermingling of these attendant brain waves makes you feel good – or at least smart, and the evidence would pop up in a 3-D model (or a galvanometer).
Perceptions can be manipulated and even the smartest cookie can be scammed by a cunning artiste. But who’s to scoff when the art matches the cerebral resonance of both players? At least now you can reference “the ellipse” to help you sort out fine-art from beef hearts (with all due respect to Don Van Vliet). Then again, maybe all that you’re looking for is a nice Velvet Elvis.
Gary Peterson – Intellectual Handyman: garypetersonart.com – Where art and science are joined at the hip!
