Regarding the static painted visual art piece on a wall, or, the static sculpted object on a pedestal, what are we to read beyond the object’s own “art-object-ness” in a recycled environment of reference and quotation? Can the object we now make be successful at translating our meaning given its expected reception in a now seemingly all-too familiar field? Is the gallery context itself somehow inhibiting as it moves from exclusive space visited by students of art and other artists to the David Byrne familiar with Eric Fischl painting art’s own art-going morphology?
Is it like the phenomenon of digital accessibility —- with too much equaling too ordinary and expected for us to even blink an eye no matter the possible strength of the work residing? Can the static art object give us the reading it means to in its current context of “being art in a gallery”? or, have we become too savvy an audience, too familiar with how the system works for the art object itself to move beyond the space it relies upon for its translation?
Is Visual Art stuck in its own necessary replication, unable to move beyond the “look” of what we know art on a wall to be, to move beyond the entrenched orthodoxy of this look, this paradigm? Does the gallery space by default, due to our familiarity with it – create for the artist a space impossible for understanding the actual work? Is our awareness of “looking at art” getting in the way? Has our method of looking overwhelmed the actual art (if there is any) to be found?
Not unlike a Kafka character caught in dilemma, the balance for both lies between the method used (gallery space = traveling circus ) and, the very awareness of the method by both the artist (when placing work in such a prescribed space) and the viewer (upon experiencing that space). Both require an isolation without self-awareness, and, given our method of viewing art – which includes taking along our image-conscious selves – neither of these seems possible.