1.20.25 — Not Just Looking
Does it matter where a work of art originated? Do we need to ask about the artist, the time, or the culture, or can we just appreciate the art? And if we do not appreciate the art for itself, have we betrayed it and, just as much, ourselves? Why should art not speak for itself?
I have pursued questions like these often over the more than twenty years of this Web site, along with my role as a critic. In fact, I doubt that I can match the more philosophical attempts in the past! The questions came up again, though, not so very long ago on Facebook. When I posted a link and brief reply, a second artist was even more skeptical. Suppose I rework my further comments, as a rather longer article and my latest upload in defense of not just looking. I shall combine my address to both, in the form of a letter to an unknown artist, maybe even you.
You raised the questions as both an admirer of art and an artist, so it is doubly real for you. You have heard friends speak of what they see in the patterns that they have made. As a savvy viewer who cannot see the same, you have to wonder whether that could ever matter to you. You may wonder whether your thoughts appear fully in your work as well. If not, you may wonder whether your work has taken on a new life, apart from you, or rather failed. It is, after all, a work of your imagination.
I have argued before why art takes words. It has to take words for me as a writer, and I have to hope that my words can open art to some others as well. In my earlier piece, I looked in particular at changing attributions. The Rembrandt committee had changed its mind about a painting in the Frick that so many of us have taken for granted as his. It has even shaped our personal understanding of Rembrandt. Since then, big money has backed novel attributions to Michelangelo at (gasp) age twelve and, more recently, Leonardo da Vinci.
I still think that attributions matter, which is why arguments about millions of dollars for a supposed Leonardo get so heated. Allow me now, though, a fuller context for much the same questions—beyond attributions. I can start with your recent experience, on the way to that of others. Now, no question that an artist’s intentions cannot tell the whole story. 
Hard as it is to admit, an artist may even get it wrong. I am still attached enough to Modernism, New Criticism, and the like to think so.
Yet if the “intentional fallacy” means that it never matters how, where, and when a work of art began, then it is wrong. As Nelson Goodman, a philosopher of art, has said, he will believe that a painting speaks for itself when people start to admire poetry without reading the words. If you think that ugly painting is by Leonardo, you have to look for and indeed to see things that are simply not there. You have to see Leonardo and his other works differently, too, to their detriment. And then your questions may help you think freshly about those once again, to their betterment.
Think that you could not agree less with Goodman? I could understand that, but you may agree much more than you think, so let me tell you why. To me, it is just common sense. My answer will take several parts, so bear with me, but I shall try to stay more practical at the cost of serious theory than my previous effort. It involves the work and how the work comes to affect others. Pardon me, though, if it starts with you.
Read more, now in a feature-length article on this site.