paul.m wrote:

> I'm also struck by your preoccupation with the *origin* of a work. Even
> though you appear to acknowledge that the subsequent history of a work -
> including the context in which it is shown - affects its meaning, you
> appear to imply that it is both possible and desirable to strip away this
> history in order to reveal the origin of a work in all its splendour. If
> I've read your message correctly - and see how difficult it is to establish
> what the meaning of a work is, even one so brief as your email! - why are
> origins so important to you?

Paul -My original posting, claiming that as educators it is our job to lead
visitors to the "artists vision," was prompted by my initial feelings of the
importance of the way a work of art is created, what factors play a part in its
creation.  You stated that my definition of the "artist's vision" is quite
broad.  There are so many circumstances and influences affecting artistic
production that, unless we named a specific artist, it would be impossible to go
into such detail naming all of them.  Even then, it would require a great deal of
space to discuss the "origins" of just one artist's body of work.

If I made myself unclear, my second message attempted to rescind my original
conviction of the prime importance of the artist's vision.  I feel that it is
important to look at a work or body of work in as many ways as one can.  In this
case, looking at the production of the work as a creative endeavor (in which the
artist's vision plays a primary role) rather than responding to the work strictly
as a finished piece in the context of the interpretations of the day.  I'm not
saying this approach would be beneficial, or even desireable, in viewing all
works of art, but atleast feel it is an alternative to the way art has
traditionally been presented to the public - through the curator's eyes.

>
>
> Is your reference to visitors towards the end of your message not a little
> patronising?! Do they really need such a large, warm and reassuring hand to
> hold on to as they walk around a gallery?
>

No - I do not feel it is patronizing in the negetive sense of the word.  Yes, as
an educator, my eyes and ears are always open to how visitors respond to works of
art in museum exhibits, and for the most part, I sense insecurity.  We live in a
highly  technological and commercialized world where images abound, and we often
neither know, nor care, where these free floating forms originated.  In a sense,
we have become numb to visual language and artistic vision.  I know that when I
started looking at art, it was nice to have someone by my side to understand the
challenges I faced, and still face.

Deborah Bain