Understanding an artist’s perspective can totally change the viewer’s experience – for better or for worse. If the viewer knows something negative, disagreeable or distasteful about the artist, the viewer often projects that on their opinion of their artwork. On the other hand, understanding an artist’s perspective can lead the viewer to renegotiate and accept an otherwise dismissible work of art. While watching the Hillman Curtis short films, two of them fall into the latter category for me. Both Lawrence Weiner and Marc Romanek bring a sense of reason and being to their art, one in text, the other in video.
I watched the slow tracking toward Lawrence Weiner five times, before letting the clip continue to the end. I wanted the woman with the camera to get out of my way. I was jealous of the woman in the red shoes, jealous of her proximity to Weiner, jealous of the people that filled his studio, listening to him speak in such a personal tone. This deliberate camera approach is washed with a voiceover from Weiner himself. “You are in the stream of life, whether you like it or not. And if you are going to be in the stream of life, you have to accept the personal responsibilities.” His art, “text on walls” doesn’t do justice to his voice. The softness of his tone while expressing his curiosity, his understanding of our his place in the world, isn’t illustrated in his art. I have always found his art-text-design-installation pieces sterile, abrupt, angular; I would have called him a “one trick pony” before watching this Hillman Curtis short film. Now, I will have to revisit, renegotiate. The end of the film delivered one more slow zoom, this time with slow smoke rising in front of his black shirt. I would like to stand in front of one of his font installations with him beside me – I wouldn’t even mind if I left, smelling like smoke.
Mark Romanek’s work is provocative, it’s not an understatement in any way. He always makes a bold statement. But the reason he goes so bold is explained in a short 2 minute span of the video. He said if what he produces is “too left brain, it is what it is. It can be understood too easily.” He then says it has “something to do with engaging the audience. It becomes interpretive for them. As soon as it becomes interpretive, you’re engaged. You’re not just watching.” This applies not only to video and fine art, but also to interactive media. What creates this sense of engagement? How can I invite and engage the audience? When is a “left brain” approach appropriate (if ever)? I plan to keep this in mind as I continue to produce.