As often defined through extensive discussions and argumentative conversations, art presents itself in rather convoluted forms. The continuous contrast between what some perceive as art and others argue to be otherwise becomes a central characteristic in both Ways of Seeing, by John Berger, and A Short Guide to Writing About Art, by Sylva Barnet.
Ways of Seeing presents within itself countless confusions about the perception of art. An attempt to perhaps enlighten audiences into different perspectives about the subject, John Berger illustrates art as an exclusive medium for upper class as well as a depreciated entrance for lower society into what the world labels as such. Cynically analyzing the quasi-snobby existence in the elite world, Berger does not fail to disgrace the invention of mechanical reproductions which permit poorer individuals an easy access to unattainable artifacts. His view on the preservation of the meaning of art heavily leans towards the lack of digital presence in art itself. He suggests that the definition of this powerful entity is demented and misunderstood by means such as cameras and other digitalized equipment. Although against such modern attack on tradition, Berger yet seems to disdain the exclusive environment in which art is preserved. By providing an animate involvement in the exhibition of art, the author gives audiences a more aware relevance for such treasure. I myself will not snap pictures of art as Berger will probably haunt me with the idea that I will deform the value of something far too important to be meaningless.
Sylva Barnet is nonetheless relevant in the campaign to enhance art in its truest form. As an instructor on writing about art, as her book A Short Guide to Writing About Art implies, Barnet provides guidelines to inexperienced writers and art fanatics on how to approach these timeless masterpieces. Her guide informs readers with simplistic views on artistic concepts. “Art is what artists do,” she quotes, highlighting the opinion that art is universal. She enriches her audience by creating an awareness for the existence of art in anything an artist or his audience label as worthy. This overactive advice for art analysis is often titled ‘critical thinking’, an idea to which everyone is already acquainted. Besides the usual writing tips of an expert, Barnet conveys a coherent structure for the composition of a successful essay on art. In doing so, she willingly releases a routine capable of turning simple writers into careful art analysts.
Provided with powerful instructions on the meaning of art and how to approach it, visits to popular and crowded museums such as MoMA will become more than a superficial tour adorned in endless collections of mystified images. These visits will aim to not deteriorate the meaning of art but instead provide myself with non-superficial critiques on the treasures of New York City.
