Role of the Viewer

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SATURDAY EVENING POST

May 25th, 2024

“The word ‘Beauty’ is loaded with too much baggage. I do try to make my pieces appealing, which is a little different from being beautiful.

However, the most important aspect of the work is its ability to communicate.”

- Charlotte Wall

Art serves as a profound dialogue between the creator and the observer, transcending time, culture, and personal experience. It is within the walls of galleries and museums that this dialogue finds its most potent expression, as viewers engage with artworks in ways that are deeply personal yet universally resonant. In contemporary art, the role of viewers has expanded far beyond passive observation to encompass active participation, cultural interpretation, emotional response, feedback provision, and community building. Viewers not only shape their own experiences but contribute to the ever evolving language of art.

Marina Abramović: The Artist is Present, March 14, 2010–May 31, 2010. Photograph: Jonathan Muzikar.

Artists are creating works that necessitate viewer interaction, transforming the audience from passive observers into essential components of the artwork. One of the most notable examples is Marina Abramović’s 2010 performance piece, "The Artist is Present," at the Museum of Modern Art in New York. For over 700 hours, Abramović sat silently at a table, inviting viewers to sit opposite her, one at a time, and engage in a wordless exchange. The performance was profoundly shaped by the viewers, whose varied reactions—ranging from tears to smiles—created a unique, intimate experience for each participant. Abramović's work highlighted the power of presence and the deep, often emotional connection that can be forged through silent interaction, emphasizing the viewer's role in co-creating the artwork.

Carsten Höller, Test Site, 2006, Photo: Tate, © Carsten Höller

Carsten Höller’s interactive installations also epitomize the active participation of viewers. His works often incorporate elements of play and physical interaction, inviting viewers to engage in novel sensory experiences. In "Test Site" (2006), installed in Tate Modern’s Turbine Hall, Höller constructed a series of giant slides that viewers could ride. The act of sliding down these structures transformed the typically passive museum visit into an active, exhilarating experience, challenging conventional notions of art engagement.

Visitors walk through the art installation Sunflower Seeds by Ai Weiwei in London, Monday, Oct. 11, 2010. Photo: Lennart Preiss

The role of viewers as cultural interpreters is paramount in the art world, as each individual's background, knowledge, and personal experiences shape their interpretation and understanding of artworks. This dynamic interaction between art and audience enriches the cultural significance of the work and promotes a multifaceted dialogue. Chinese artist Ai Weiwei uses his art to comment on political and social issues, often drawing on his experiences and heritage. His installation "Sunflower Seeds" (2010) at Tate Modern involved millions of handcrafted porcelain sunflower seeds, referencing the Chinese Cultural Revolution and mass production. Viewers from China might interpret this work through the lens of their personal or familial experiences during the Cultural Revolution, while international viewers may focus on themes of mass production and global labour practices. Ai Weiwei’s work invites a broad spectrum of cultural interpretations, demonstrating how viewers’ backgrounds influence their understanding of art.

Kara Walker, A Subtlety, or the Marvelous Sugar Baby, former Domino Sugar factory in Williamsburg, Brooklyn. Photo: Sara Krulwich/The New York Times; Andrew Burton/Getty Images

Kara Walker is among the most complex and prolific American artists of her generation, recognised for there cut-paper silhouettes depicting historical narratives haunted by sexuality, violence, and subjugation. Her work, "A Subtlety, or the Marvelous Sugar Baby" (2014), tackle themes of race, gender, and history. The installation featured a giant sugar-coated sphinx-like figure in a derelict Domino Sugar factory, addressing the brutal history of sugar production and slavery. African American viewers might connect with the work on a personal and historical level, interpreting it as a poignant commentary on racial exploitation. Other viewers may focus on the industrial and economic aspects of the sugar trade. Walker’s work highlights how different cultural perspectives can shape the interpretation and emotional impact of art.

El Anatsui, Dusasa II, 2007, Aluminium (Liquor Bottle Caps) and copper wire. Photo: Susan Vogel

Ghanaian artist El Anatsui creates intricate sculptures from recycled materials such as bottle caps and aluminum strips. His works, such as "Dusasa II" (2007), reflect themes of consumption, waste, and transformation, deeply rooted in African traditions of recycling and communal labor. African viewers might interpret these works as a celebration of resourcefulness and cultural heritage, while international audiences might see them as a critique of consumerism and globalization. Anatsui’s art highlights the role of cultural context in shaping viewers’ interpretations and the dialogue around environmental and economic issues.

Olafur Eliasson, Din blinde passager (Your Blind Passenger), 2010, Tate Modern, London, 2019. Photo: Anders Sune Berg

Contemporary artworks often evoke strong emotional responses, creating profound and lasting connections between the viewer and the art. 

Olafur Eliasson's immersive installation "Your blind passenger" (2010) is designed to evoke a range of emotional responses from viewers. This long, narrow corridor filled with dense fog limits visibility to just a few feet ahead. As visitors navigate through the fog, they experience a mix of disorientation, curiosity, and even anxiety. The installation plays on the human senses and emotions, creating an intense, introspective experience that prompts viewers to reflect on their perception and feelings in unfamiliar environments.

Director of ARKEN Museum of Modern Art in Copenhagen, Christian Gether, believes that Eliasson is unique in how he engages with gallery spaces. “Eliasson is extremely interesting because he takes a new view of the institution of the museum. He does not see the museum as separate from the world but as a concentrate of the world – a space made available for the contemplation of human relations.”

Doris Salcedo, Shibboleth, 2007, Installation, Tate Modern gallery, London. Photo: © 2007 by Doris Salcedo.

Doris Salcedo’s "Shibboleth" (2007) at Tate Modern is a powerful installation that consists of a deep crack running the length of the Turbine Hall. The work addresses themes of racism, migration, and exclusion, evoking a sense of discomfort and contemplation. Viewers walking along the fissure experience a physical manifestation of social divisions, prompting emotional reactions that range from unease to empathy. Salcedo’s use of space and symbolism effectively engages viewers on an emotional level, making them confront the harsh realities of social injustice.

Tracey Emin, My Bed, 1998, Box frame, mattress, linens, pillows, and various objects. Photo: © Tracey Emin, Tate

Tracey Emin’s "My Bed" (1998) is an unflinchingly personal installation that presents the artist’s bed surrounded by everyday items, such as empty bottles, cigarette butts, and worn underwear. The work evokes a raw, visceral reaction as it lays bare Emin’s emotional turmoil and vulnerability. Viewers are confronted with the intimate details of the artist’s life, eliciting responses ranging from empathy and identification to discomfort and contemplation about the human condition and mental health.

Installation view of The obliteration room, 2011 as part of 'Yayoi Kusama: Look Now, See Forever', Gallery of Modern Art, 2011. © Yayoi Kusama, Yayoi Kusama Studio Inc. Photograph: Mark Sherwood

Contemporary art has increasingly embraced the idea of viewer feedback as an integral part of the creative process. Interactive and participatory artworks invite audiences to contribute their thoughts, reactions, and personal experiences, which in turn influence the evolution and interpretation of the art. Yayoi Kusama’s "The Obliteration Room" (2002-present) is an interactive installation that begins as a completely white space, which viewers are invited to transform by adding colorful dot stickers. As more viewers participate, the room becomes increasingly vibrant and densely covered in dots. This evolving artwork relies entirely on viewer feedback and participation, illustrating how collective contributions can dramatically alter the visual and conceptual nature of the piece.

Rafael Lozano-Hemmer’s, Pulse, 2006, MUAC Museum, Mexico City, Mexico, 2015, Photo: Oliver Santana; Hirshnorn Museum and Sculpture Garden, Washington, D.C., United States, 2018. Photo: © Rafael Lozano-Hemmer

Rafael Lozano-Hemmer’s "Pulse" series involves biometric technology to create art that responds to the physical presence of viewers. In "Pulse Room" (2006), light bulbs flicker in response to the heartbeats of visitors, recorded through sensors. The installation depends on real-time feedback from viewers, making their physiological responses an integral part of the artwork. This interaction creates a deeply personal and immersive experience, highlighting the role of the viewer in shaping the art.

Viewers who actively support the arts by investing financially become patrons, playing a crucial role in community building. Patronage and sponsorship in contemporary art foster collective engagement and support for the arts. Private collectors and philanthropists often establish museums and gallery spaces, reducing barriers to entry and making art more accessible to the public. Patrons such as Eli and Edythe Broad have significantly contributed to the cultural landscape by founding institutions such as The Broad museum in Los Angeles. Their financial support and vision create spaces where communities can come together to appreciate, discuss, and engage with art, thereby strengthening communal ties and cultural identity.

Corporate sponsorships and crowdfunding also enhance community building by supporting large-scale art events and projects that involve public participation. UBS's sponsorship of Art Basel, for example, fosters global art markets, connecting artists with collectors, curators, and the public, while Kickstarter campaigns like the Museum of Modern Art digitization project directly engage the public in supporting cultural initiatives. Philanthropic foundations provide grants and residencies, ensuring artists can continue their practice despite financial hardships. Public arts organizations and government funding, support creative placemaking projects that integrate arts into community revitalization efforts. These forms of patronage and sponsorship not only sustain the arts but also create inclusive, vibrant cultural landscapes where community members can participate in and benefit from shared artistic experiences. Some of the most incredible collections of works are in private and corporate hands, these viewers become custodians, maintaining, loaning, and allowing these works to reach broader audiences. Viewers are no longer passive; they contribute significantly to the art world, supporting and preserving art for future generations.