The Forgotten Art in the Workplace.
Similar to wine, art requires appreciation. Having a bottle of wine present at a dinner party is only the start of a great experience. Opening it carefully, savouring the different textures, identifying the various notes, and then engaging in a discussion together all contribute to the culture of wine appreciation. Just like a truly exceptional wine is delicious, stimulating, and capable of shifting perspectives, art possesses comparable qualities.
Photograph: Footbridge Connaught Road Central, Hong Kong by Oscar Venhuis
Offices around the world have acquired exceptional pieces of art, yet they are frequently disregarded and viewed as nothing more than decorative pieces by its employees. We walk past without pausing to appreciate the artwork. I have found that this is not because we lack an interest in art, but because we are rarely given the fundamental skills needed to appreciate it. Unfortunately, such training and workshops are seldom provided by the employer.
"I do read the captions next to the work!" Oftentimes, we tend to read the white label next to the artwork, which includes the title, artist, year, medium, and description. Of course, there is no right or wrong way to appreciate art and what I propose here is an alternative approach that can provide greater benefits but among art professionals captions are sometimes referred to as "tombstones”. Certain galleries and institutions deliberately avoid using the white square tombstones because they can be a distraction, causing people to focus on the caption rather than the artwork itself. This can lead to a missed opportunity for deeper understanding and appreciation of the artwork.
Intentionalists vs Formalists.
Of the three schools of thought, I will focus on the two that are further apart from each other. The third school lies somewhere in the middle of these two extremes.
Intentionalism by Berys Gaut and Livingston
Formalism by C. Greenberg and R. Krauss
Intentionalism is an approach that emphasises the artist's intention behind the artwork. According to this approach, the artist's intentions and the historical and social context of the artwork are crucial to understanding and evaluating the artwork. Intentionalists claim that the meaning and value of a work of art are determined by the artist's intentions, and that the artwork should be interpreted in light of the artist's intended meaning. They hold that reference to intentions is essential in fixing the correct interpretation of works. "The task of criticism is the reconstruction of the creative process, where the creative process must in turn be thought of as something not stopping short of, but terminating on, the work of art itself.” - Richard Wollheim
By contrast, formalism is an approach that focuses on the formal qualities of the artwork, such as line, dimensions, colour, texture, and composition. Formalists believe that the form and structure of the artwork are the most important aspects of the work, and that the meaning of the artwork should be derived from the formal elements themselves rather than from any external factors.
Intentionalism and formalism are two different beliefs to the interpretation and evaluation of art, and they differ in their focus and priorities. Intentionalists emphasise the meaning behind the artwork, whereas formalists emphasise the aesthetic qualities of the artwork. Both approaches have their strengths and weaknesses, and both can be used to provide valuable insights into different aspects of art.
Critical Analysis Approaches.
Art appreciation is not just about memorising names, dates, and places associated with artwork, nor is it becoming familiar with artistic movements like Impressionism, Modernism, Surrealism, or any other ism. While having such knowledge can certainly impress others, the real value of art appreciation lies in gaining insights into the human condition and the opportunity to mentally travel through space and time. In other words, through the appreciation of masterpieces created by the world’s most renowned artists throughout history, you have access to new perspectives, stories, and inspiration which have helped shape our civilisation.
Art asks us to think differently, see differently, hear differently, and ultimately to act differently, which is why art has moral force.” - Jeanette Winterson
To those unfamiliar with the process, evaluating art can be bewildering, and displaying art works in an office without any guidance is like presenting a bottle of wine on a table without explaining how to open it. For years, the French wine industry has educated us how to taste and appreciate wine, emphasising the need to develop and refine our skills over time. Similarly, art appreciation and criticism require practice and can be improved with cultivation.
Art enthusiasts, scientists, and humanists acknowledge that art is not only about aesthetics, but also has social and epistemic significance. It can facilitate communication, promote self-awareness, encourage personal development, and challenge our existing beliefs. Despite these benefits, empirical research tends to disregard the social and epistemic outcomes of engaging with art, preferring to focus on individuals' subjective assessments of beauty, pleasure, or other emotions. This is one of the limitations of today’s neuroaesthetics research, but we will delve deeper into this topic another time.
The techniques to evaluating art with employees can be applied to the workplace as well. Art criticism is not about being negative or trying to find weaknesses. Art criticism is about evaluating art critically and consists of several different methods, which vary depending on the formal or intentional context. A few examples of different methods of art criticism are:
Formal analysis: a popular method that focuses on the visual elements of an artwork, such as line, colour, and composition. Formal analysis is used around the world and is often used in conjunction with other methods.
Iconographic analysis: this focuses on the symbolism and meaning of an artwork. This method is often used in the context of religious art, such as Buddhist, Christian, or Hindu art, and involves an in-depth examination of the iconography and iconology of an artwork.
Historical analysis: this analysis is frequently used in the assessment of modern and contemporary art, and involves a thorough examination of the historical factors that affected the creation and reception of an artwork. It scrutinises the social, political, and cultural circumstances in which an artwork was produced.
Comparative analysis: this approach involves comparing and contrasting different artworks of artists in order to gain a deeper understanding of their respective strengths and weaknesses. Comparative analysis is often used in the context of cross-cultural or cross-historical comparisons, and can be used to shed light on the unique qualities of different artistic traditions.
Interdisciplinary analysis: this draws on insights from other disciplines, such as psychology, sociology, or philosophy, to gain a deeper understanding of the aesthetic and cultural dimensions of an artwork. This method is adopted in the context of modern and contemporary art, and can be used to explore the complex relationship between art and society.
Each of these approaches is equally valid, and no one approach is superior to the others. However, there are benefits to cultivating the use of multiple methods of analysis, which can enhance our understanding and appreciation of art more than relying on a single system.
Art critiquing exposes valuable skills that will serve employees in their professional development and personal growth: observation, problem-solving, innovation, and critical thinking. Participating in the arts can also improve communication skills, generate self-esteem, teach collaboration, and increase confidence.
Art serves as a tool for promoting understanding, shifting dogmas, and broadening our views in the workplace. The next time you encounter art in your workplace, take a moment to pause, skip the captions, and use different interpretations methods of both formalism and intentionalism.
