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Vermeer: Interruptions, Exclusions, and ‘Imagining Seeing’

100%
Wilder K.
Estetika: The Central European Journal of Aesthetics
|
2015
|
vol. 52
|
issue 1
38-60
EN
This article proposes an essential interrelatedness of Vermeer’s strategies of inclusion and exclusion of an implied beholder. I will argue that such strategies mutually reinforce each other, to the extent that the plausibility of one is arguably dependent upon the possibility of the other. This is evidenced by Vermeer’s subtle manipulations of pictorial space, and the article traces a decisive shift in his familiar use of barriers (repoussoir) from those aimed at an external presence to those oriented towards an internal beholder. The feasibility of this interdependence rests upon a theory of imaginative engagement with paintings that can accommodate both an internal beholder and the felt lack of occupancy of the imagined situation’s point of view. I argue that the Dependency Thesis, as set out by M. G. F. Martin, can provide plausibility for both kinds of imaginative engagement with paintings, when sensory imagination is conceived as an instance of imagining seeing. These engagements exploit the notorious emptiness of imagination’s necessarily perspectival point of view.
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Michael Fried and Beholding Video Art

100%
Wilder K.
Estetika: The Central European Journal of Aesthetics
|
2012
|
vol. 49
|
issue 1
5-26
EN
In this article, I consider Michael Fried’s recent contribution to the debate about the experience of video art, made in relation to the work of Douglas Gordon. Fried speculates that issues of antitheatricality may in fact be key to specifying the medium of video installation. While Fried’s position on awork’s to-be-seenness offers a useful way of framing the relation with the beholder in video art, I question his notion of ‘overcoming’ theatricality – preferring to see the theatrical/antitheatrical dichotomy as a dynamic at play within individual works. I welcome what seems to be an explicit acknowledgment from Fried that the position of the spectator is a contributory factor in what he terms empathic projection, but relate this to the notion of a figural presence. I argue that video art, as a spatial practice, offers a distinct mode of reception by problematizing the position of the spectator in relation to two-dimensional figurative space to which she is excluded.
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