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.However, I maintain that his solution to the problem ofKngwarreye s work is limited by the terms he employs in order to discuss it, and thatultimately, his approach is constrained by an aesthetic dilemma which has importantresonances for the display, criticism and reception of Indigenous art worldwide.The key to this dilemma is Hollingworth s reliance on the golden key ofperception to offer a way in to Kngwarreye s work.Perception is installed at thevery heart of his model, as indicated by the first words of his title: Looking at (notSeeing).As we start to wonder how the act of looking might escape the supposedlynegative connotations of seeing , Hollingworth finds refuge in theories of visualperception.Quoting Norman Bryson s Vision and Painting, Hollingworth explainsthat this distinction has first of all to do with the socialized nature of perception: Forhuman beings collectively to orchestrate their visual experience together it is requiredthat each submit his or her retinal experience to the socially agreed description(s)of an intelligible world.12 Seeing, then, is a matter of interpretation, in which weselect particular items from the visual field, and categorize them according to knownframes of reference.To use a familiar (if deeply misleading) metaphor, it is thus akind of processing, in which the impenetrable flow of raw data is broken up intomanageable chunks.In short, Hollingworth wants us to rethink this empiricist legacyof classification as interpretation.Of course, for any individual the processing of perceptually derived informationis continually shaped by diverse social and environmental factors, and Bryson smodel implies that different societies will employ different frames of reference.Thus, Kngwarreye s art will be meaningful in different ways for urban, non-Indigenous viewers and the Anmatyerre people who inhabit Kngwarreye s Alkaherecountry.However, according to Bryson, the Cartesian tradition by which Westernvisual thinking is shaped the tradition of abstraction, which divides subject from12 Norman Bryson, qtd in Hollingworth, Looking at (not Seeing) , p.16. Raw Deals: Kngwarreye and Contemporary Art Criticism 127object and figure from ground is incapable of dealing with the holistic nature ofKngwarreye s art.Returning to Kngwarreye s statement, That s what I paint: wholelot , he wants us to rethink the material world as a continuous field of transformations.While Kngwarreye s marks are graphic recording[s] which may be equivalent tobody/world experience itself , they are not outlines.Her use of dot and line is thusseen as a very ingenious means to speak of being as an indivisible system ofinclusiveness.13But Hollingworth s solution to the fact of cultural difference is not to emphasizethe enduring fact of Other cultural readings (specifically, indigenous readings) ofthe works, as did curator Margo Neale at the Queensland Art Gallery s Kngwarreyeretrospective.Like those critics who seek to claim Kngwarreye as a twentieth-century abstractionist, Hollingworth appears to leave aside questions pertaining toKngwarreye s age, her femaleness and her Aboriginality , in favor of a return to the actual paint on canvas.14 Following Ian Burn, Hollingworth notes that ourcurrent way of seeing is to read theory onto the image rather than to look at the workitself; to treat the art object as a rhetorical surface & rather than to engage with itin a perceptual way.15 Burn s proffered solution, which Hollingworth endorses, isthat we attempt to recover perception, and thus realize the visual density of artmaking.16 But doesn t this condemn any so-called mediated way of viewing art infavor of a more primal confrontation between viewer and art object? Hollingworth suse of the word recovery appears to imply that a way of seeing might exist whichwould allow us to receive the visual/sensory data as data, rather than as objectswhich are always/already inscribed within our cultural system of interpretation.Inthis way, the author (perhaps unconsciously) invokes the idea of the authentic versusthe represented (the signifying or virtual) object, favoring the former just as GilesAuty does when he tells us there s no such thing as bad drawing there s only badlooking
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Tematy
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