Those boring lenses and frames
“Not so the frame. The untrained viewer thinks of the fame as a neutral context, setting the image off from its environment, perhaps, but not altering the image itself. Training in design and composition conveys an understanding of concepts like simultaneous contrast, which holds that a black frame can make an image look lighter in the same way that we can appear taller by standing next to a shorter person. Even to a highly-trained viewer, however, the frame, assuming it is a subtle, appropriate frame, becomes invisible, and it exerts its effect on the image outside our conscious awareness.
“Metaphorically, then, the frame can serve more as an unconscious bias, changing an image indirectly, by the context of its presence, and without the viewer’s conscious awareness. When you see something in a given frame, that frame alters what you are seeing, but does do without your knowledge or consent. It takes alertness and training to become aware of the influence of the frame, and even with this awareness, its influence may not be negated. To return to the initial example, seeing something in a Modernist frame may mean unconsciously minimizing the political, activist, Conceptual, gendered, or other meanings of a work, and perhaps emphasizing the rapturous and sublime, along with overt formal analysis which is the ostensible goal of this frame. If the intention is to directly change the meaning of the subject, then the frame may be the wrong metaphor; perhaps a lens is intended instead.
“A lens serves more as a conscious agenda. The function of lenses and lens-based devices tends to be to magnify, to enhance, or to focus a blurry image. Alteration of our perception of the original is the intention of the device. When used as a metaphor, then, the lens is a much more aggressive, but also honest, recontextualization. The effect is more direct, less subtle, more provocative, less manipulative. When we view something through the lens of third-wave feminism, we aren’t subtly altering that thing by its context. Instead, we are asserting, perhaps radically, that the original was either too small or too distant to be perceived accurately, or else that it was out of focus: essentially, that our subject was fucked up, and that third-wave feminism provides the necessary means to fix it.
“These differences between the simple lens and the frame are only the beginning of the linguistic possibilities of the optical metaphor. Someone better versed that I in the effects of different types of lenses could apply those effects metaphorically. Devices composed of multiple lenses, such as telescopes, microscopes, binoculars, spotting scopes, and riflescopes each have their own potential applications. Viewing the work of an international artist through the telescope of globalization may bring their work closer, make it more accessible, but at the cost of a reduced field of vision, that is, the obfuscation of the cultural context in which the work was created—not to mention that as a monocular device, the telescope eliminates the viewer’s depth perception, so that while it appears to bring the subject closer, it makes it impossible to tell exactly how far away that subject is.”
- Does artistic talent matter?
- But I’m no artist
- Teaching climate change with art
- Art history at the crossroads
- The gallery industrial complex
- The social commentary of Yoshua Okón’s “Salo Island”
- CAA awards for Rainer and O’Grady
- Foundations pledge to save art in Detroit
- Suspicious fires plague Detroit public art
- The rich ruin art for everyone