The Experience of Interpreting Artwork

At first, I struggled to make any sort of connection between Sontag and the collections at the Des Moines Art Center. It was too far-fetched for me to believe that the two were so interrelated; however, when going back to Sontag’s “On Photography,” I read, “What is written about a person or an event is frankly an interpretation, as are handmade visual statements, like paintings or drawings” (4). After reading that, I started to realize that I didn’t have to try and recreate what the artist was thinking at the time, as it is only an interpretation – and I am free to interpret as I see fit.

One piece of art that struck me as both visually interesting and mentally stimulating was Vik Muniz’s, “Chuck.” As you can see in the picture (http://www.desmoinesartcenter.org/dreampics/index.php?fuseaction=gallery.viewPhotos&exhibition_id=0&photo_id=212), Muniz uses hundreds of small squares with unidentifiable images on them; and puts together to create what seems to be a portrait of a man. In person, when you stand close to the artwork, it is very blurry. After stepping back ten feet, the image is clearer (but still not district). While at the museum, I tried to step into Muniz’s world and decipher what he wanted everyone to see, but could only come up with what I thought the image portrayed. This brings me back to Sontag’s aforementioned quote on interpretation. I really have no idea what Muniz’s purpose was seven years ago when he created “Chuck” but to me it seems to be an overall theme of analyzing people. Many times, it will seem clear who a person is, what they believe in, and where they stand on issues from a distance, but once you get to know someone, things aren’t always as they used to seem – things get more distorted and blurry up close.

Sontag also says in “On Photography,” “It means putting oneself into a certain relation to the world that feels like knowledge – and therefore, like power” (4). I thought of this quote when looking at Richard Diebenkorn’s, “The Table.” I stood there and started to wonder what significance this might have for Diebenkorn that he felt like he wanted to make a painting attributed to it. Going back to Sontag, I really think that this painting (even easier with photography) is one where someone can put them self “into a certain relation to the world” and visualize a table that they have seen so many times in their lives. It could be the table where everyday your family ate dinner, it could be the table where you got the worst news of your life at, or it could even be the table from college where all of your buddies played poker on every Wednesday night. If you can look at a photograph or any piece of artwork and feel yourself in that image, it is very powerful. (Here is the link to the image at the DMAC: http://www.desmoinesartcenter.org/dreampics/index.php?fuseaction=gallery.viewPhotos&exhibition_id=0&photo_id=125)


After realizing these things, it is much easier to see Sontag’s deep passion for photography. If one can disconnect from reality and entrance them self into an image – whether it be photography or a painting – it can be a very powerful experience. The experience can be a sort of recreation of past events in one’s life.

Overall, after combining Sontag’s writings and my visit to the Des Moines Art Center, I have realized that artwork is really just your own interpretation of the artist’s creation. It is that feeling of knowledge and power you feel when you can put yourself into the situation that is in front of you. The experience that you get by disconnecting yourself and experiencing the image is far greater than interpreting what the artist had in mind for his or her own encounter with the painting or photograph.



Sam Page