How to See: Looking, Talking, and Thinking about Art
How To See
by David Salle
Discussion Questions
1. Why is this book different from typical art journalism?
2. Throughout the book, Salle references artists from other generations/movements whose work has some relation to the artists in question. For example, on page 69, he draws a correlation between Titian and Velazquez and Roy Lichtenstein. How do these comparisons affect your opinion or understanding of the artists' work and influences? Do you agree with these assumptions or is he reaching? What are some other examples of this in the book?
3. On page 81 ("The Art of Childhood"), Salle claims that "...we need to ask, are the objects themselves, his forms, more interesting than, larger than, their interpretations, their use--value in the media?" What do you think about Koons' work in this context? What about some of the other artists in the book? Do they pass Salle's litmus test?
4. On page 133, Salle refers to the work of Alex Katz as "so many perfectly struck notes played in rapid succession that it's hard to pick out the gems. But that's the audience's problem, not the artist's." Do you agree with this statement in the context of whether or not a work of art is successful?
5. "Something only means what you can get someone else to agree to. What happens when that agreement is withdrawn?" (p. 150)
Salle makes this statement in reference to the work of Urs Fischer. Do you agree with him? Explain how this statement could apply to the work of other artists.
6. "An artist is often the last to know what his or her real strengths are; doing and knowing what one has done are two different things. ... Which of us really knows what we've made? Where is the point from which one can achieve that objective viewpoint?" (p. 154)
Using this quote as a starting point, what do you think about the importance of a dialogue or critique to artwork? Is it necessary for work to be discussed for it to obtain meaning? Does an artist need to be objective?
7. On page 178, Salle says to "Change the context, and meaning is made anew. Even if you repaint, or reprint, something as close as possible to its model, you will end up making a new thing." Do you agree with this statement? Why or why not? Use art world examples of your position.
8. On page 201, Salle discusses the difference between, in his estimation, work that exists to be seen, and that which exists to be (i.e. it is autonomous). What are the differences between these two types of artwork? Is it necessary to differentiate between the two?
Exercise (page 244):
BUILD YOUR OWN ANALOGIES
The giant bean sculpture by Anish Kapoor in Chicago's Millennium Park is a work that says, "There will be ice cream."
Choose [a work] of art, and...make a sentence that begins, "This is a work that says...," and complete the analogy.