In this chapter Grey discussed the process that an artist goes through when choosing a subject for his art and how this process affects how the art will be viewed. I had considered that there had to be a certain appeal to a subject or person in order for a person to take the time to create a work of art based upon this person or thing. Grey suggests that “seeing occurs when our attention is arrested by a person, object, or scene” (72), meaning that the artist truly sees an object when their entire attention is drawn to one solitary thing and is able to see the shape of the thing while being able to know the meaning of the thing. It is also argued that “when an artist encounters an artistic subject, love opens all his or her eyes” (Grey 73), which would mean that the artist has to feel a certain attraction (in this case love) for something to designate enough importance to it for it to become a work of art. I would argue that someone does not have to love a person or object to create artwork based on the subject, they could also create art based on a popular object or location knowing that there are customers willing to provide monetary compensation for such pieces of art. The second step of the process an artist takes to create art would be when “the artist scans the subject, seeing now more with the eye of reason” (Grey 73), meaning that the artist is able to focus solely on an object, person or scene and not pay attention to the surrounding. I would argue that this step is very important in order to keep the representation of the subject in the art genuine without outside influences. Another idea presented by Grey is that there is a distinct difference between being able to see deeply and the ability to understand. It is argued that in order for a person to see something deeply one must “transcend the egoic boundaries between the self and otherness of the world, momentarily merging with the thing seen” (Grey 72), meaning that one has to identify personally with the subject being portrayed. While I agree that this ability would allow the artist to portray the object in a genuine manner, I don’t think it is necessary for a viewer to place himself or herself in the subject’s place in order to fully appreciate a work of art.
Grey, A. (2001). Art as Spiritual Practice. The Mission of Art (1st ed., pp. 205-233). Boston & London: Shambhala.
I really enjoyed the part where the reading discussed the opening of the three eyes, and how it primarily happens when a person loves a piece of artwork enough to really see it. I find this to be an accurate reflection of my own life; whenever I like a movie enough I do ridiculous stuff like find all the little details about it and like to read others’ interpretations of the message behind it. So as far as that aspect goes I definitely agree. But I also agree with where you discussed how an artist may make something simply based on the fact that it may sell, not because they love the art they’re portraying. This is a sad bit because often it leads to less than great quality work. I think a good artist attempts to not only create something they love, but also create something marketable. I think there’s a good harmonic balance when this happens.