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representation of the human form as is the
case with traditionalist art.
(Gormley, 2015). In light of this information,
I would like to visit the installation again, and
reflect upon the work as a contemplation
on Liverpool’s enigmatic history with the
world’s oceans. None of the interpretations
of ‘Another Place’ I have discussed are false
understandings of the work, and the work is
not weakened in being open to subjective
interpretations. The crucial element is that
the work of art invites one, to form an idea,
derive a meaning, or feel an emotion.
My own experience of, and response to,
‘Another Place’ differed in some ways to
the artist’s intentions. This does not result
in the work failing as art. Nor does it imply
that I have misunderstood the piece. Derek
Matravers outlines why the artist’s intention
is not necessary for an understanding of a
work of art: “Everything that is part of the
work will be available to our best critical
practices [...]. Things that lie outside the work
(including intentions) may not be available.
Hence, if criticism draws only on features
that are part of the work, it will always have
everything that it needs for interpretation”
(Matravers, 2013, p.93). With regards to
‘Another Place’, Gormley claims that “the
idea was to test time and tide, stillness and
movement, and somehow engage with the
daily life of the beach.” Yet he admitted that
he had been “amazed at how many people
have expressed to [me] the consolation
or the use that they put Another Place to,
either to deal with personal loss or to just
as a place that’s there constantly in the
changing conditions of the year, the sea, the
sky, but also our moods, and that this work
can become in a way a foil to or measure of
our life course” (Gormley, 2015). Whilst not
being his intention behind the work, the work
has been functional to (and been enjoyed
by) many viewers in different perspectives.
Having immersed myself in many
experiences with art over the course of the
module, my beliefs have gone from complete
disorientation to an intuitive understanding.
Reflection on ‘Another Place’ helped me
to the conclusion that the value of art is
decided by not only by what the artist offers
us, but also what the viewer can provide
in terms of their subjective response. Any
interpretation, or emotional response to, or
inferred meaning of a work of art can only
be reflected on with these two perspectives
amalgamated. Using ‘Another Place’ as a
tool to examine theories on expressionism
and artists’ intentions, it became clear to me
that the viewer’s imagination, experiences,
and interpretations become central to
any understanding of art, and explain the
conspicuous subjectivity of the topic.
I agree with the anti-intentionalist theory,
in which intentions are not required for
an interpretation of a work of art, but I do
not believe that they should be actively
excluded. If I had known that the artist’s
intentions were relevant in choosing
Crosby Beach as the permanent site for
‘Anot her Place’, my interpretation may
have been different. Gormley explains
that “the original piece was designed in
a way as a meditation on emigration and
what drove human beings constantly to
expand westwards until finally they reached
the Californian Pacific. Liverpool had a
strong connection both with New York and
America at large, and also the Caribbean in
terms of the slave trade, but also the history
indeed of bodies at sea, quite tragic history”
References
Bernstein, J. (1996) The Death of Sensuous
Particulars. Radical Philosophy, 76, pp. 7-18.
Gormley, A. (1995), http://www.antonygormley.
com/sculpture/item-view/id/230
—(2015) http://www.liverpoolecho.co.uk/whatson/arts-culture-news/antony-gormley-talksanother-place-9533774
—(2016) http://www.visitliverpool.com/things-todo/another-place-by-antony-gormley-p160981
Heidegger, M. (1977) The Question Concerning
Technology and Other Essays, trans. William
Lovitt. New York: Harper Colophon Books.
Matravers, D. (2013), Introducing Philosophy of
Art: Eight Case Studies, Acumen Press.
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