Yes -- I do gut art appreciation of its subjectivity - because it can be.
One can be expert in all the history and art theory that relates to an piece
while having little or no direct emotional engagement with it.
(which is why, for example, experts have made so many disastrous decisions
regarding art restoration)
Remember -- I'm only talking appreciation "as art". There are many other
ways a thing can be appreciated -- so -- to use William's metaphor -- there
are many other doors of access.
Michael tells us that "It took me a long time of study to warm to the flat,
unnaturalistic, schematic depictions of the Medieval style" -- but how much of
was the study of art history -- and how much was just the accumulation of
experiences of looking?
I could say the same thing about Classical Chamber music.
My parents never played it at home -- and it annoyed me for many years. But
eventually I had few positive experiences -- and then I got hooked. (the same
thing may eventually occur for me with Classical organ music - but don't count
on it!) Though still -- I would be the last person in the world to contribute
to a discussion on the history of music -- as I am sure would also be true of
many great musicians in non-Classical genres.
Art Appreciation happens to be a dominant discourse in our time -- especially
for the visual arts. But that doesn't mean that it's the only way valuable
objects can be accessed - or that it necessarily offers any access to
emotional involvement at all.
******************
Miller's definition of appreciation is to regard it as an extended wall label
or program text. That guts the word of its subjectivity. To appreciate
something seems to require some direct emotional engagement with it. You
can't
receive a visitor until you open the door. Aprreciation is access, opening
the
door; the bigger the door, the wider it opens and the more directly you greet
your visitor, the artwork.
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