Among the few disciplines, for which there is no satisfactory teaching, counts the problem, “to feel, to learn“ art. One tries instead to set up a framework which should be suitable to understand art with supposedly transparent criteria. Art historians there are particularly active, and some artists accept that view willingly. Especially when the studied art connoisseurs positively honor the artist’s work. Forget it! because this frame is a cage which imprisons us.
The question is, however, something quite different. The idea is to learn art, to feel, to be taken in to a beautiful, sometimes disturbing world of colors and shapes, sensual and haptic experiences, that merge into an art impression that exerts its effect so much, that one who is touched does not want to leave, or live without. This suggestive power of art unfolds in a very personal way, it is like a love affair. The lover is fascinated by the object of his desire, while the next bystander feels nothing.
So art is always individual! By this it does not mean, that there are works that inspire many people, and others who just shake few. The many are also individuals. Actually there are only three feelings towards art – positive, indifferent or negative. Whereby the indifference really is no feeling, because nothing is perceived. In a world where virtually all rules have been blown up by the art and now everything is possible, the own sensation is the decisive scale.
This may sound selfish and unworldly, but it is not. On the contrary, with respect to the reception of art the individual now can take his destiny in his own hands. Even opinions of respected experts are at best still interesting, but no longer binding, if themes, styles and fashions are changing by the minute. Some people feel insecure and left alone in this situation, but others see the opportunity to take the free decision. Art can tell everyone something, but just not the same. This makes art not arbitrary, but in the individualization even more valuable.