In the last issue of the Argus, Sally Rosen expressed her dissatisfaction with the cynical Wesleyan reception of “The Gates.” I do agree with her view that the work was visually interesting, but beyond its aesthetic impact, what struck me most during my trip to Central Park was the power “The Gates” had to unite all walks of life as they traveled through the park, each person openly expressing his or her personal viewpoint. These reactions ranged from confusion to praise to disgust, and I believe that wide-ranging response is a vital, fascinating part of public art. Without both admirers and disparagers speaking their minds and expressing their entitled opinions, there would be no debate to public art, and thus no purpose beyond blind acceptance in its creation.
Christo has given us something that I’ve never known in my lifetime: a work of art that we can all fairly judge from an even playing ground, despite our educational backgrounds or levels of cultural awareness. In my view, the value of the work should not be determined by whether it is liked or not, but by the intensity with which viewers feel compelled to express their opinions. For this reason, “The Gates” is an overall successful work of art, not despite criticism, but because of it.
Leave a Reply