Dear Dickson Adom

I remembered the Mona Lisa painting through your question

And that  art can only speak to those with experience and a sense of this kind of art

The contents of the speeches  vary from one person to another according to the imagination, I consider this type of speech as a language of meanings and imagination

Yes, I believe that art has a spiritual dimension. It enables people to tap into the depth dimension of human experience, namely, the dimension of meaning, value, and being. For a discussion of art from a Christian framework see my attached article.

Article Aquinas, Christology, and Art

Dear Kirk Sir,

I am agree with your explanation.

If artwork can speak then anything inanimate can speak - louder or quieter - it depends on the listener.

Хвала! Данас имам добро расположење - ретко је

Well Dickson, I am a fan of art and  I think it does speak the language of artist ...

I also believe it is left to the imagination of the observer , in the name of appreciation ...

Dear Prof. Kirk,

Thanks greatly for sharing your article that elucidates the spiritual dimensions of Art. I am very grateful. Best regards

Dickson Adom

Dear brother Prof. Salam,

Thanks for citing the painting 'Mona Lisa' to stress the language spoken through artworks using meanings and imaginations. I appreciate it dearly. Best regards

Dickson Adom

Dear Prof. Barbara,

Thanks so much for bringing the findings from recent neurophysiological studies to confirm the language that artworks speak. I am very grateful to you for supporting the discussion. Best regards

Dickson Adom

Dear Prof. Tariq,

Thanks very much for your contribution. However, I was asking of the possibility that works of art such as paintings, sculptures and so forth can speak to their viewers. What do you think? Has an artwork spoken to you before? Best regards

Dickson Adom

Dear Prof. Ajay,

Many thanks for supporting dear Prof. Kirk's submission. I appreciate dearly your part in the discussion. Best regards

Dickson Adom

Dear Prof. Leonid,

Thank you dearly for your great comment. I agree that if we carefully meditate (listen) to the things we see in nature, even the inanimate ones, we glean many lessons. However, artworks that have been carefully produced through the careful interplay of lines, colors, shapes and so forth usually have a hidden philosophical interpretations that its maker would want to share to its viewers. Interestingly, I have found that the interpretations that may be gleaned from the works of art differ greatly from each viewer. The works remarkably appeal to the emotions and send messages. It is wonderful how artworks can speak, though without words per se! Thanks once again and Best regards

Dickson Adom

Dear Prof. Jasna,

Thanks for your thought-provoking questions that require great meditation. Of course, artworks transcends beyond the inanimate expressions. Best regards

Dickson Adom

Dear friend Prof. Aparna,

I perfectly agree with you that artists' original language is communicated through the artistic productions while the viewers also through their appreciation, gleans many wonderful lessons and messages from such artworks. Many thanks for your valuable comment. Best regards

Dickson Adom

Dear Prof. Osama,

Thanks dearly for your valuable comment. Indeed, it is when works of art are well articulated in their presentation- methodologically and philosophically that they can relay cogent messages. I am very grateful. Best regards

Dickson Adom

Dear Colleagues,

Good Day,

"If Art Could Talk

Please, see the attached artistic paintings, they all talk...

http://ifartcouldtalk.tumblr.com/

Dear Colleagues,

Good Day,

"How Ancient Greek and Roman Art Can Speak to a Digital Age

ARTSY EDITORIAL

BY ISAAC KAPLAN

Few genres of art are as entangled with myth as that of ancient Greek and Roman sculpture. Many of us have had the experience of trudging through the halls of a major museum and gazing at the “perfect” sculpted figures of the Greeks and Romans. They may depict unfamiliar gods or tell strange stories we’ve never heard. From their shimmering white marble to the pristine display cases that house them, such ancient sculptures can feel like they’re speaking in an impossible foreign language, from a world so far away that they carry no meaning in the present.

Indeed, a common misconception is that the ancient Greek art is, well, ancient. This is partly due to the way it is displayed—as stoic, still objects in a museum, not as pieces animated by a living relevant context. A new exhibition at the the Museum of Classical Archaeology at Cambridge titled “RECASTING” uses the university’s robust collection of over 600 19th-century plaster casts of Classical sculptures to shake up the conventional timeline. Juxtaposing the work of seven contemporary artists with the Greek and Roman sculptures, the exhibition looks to showcase the enduring importance of ancient art and trace how artmaking in the present is tied to the artmaking of thousands of years ago.

A crucial first step is to break our eyes out of the patterns of seeing we’re so used to employing at museums. “Classical sculptures are in a sense very familiar,” says Ruth Allen, a graduate researcher who curated the show along with James Cahill. “You almost don’t really look at them anymore—they’re so iconic.” To this end, the Scottish-born artist REILLY has digitally collaged the immaculate forms of ancient sculptures with contemporary celebrities like Michael Jackson and Rihanna. Inserting instantly recognizable faces into ancient iconography, he does “a good job of pulling the viewer up short and making us look at the ancient work that is incorporated into the new composite image,” Allen notes."...

Please, go to the attached website for the rest of the article...

https://www.artsy.net/article/artsy-editorial-how-ancient-greek-and-roman-art-can-speak-to-a-digital-age

Yes, great artworks look like to speak to viewers through their impressive existence and artists' souls transferred to them in the process of creation.

Dear Prof. Hazim,

I am very grateful for the elaborate information and the attached website. Many thanks for supporting my inquiry. Best regards

Dickson Adom

Dear Prof. Tatsuo,

I am appreciative of your powerful comment especially the mention of the soul of artists transferred into their creations. It is very candid and interesting. I am highly impressed. Thank you so much. Best regards

Dickson Adom

Of course it has a voice.  It is the voice of creativity. The creative piece of art has the ability to call you. This is my viewpoint. 

Liqaa 

Dear Sister Prof. Liqaa,

Indeed, your valuable opinion is on point! The voice of creative artworks is heard. Thank you dearly for this great contribution.  Best regards

Dickson Adom

Expressionists voice out their feelings not through the use of words but through design elements, wild and loud brush strokes from colour messengers

Every art work must and should carry a message to its audience. Any art work that makes it difficult for the target audience to read meaning into it becomes abstract.

Dear Colleagues, Good Day,

"The critical friend: for whom does the art critic speak?

The contemporary art critic cannot say with certainty whether something is good or bad.

What good criticism does today is to help the public “see” the artwork. It does not explain and close down meaning, but opens the artwork up.

This usually means placing the artwork within a certain line of art, or showing how it relates to certain modes of practice.

The contemporary critic is now a close friend of the artist who sometimes speaks on his or her behalf. The good contemporary critic is one who visits studios, knows the scene and knows the work. It is a more collaborative and less authoritative process.

The major risk with this approach, however, is that the critic becomes too engrossed in their subject and does not have enough distance.

[Robert Hughes](http://en.wikipedia.org/wiki/Robert_Hughes_(critic), a staunch modernist, used to refuse to buy any art of his contemporaries so as not to be sullied by outside influence.

The German art critic Boris Groys also points out that this limits the critic’s ability to speak on the public’s behalf, if this is still a goal of contemporary criticism, because you are already embedded in the scene.

As one of America’s best-known art critics David Hickey has said, at worst, the critic can become a courtier for a scene of gallerists and buyers.

So as the rich flit into the fly-in Gagosian gallery in Paris, the critic merely points the connoisseur in the right direction, and cannot really believe that they are working for any broader interest.

This “friend” approach also begs the question: why can’t the artist speak for themselves?",...

Please, see the source:

http://theconversation.com/the-critical-friend-for-whom-does-the-art-critic-speak-14692

Thank you Prof. Hazim for the valuable comment and helpful link. Best regards