Next to the art at the Warhol: Voices of interpretation

The communication between arts professionals and arts patrons is one of the most controversial issues in the museum world today. Some people believe the art should speak for itself, with a minimum of accompanying signage. For example, Roberta Smith, writing in The New York Times about this year's Whitney Biennial, described the show's wall texts as "irritatingly patronizing." Others, however, believe insightful labeling can surprise regular gallery-goers and offer emerging viewers an additional way into a piece.

The Andy Wahol Museum has made a unique and decisive choice in its labeling project, which it calls Diversity of Voice in Interpretation. Spearheaded by Curator of Education Jessica Arcand, the labeling project offers points of view from a wide range of community members about the life and art of Andy Warhol. Presented in short written texts of approximately 75 to 100 words, these personal perspectives are placed on the wall next to specific works of art.

According to Arcand, Voice emphasizes the many ways of looking at a work of art. "Contemporary art is often marred in the public's eye as elite and far removed from everyday experience, when in actuality much of the artwork created today is about the world around us," she says. "It is this relevancy that makes hearing the observations of those approaching art from their own experience so refreshing."

Pittsburgh artist and musician Christiane Leach says this about one of the most challenging works by Warhol, Oxidation, which uses urine as a medium: "The progressive artist is one who is hungry to stretch all boundaries, heeding no calls of protest from the offended. The elements in and around the world are seen with childlike excitement as a playground for the creative pioneer This kind of artist is ravenous to create new textures, and forms, sifting many times through the overlooked and the tabooed to find what is needed."

On a lighter note is the perspective of Dave Nelsen, CEO of CoManage Software, who offers his perspective on Silver Clouds, the floating mylar pillows that once adorned Warhol's Factory and now hover in their own gallery in the Pittsburgh museum:

"Welcome to Cyberspace, the physical incarnation. Like a snowflake, your visit here will be unique relative to every other Your experience will be interactive, although you can determine to what degree. If you took carefully, you will see reflections of yourself You may also see other people, but not in the same way they see themselves. When you leave, these moments will begin to fade from memory. The experience can be repeated, but cannot be replicated. So it is in cyberspace? and in life."

In the museum this inclusiveness of opinions by people of all ages, races, backgrounds, and jobs helps raise the "Voice" of the community - and the level of communication between patrons and professionals. It fits the spirit of Warhol's time and also the spirit of the current time. Diversity of Voice in Interpretation furthers the museum's mission as a vital center that uses the art and life of Andy Warhol as a touchstone for dialogue and expression.