Usually, art production is dealt with by theories of creativity or portraits of the individual artist, while the viewer’s encounter with art is considered in analyses of aesthetic experience or explained by reference to empirical data about the mind/brain. This ap- proach makes it seem as if artist and viewer relate to art in radically different ways. It may appear reasonable, inasmuch as the viewer’s relationship to art in comparison to that of the artist is predominantly passive. Yet, seen from a cognitive point of view, artist and viewer have more in common than what distinguishes them
