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TRANSCRIPT
Taylor Wegner
April 20, 2015
Art 140: Final Paper
Oftentimes, the images displayed in art have symbolic meanings. This is a theme that I
focused heavily on while choosing works to display in my art collection, and while creating my
own piece. More specifically, I focused on the symbolic meaning that hands regularly have
when presented in art works, and how their inherent familiarity allows artists to utilize them in
order to convey a message or emotion, while challenging the viewer to look beyond the surface,
rather than simply recognizing such pieces as illustrations of a component of the human
anatomy. That being said, the “Definition of Art” reading was the most influential and stood out
to me because it helped me recognize how I do not feel about art, and therefore, how I should go
about creating my own art and viewing the works of others. This reading aimed to assign a
definition of art, despite the fact that it was incapable of doing so and never blatantly admitting
this shortcoming. I believe that this is due to the fact that there could never be a singular,
definition of art; and that art is entirely subjective, and therefore up for unlimited interpretation.
Consequently, any piece of art could have countless opposing meanings, dependent on the
experience of each individual viewer, even if the artist created a piece with a specific intention.
Accordingly, and for simplicity’s sake, I will be offering my own, personal interpretations, or
interpretations that I agree with, when discussing the relevance and significance of the works I
chose for this project. In addition, the reading “The Role of the Arts in Political Protest |
Mobilizing Ideas” stood out to me because it aided my interpretation of three works that I chose
to show in my collection, since they offer contextual social commentary in a similar manner that
art used in political protest does. This reading offers that when used as a means for social
rhetoric, “…[art] acts to evoke and stimulate a critical stance to the world” (Eyerman 1), a notion
that I agree with, despite the difficulty in doing so effectively. Ultimately, the aforementioned
theme was the only factor recognized when deciding which art works to choose for my
collection. Materials and process where extraneous, seeing as a variety of different media,
including paint, pen, and photography, are presented.
This work is Untitled, a resin coated print and ink by
Shirin Neshat. Neshat is an Iranian artist who achieves social
activism through her artwork, and I chose her because her work
relates to the topic discussed in “The Role of the Arts in Political
Protest | Mobilizing Ideas.” The topics she most commonly
explores, that are typically directed towards a Western audience,
are gender, religion, and political oppression. This work
connects with my curatorial framework because of the symbolic
meaning of the hand photographed. Inscribed with pen on the
hand is Persian calligraphy. The placement of the hand is not used to represent the silencing of a
female voice, rather, it symbolizes the outspokenness of many women in Middle Eastern society.
Though a Western audience may not be able to understand it, the calligraphy acts as a
supplementary voice for those whose freedom of speech is limited. Shirin Neshat’s work is not
limited to photography and print making, she has also made a few films, all of which explore
similar topics as her photography.
Shirin, Neshat. Unititled. 1996. RC print and ink. Gladstone Museum, New York City.
The following work is a painting by Thomas
Eakins, known as The Gross Clinic. I chose this artist and
work because of the symbolic meaning of the hands of the
woman that is seated on the left side of the painting, despite
the fact that they are not the focal point of the work, and
how they serve as a foil Samuel Gross’s hands, an
esteemed surgeon of the time. Illustrated is a scene in
which he is removing a “dead bone” from a man’s leg. The
operation is being observed by medical students for
educational purposes, while the patient’s mother cringes
away in fear. Eakins’s purpose in depicting the lone woman in the room in such a way is to
establish the notion of a feminine inability to handle something as gruesome and academic as
witnessing a surgery. Serving as a foil to the woman’s hands, Gross’s hand that is holding a
scalpel is shed in light, in a glorifying manner that emphasizes his confidence as a surgeon. Not
initially recognizable, due to the dark color scheme of the work, Eakins depicted himself in the
background, taking notes, in order to demonstrate his qualifications for studying such a subject.
Interestingly enough, Eakins incorporates himself into all of his works.
Next, is Francis Picabia’s pen on paper drawing titled, Ici, c’est ici Stieglitz/ Foi et
Amour, a French title which translates to, “Here, this is Stieglitz/
Faith and Love.” The titled, along with the word “Ideal” are
spelled out with cut and pasted paper prints. Picabia is
commonly known for his mechanomorphs, symbolic illustrations
of human figures with the use of electonic objects. I chose this
Eakins, Thomas. The Gross Clinic. 1975. Oil on canvas. Philadelphia Museum of Art, Philadelphia.
Picabia, Francis. Ici, c’est ici
artist because of the unique way in which he conveys the human form, and how his method is
full of symbolism. As stated is the title, this drawing is meant to represent Alfred Stieglitz, a
fellow Modernist artist who specialized in photography, hence the depiction as a camera. By
portraying Stieglitz as a camera, Picabia is playfully deriding the former’s goals by subverting
the machine to the hand of the artist. This work connects to my curatorial framework since the
camera’s face is meant to represent outstretched hands that are reaching towards an “Ideal,” the
aforementioned word at the top of the image, though they will never reach it. Other aspects of
the drawing relate to other, obvious, aspects of the human anatomy. Picabia was a member of
the Stieglitz circle, an exclusive group of renowned Modernist artists that Alfred Stieglitz chose
to mentor and collaborate with.
The following work is a porcelain sculpture titled, Soliphilia, by Kate MacDowell. I
came upon this artist with the aid of a fellow classmate and
chose to include her in my collection because of the visual
similarities between her work and my own. This piece is
meant to illustrate the intrinsic connection that humans share
with nature. Although this theme differs from my own, it still
connects to my curatorial framework since this connection is
made metaphorically. In addition, this piece in particular is
quite similar to the work I made. For instance, both pieces
depict hands reaching upwards, while plants emerge from them. The connection that humans
have with nature is a theme that MacDowell regularly employs within her work, seeing as a
majority of her pieces unite that which is human with animals and plants.
MacDowell, Kate. Soliphilia. 2010. Hand built porcelain. Private Collection.
Picabia, Francis. Ici, c’est ici
This work is a photograph by Alfred Stieglitz of Georgia
O’Keeffe, titled, Georgia O’Keeffe: A Portrait—Head. I chose for
Stieglitz to be in my collection, not only because this photograph
relates to my curatorial framework, but because he connects to the
aforementioned work by Picabia. Like the work discussed previous
to this one, I did not chose this piece because it directly shared the
theme present within a majority of my collective, rather, it is
visually similar. Georgia O’Keeffe is reaching towards the
painting behind her, one of her iconic floral paintings, which is
very similar to my piece in which the hands are reaching up to a
peony. In this photograph, Stieglitz is trying to convey a message that O’Keeffe is one with her
paintings, which are inherently a product of her femininity. O’Keeffe was annoyed by Stielgitz’s
gendering of her work, and consequently attempted to have her work removed from his gallery.
She later married Stieglitz.
Next, is a painting by Salvador Dali titled Portrait of a Passionate Women (The Hands).
I chose this artist because of his focus on Surrealism, a movement that I had initally hoped to
convey within my work, though I ended up straying from
it. This work relates to my curatorial framework since it
also depicts two hands that are reaching up longingly, in
order to communicate Dali’s metaphorical theme.
However, it is apparent that these hands need support,
since they are being held up by elongated crutches.
Taking note of the painting’s title, the fact that these Dali, Salvador. Portrait of a Passionate Women (The Hands). 1945. Oil on canvas. Private collection.
Stieglitz, Alfred. Georgia O’Keeffe: A Portrait—Head. 1918. Silver gelatin developed out print mounted on paper board. National Gallery of Art, Washington D.C.
hands cannot stand up on their own serves as a metaphor for the weakness that passion can bring
upon women, especially if that passion is not reciprocated by the person to whom it is directed.
Also relating to my curatorial framework is Dorothea
Lange’s photograph titled, Migrant Mother. I chose this artist
because of her focus on the Depression and because the reading
assignment “The Role of the Arts in Political Protest |
Mobilizing Ideas” aided me in understanding how and why
artists make art in relation to social, political, and economic
upheaval. With this photograph, Lange intended to locate
America in the suffering of individuals. The delicate and
stereotypically feminine placement of the woman’s hand upon
her cheek portrays her as a symbol of hope and resilience,
rather than characterizing her as a symbol of frailty and dependency, contrary to the way in
which the previous image characterized women.
In a similar manner as Dorothea Lange and Shirin Neshat’s photography, Grant Wood’s
painting, Daughters of Revolution, serves as social commentary. Here, Wood is claiming
hypocrisy of an organization
that so vehemently boasts
democracy by situating them,
truthfully, amongst British
iconography in order to
demonstrate their ignorance.
Their attempts at being Wood, Grant. Daughters of Revolution. 1932. Oil on masonite panel. Cincinnati Art Museum, Cincinnati.
Stieglitz, Alfred. Georgia O’Keeffe: A Portrait—Head. 1918. Silver gelatin developed out print mounted on paper board. National Gallery of Art, Washington D.C.
American are inconsistent, seeing as the painting displayed in the background, Washington
Crossing the Delaware, was made in Germany by a German artist, and is also framed by a
traditionally British style of frame. Further, the act of drinking tea was initially adopted by
Americans from Britain. Relating to my curatorial framework is the way in which the central
woman’s hand is rigidly grasping the tea cup, and how this rigidity symbolically contributes to
the claimed ethnic elitism of the women, despite their democratic assertions. Also noteworthy, is
the fact that Wood’s original studies of this painting initially had the woman’s hand grasping the
teacup in a more relaxed position, which demonstrates that this change was of significance.
Next, is a fresco painting by
Michelangelo titled, The Creation
of Adam. I chose this artist
because of his mastery in
illustrating the human form. This
painting connects to my
curatorial framework since, like many of the other works in my collection, it includes a hand
reaching out to something longlingly. In this case, a Biblical story is being depicted, as god
extends his reach toward that of Adam in order to give life to the first human being. This
painting, along with Leonardo da Vinci’s The Last Supper, are among the most widely replicated
religious paintings.
The final image of my collection, aside from
my own, is a painting by another Surrealist artist, Max
Ernst, titled, Oedipus Rex. I chose this artist because
of his prominent focus on psychosexuality, and
Michelangelo. The Creation of Adam. 1512. Historic painting. Sistine Chapel, Rome.
because this work fits into my curatorial framework as a result of the metaphorical details he
uses to convey such messages. In this case, this is made apparent by the symbolism surrounding
the hand, which ties into my curatorial framework. The calm and stillness of the work is stunted
by the image of a hand and walnut being pierced violently, although, no blood emerges from the
wounds created by the spike. The nut is meant to symbolize the female anatomy, while the hand
belongs to a man. The squeezing the nut by the hand has implications of sadomasochism,
however, the spike is punishing the hand equally. Ernst studied psychology and had a particular
infatuation with Freudian theory, hence the title and content of this work.
Last, is my work, titled “Floral Embodiment.” This
phrase happened to be the first thing that came into
my head, and it seemed suitable enough. The other
pieces in my show inspired the creation of my own
work by demonstrating how something so universal
can be illustrated in countless different ways. My
curatorial framework focused on how this universality
allows for the utilization of hands for metaphorical
purposes, since it is possible for them to communicate
countless messages, while providing examples of how
a variety of artists did this exact thing in regards to
subjects such as gender and social issues. My piece relates to the other pieces in the show, since
I attempted to imitate this concept. Again, my purpose was not to illustrate the connection that
humans share with nature, since I believe this topic is overused, although it can be a valid art
subject. Instead, I attempted to illustrate a condition that I believe is inherent to human nature,
and my metaphorical use of hands to communicate this condition is how my piece connects to
my curatorial framework. More specifically, I wanted to express how people tend to feel a need
to belong and have purpose. By depicting hands reaching upwards towards a flower, with petals
sprouting out of the arms, I attempted to make it seem as though the flower was an extension of
the being that is reaching towards it, in a similar manner as our jobs, studies, hobbies, and
friends, are extensions of ourselves and things that make us feel fulfilled and as if there is some
purpose to our existence. However, the hands come close to, but never quite reach the flower,
and by this, I meant to communicate that we never really reach any purpose, simply because
there isn’t one. People just exist, and because we are here anyways, it is our decision on how to
handle such a realization. Correspondingly, the falling petals represent the tangible aspects of
our lives, since they are more readily available to be taken hold of.
I feel as though my collection is unique because it challenges viewers to look beyond the
surface of the works, rather than simply seeing the work as a pretty viewing spectacle, in order to
locate a message that the work is attempting to communicate. My collection speaks to myself, as
an individual, since I attempt to do this in my everyday life. For instance, when walking around
campus, I sometimes lose sight of the fact that the hundreds of people I walk past every day have
entirely separate lives that I know nothing about, and that they aren’t simply props in my own
life. This is a very egocentric notion, I’m aware, but a trivial observation I’ve made about
myself, nonetheless. Further, I also have a habit of making the mundane seem far more profound
than it actually is. By viewing my collection, I hope that others would be challenged to think
more critically about art, and become more aware of elements that artists use, that are not always
initially recognizable, in order to communicate their message.
Works Cited
Dali, Salvador. Portrait of a Passionate Women (The Hands). 1945. Oil on canvas. Private
collection.
“The Definition of Art.” Stanford Encyclopedia of Philosophy. 23 Oct. 2007. Web. 20 Apr.
2015.
Ernst, Max. Odipus Rex. 1922. Oil on canvas. Fondation Beyeler, Switzerland.
Eakins, Thomas. The Gross Clinic. 1975. Oil on canvas. Philadelphia Museum of Art,
Philadelphia.
Eyerman, Ron. “The Role of the Arts in Political Protest.” Mobilizing Ideas. 9 Mar. 2015. Web.
20 Apr. 2015.
MacDowell, Kate. Soliphilia. 2010. Hand built porcelain. Private Collection.
Michelangelo. The Creation of Adam. 1512. Historic painting. Sistine Chapel, Rome.
Neshat, Shirin. Untitled. 1996. RC print and ink. Gladstone Gallery, New York City.
Picabia, Francis. Ici, c’est ici Stieglitz/ Foi et Amour. 1915. Pen, brush, and ink, and cut and
pasted printed papers of paperboard. Metropolitan Museum of Art, New York City.
Shirin, Neshat. Unititled. 1996. RC print and ink. Gladstone Museum, New York City.
Stieglitz, Alfred. Georgia O’Keeffe: A Portrait—Head. 1918. Silver gelatin developed out print
mounted on paper board. National Gallery of Art, Washington D.C.
Wood, Grant. Daughters of Revolution. 1932. Oil on masonite panel. Cincinnati Art Museum,
Cincinnati.