Week 6- Scopophilia

        This week’s reading was Visual Pleasure and Narrative Cinema by Laura Mulvey. In this essay, Mulvey discussed many aspects of traditional cinema as seen through a psychoanalytic lens. Mulvey’s viewpoints on art were influenced both by her period, the 1970s and by the theories of Freud and Lacan. Freud and Lacan are both psychoanalysts who theorized concepts of the conscious and unconscious mind. They were both highly influential in the 1970s. 

        The main points that stood out to me in this essay were the idea of scopophilia, the male gaze influence in film, and the author’s psychoanalytic ideas behind the male gaze. Scopophilia is a psychoanalytic theory of Freud’s. It describes the pleasure involved in looking at other people’s bodies. This essay tied the idea of scopophilia to the way films are presented to the public. Back in the 1970s, the only way to see a new movie was at the theater. Theaters are dark, intimate, and private locations while watching films. According to the author, This atmosphere heightened the pleasure when watching other people. Moviegoers had the opportunity to watch their favorite actors in the comfort and solace of a dark room. This alluded to the Peeping Tom narrative and its enticing aspects. 

        The male gaze was a prominent subject in this essay. In many mainstream films, the movie is presented and created with the intention of attracting male views. The films are made for the man’s ideals in women and therefore embody the male gaze. This includes the film Rear Window, an American thriller film directed by Alfred Hitchcock. When we watched clips of this movie in class, we observed the many scenes that appealed to the male gaze. This included the seemingly random topless woman who we were watching through a window as she pointed her legs elegantly in the air. Another instance is the photos of a traditionally beautiful woman on a magazine in an elegant dress. We then see a woman walk into the room who is staring directly into the camera. The camera movements seem to rise to greet her and she comes closer to the viewer. These camera motions were not accidental. They were preplanned to give the viewer the feeling of having the woman approach them romantically. This film also encompassed the idea of scopophilia and the pleasure of watching others. The entire movie is based upon a man watching others from his apartment window and for the audience, it's just as enjoyable. People in the theater are watching a person watch other people.

Scene from Rear Window, 1954

        In Mulvey’s essay, she made many well-thought-out points to discuss the male gaze in artwork. She goes on to explain how women are meant to be passive objects to men. Their main goal is to be observed and act as raw material for the reactive male gaze. She also described the role of women in traditional film to be similar to that of an accessory. Women are meant to progress the male’s storyline yet hold no internal conflict themselves. The author then goes in and describes the role of scopophilia in film and how it entices a man’s ego. If a man sees a film that caters to the male gaze, he can insert himself into the mind of the main character. This protagonist man then becomes a surrogate for the viewer allowing them to play out their deep desires.

        This week’s reading was a true eye-opener for me and how I perceive cinematic art. As a current film student, I watch the Rear Window snippet as a unique way to establish a setting and using camera angles. However, this reading put the subject of the film into a new and thought-provoking context. As a future art teacher, this reminds me of how important it is to address every aspect of art to a student. This creates a deeper understanding of an artwork's subject, form, and content. 

Sources:

"Never Seen It: Watching Rear Window with Director Molly Wexler." MemphisFlyer. Accessed September 30, 2021. https://www.memphisflyer.com/never-seen-it-watching-rear-window-with-director-molly-wexler.

Mulvey, Laura. "Visual Pleasure and Narrative Cinema." Visual Pleasure and Narrative Cinema, 1973. Accessed September 30, 2021.

Week 5- Women Artists

     In this week's reading, Why Have There Been No Great Women Artists?, by Linda Nochlin many issues of inequality were addressed. Due to the fact it was written in 1971, it only discussed the injustices to white women concerning art history and sex. This writing was revolutionary for the feminist movement in the 70s. The points made by Nochlin also opened the door for further discussion about the inequality to minorities, minority women, and nonheterosexuals. Nochlin made several points of discussion that stuck out to me personally compared to the rest. In her writing, the methods for keeping women from studying and the way women were controlled by society were beautifully described by Nochlin concerning art history. 

    First off, Nochlin makes a point to address the lack of women represented in art history. Of the list of 26 women on page 4, I only knew 2 artists. She then shares the viewpoint of white males as to why there are no great women artists, “from "scientifically" proven demonstrations of the inability of human beings with wombs rather than penises to create anything significant.” Nochlin then explains how previous feminist art historians describe women artists as simply more feminine than male artists throughout history. She greatly disputes this point by explaining the art of Artemisia Gentileschi’s Judith Beheading Holofernes whose work would most definitely not be considered traditionally feminine. 

Artemisia Gentileschi’s Judith Beheading Holofernes

    In the text, the writer briefly describes the painting by stating, “This version dates ca.1615-20, shortly after the scandal of her alleged promiscuous relations with her teacher.” However, there were no “promiscuous relations” with her teacher, she was attacked. The artist Artemisia Gentileschi was raped by her teacher and it is believed that she painted herself as the model for Judith since Judith is a well-known symbol of pure rage. Not to mention, this painting especially hit home for Artemisia Gentileschi since the man who was beheaded, invaded her home city of Bethulia. This powerful artwork goes to show that women artists are more than traditionally feminine styles.

    The next point I think the author described eloquently was the control placed upon women to deter them from an art career. This included manipulation and segregation. Women were taught from a young age that their worth came from how well they managed a household. If a woman were to pursue expertise in art, she would be neglecting her womanly duties and therefore lose her worth. Women were also separated from men in true art courses. Men were allowed to study the nude figure of both men and women. However, women were not allowed to study the nude figure of anyone. Oftentimes, a live cow was brought in for women to study. Holding back such a resource for women while nude figures were of immense importance to that art style, was a sure way to oppress the art of women. This showed me how men thought of women as objects for them to use, but not as people to develop their skills and ideas.

    Overall, I enjoyed this reading very much. It opened my eyes to the true inequalities for women throughout Western society.

Sources:

White, Katie. "Artemisia Gentileschi's 'Judith Beheading Holofernes' Is a Touchstone of Feminist Art History. Here Are 3 Things You Might Not Know About the Gory Masterpiece." Artnet News. October 15, 2020. Accessed September 23, 2021. https://news.artnet.com/art-world/artemisia-gentileschi-judith-beheading-holofernes-1897872. 

Nochlin, Linda. "Why Have There Been No Great Women Artists?" Women, Art, and Power and Other Essays, 1971, 145-78. doi:10.4324/9780429502996-7.

Week 4- Aura

 This week, we analyzed the reading The Work of Art in the Age of Mechanical Reproduction by Walter Benjamin. Overall, this reading was confusing which is why I tried my best to remember it was written originally in German in 1935. The main points addressed in this journal are aura and painting compared against film. 

The first mention of aura in this text is on page 4, “One might subsume the eliminated element in the term “aura” and go on to say: what which withers in the age of mechanical reproduction is the aura of the work of art.” In previous passages, the author notes how the element of an aura is its presence in time and space. To me, this definition of aura makes sense because I believe aura is energy collected over time. The author goes on to say that original artworks carry a strong aura because they have lived through their history and creation. This is a really good way to explain the emotional difference between originals and duplicates. In class, we discussed whether or not duplicates would reduce an artwork's impact. I believe there are two impacts to be made from duplicates. I think prints, shirts, mugs, and other forms of art duplicates are a great way to share the work with others and incorporate it into your daily life. However, I also believe that an artwork can be over-shared much like a song that is overplayed on the radio. Take for instance Starry Night by Vincent Van Gogh.

Starry Night, Vincent Van Gogh

This artwork is one of the most popular paintings in the world. Has that made it lose its aura? Not for me. The fact that this painting has been so widely shared, is what allowed me to connect to it at such a young age. I remember being in elementary school with my older brother. He learned about Starry Night before I did and I recall when he told me about it for the first time. Looking back on Starry Night now, it still reminds me of the older brother. In my own art class, I've had students describe Starry Night to me because they wanted to know the name of it. Sharing art is always important because it creates artistic interest especially in young students. I believe this just adds to the aura of Starry Night.

On this topic of aura, the author first led into the discussion of film by saying it's not a traditional form of art. I agree, film was revolutionary and changed how society can perceive art. However, the author goes on to explain how he doesn't believe the aura of film is as strong as the aura of traditional art. This is because the film isn't shot all at once, during the same days, or even in the same sequential order. He claims that since the film was pieced together, all sense of the original presence in time and space is lost and therefore the aura is lost. I understand his point of view however I respectfully disagree. Film is a medium for sharing art much like a canvas. Scenes are what brushes are to a painting. Even though there are cameras behind an intense drama, that doesn't make the message less valuable. Do artists lose appreciation for a painting because they knew it once sat on an easel? I believe painting and film are both worthy art mediums and share strong auras.

As a future art teacher, it was interesting for me to read an article reviewing film from a time when it was new. I think bringing concepts from this week's reading into my classroom would benefit my students. Learning about art’s aura, past social beliefs of film, and how duplicates affect art is a great way to encourage critical thinking.

Sources:

Benjamin, Walter. "The Work of Art in the Age of Mechanical Reproduction." Illumination, 1935.

"Vincent Van Gogh." Encyclopædia Britannica. Accessed September 15, 2021. https://www.britannica.com/biography/Vincent-van-Gogh.

Week 3- Signs and Symbols

 This week we analyzed Semiology and Visual Interpretation by Norman Bryson. In this paper, Bryson explains to the viewer how he believes all paintings are made up of signs. He also discusses the ways in which his hypothesis disputes Perceptualist theories on artwork. 

Bryson’s opinion that all paintings are made up of signs is an interesting take on a popular question: how does art communicate? In Bryson’s theory, signs within the painting are the communicators. These signs and symbols are a lot like signs in math or letters in writing. Each symbol already has a predetermined meaning. Those who are part of a society, can easily understand the meaning of these signs. This means that when a painting includes a well-known sign, such as clocks or calendars, the viewer automatically realizes the connection with time and the passage of time. Similar signs are very apparent in any works of art.

Since paintings are a mode of communication, they are considered a social act. Bryson reiterated the social communication employed by paintings by stating, “It takes one person to experience a sensation, it takes at least two to recognize a sign.” Since paintings are made up of signs, we can determine that it takes at least two people to recognize the meaning of paintings. This is because signs are a construct of a society, and already have a predetermined meaning. However, not all signs are stagnate. One sign may have many different meanings which are created by necessity. Each artist can use a sign and give it a different meaning by placing it in different contexts. 

However, there are exceptions to the rule that all paintings are intended to be social methods of communication. Some artworks are created with the intent to only bestow a message to whoever can interpret one for themselves. Thus, some artwork will not reveal its message because it does not deliver one to the viewer. Artworks in this category only aim to inspire a message that is already inside the viewer. In this instance, the viewer creates meaning for themselves.

When viewers are asked to create meaning for themselves, most any interpretation of an artwork is valid. This is because a painting with no obvious signs of communication is meant to create context for the viewer who looks upon it. However, in most instances of sign communication within a painting, there is a predetermined interpretation that is considered correct compared to others. Such as the painting The Cyclops by Odilon Redon.

The Cyclops, Odilon Redon, 1914

        This painting is a clear interpretation of the allegorical story of the cyclops in Greek mythology. An interpretation of, “Well I believe this painting is about bluegrass music” would be clearly incorrect. Signs in paintings are modes of communication with set rules when created with the intention to clearly identify the message.

As a future art educator in public schools, I aim to teach students about societal signs in artworks and the meaning within them. An apple, orange, clock, or piece of fabric can hold more context that precedes their external appearance. Definitions of signs within art have been passed down throughout generations of artists and embody the human experience.\

Sources:

Bryson, Norman. Semiology and Visual Interpretation.1991

"Le Cyclope, C. 1914." The Cyclops – Kröller-Müller Museum. Accessed September 08, 2021. https://krollermuller.nl/en/odilon-redon-the-cyclops-1 

Week 2- Beauty Discourse

         “Beauty is in the eye of the beholder”, or so many of us think. However some art critics disagree. This timeless argument was enlightened by the written opinion of Amelia Jones in her essay Beauty Discourse and and the Logic of Aesthetics. In her essay, Jones directly identifies the flawed and hypocritical thoughts inside of Dave Hickey’s award winning book The Invisible Dragon: Four Essays on Beauty. Jones not only reveals to the reader his flawed logic but also his manipulative tactics he uses to maintain his status as “supreme art critic”. 

        In this writing, Beauty Discourse and and the Logic of Aesthetics, Amelia Jones discusses the many instances where, in Hickey’s book, he has wrong and outdated ideas on beauty in art. First of all, she addresses Hickey’s misplaced idolization of former male writers. These inspirations of his are Immanuel  Kant, Johann Winckelmann, and John Ruskin. These men are mostly from 19th century imperialist Europe, a time and place where men dominated the world even more than they do today. It is apparent that they only value their own opinions on beauty by Ruskin’s quote, “Every man knows where and how beauty gives him pleasure”. This is an example of how self absorbed and close-minded these “influential” figures in art are. He claims only men know how to perceive “good art” which in his mind is art that only gives “pleasure”.

        Hickey agrees with the past notions of these men and adds his own twisted perception in his book. He claims that he is a savior for the art world because he wants to combat the idea of political correctness. He claims that he is best at judging artworks because he is truly unbiased and therefore alludes to his superiority over other art observers. Jones also reveals how Hickey purposefully claims “emotional indifference to very reaction provoking artworks. She explains eloquently that he only says he is unaffected to maintain his false façade of being emotionally unbiased in art. Jones uses this example  to show how Hickey truly uses this exclusionary logic to maintain his high status. 

        After all this delving into Hickey’s book, Amelia Jones delights us in revealing the true value of art that encourages emotions, reactions, political discussions, and questions. Which leads me to wonder, as a future art educator, how does the impact of emotions and politics expand and enrich my understanding of art? To answer these, I analyzed the artwork chosen by Jones, Yo Mama by Renee Cox.

Yo Mama, Renee Cox, 1993

        Looking at this piece, it is hard to ignore the emotional power that she, artist Renee Cox, presents. My initial reaction is “Wow, what a powerful woman,” and I believe that reaction is warranted. However, using the ideas of Jones and looking more into the political impact and true message of the piece, reveals a whole new scope to the artwork. We learn that Renee Cox is challenging traditional whiteness in Christian art and embodies the spiritual energy of past Madonna and Child pieces. Now from Jones’ analysis of Hickey’s art beliefs, Hickey would believe (as we can assume) that a true art critic would have no initial reaction to the art and only observe it objectively. However, I agree with Jones’ writing, that art without its true context is only half full. This is a method of thinking that I hope to bring to my students as a future art educator; look past the surface and understand what important message the artist is trying to send.

Sources:

Jones, A. (2002). Beauty Discourse and the Logic of Aesthetics. Oxford University Press.

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