Topic: The media and sexual imagery
When I say media, I am specifically talking about advertising; online, magazines, TV etc. There has always been controversy about the use of sex, nudity or gender stereotyping in the media, and it still continues. Advertisers in particular have received much backlash when using sexual imagery as it is deemed degrading, particularly by feminist camps. That being said, I find it interesting how artists can get away with creating similar imagery that seems to be less offensive as it is in the name of art. The idea behind my parallel project is to explore the response of audience members to sexualized images in art to that of the media. From a philosophical point of view I also want to be able to gauge the gap between the intended message of the artist to the message interpreted by the viewer.
Areas of research:
Some contextual research on the history of nudity/ sex in art
Research artists who have explored similar themes like Cindy Sherman and Bill Brandt in photography.
Research painters like Tracey Emin, John Currin and Jenny Saville
Potential to collect feedback from viewers as primary research
Potential creations:
Photographs with objects
Sketches (could experiment with charcoal/ pencil/ pen_
Painting reproductions of media ads ( compare whether the painted version of the image makes it more acceptable) - watercolour or oils
When I say media, I am specifically talking about advertising; online, magazines, TV etc. There has always been controversy about the use of sex, nudity or gender stereotyping in the media, and it still continues. Advertisers in particular have received much backlash when using sexual imagery as it is deemed degrading, particularly by feminist camps. That being said, I find it interesting how artists can get away with creating similar imagery that seems to be less offensive as it is in the name of art. The idea behind my parallel project is to explore the response of audience members to sexualized images in art to that of the media. From a philosophical point of view I also want to be able to gauge the gap between the intended message of the artist to the message interpreted by the viewer.
Areas of research:
Some contextual research on the history of nudity/ sex in art
Research artists who have explored similar themes like Cindy Sherman and Bill Brandt in photography.
Research painters like Tracey Emin, John Currin and Jenny Saville
Potential to collect feedback from viewers as primary research
Potential creations:
Photographs with objects
Sketches (could experiment with charcoal/ pencil/ pen_
Painting reproductions of media ads ( compare whether the painted version of the image makes it more acceptable) - watercolour or oils
Research (Part 1)
Cindy Sherman
Cindy Sherman is a socially critical photographer who uses her work as a critique on mass media and contemporary identity, in particular the way in which women are stereotyped in Hollywood. Though she is often categorized as a role model to feminists, Sherman does not consider herself a feminist artist, but rather one questioning identity. I have chosen to take a closer look at her series Sex Pictures, which makes use of mannequins and props as a means to explore explicit subject matter. I was interested to see how she positioned them and composed the photographs, as well as what motivated the series. |
Women’s rights have been (and still is) an area of contention in America. Particularly between the 1960s to 1990s, women were fighting for equality in the workplace and to redefine their roles in society. Sherman particularly studied centerfolds and fashion magazines, which she felt sexualized and objectified women (and men), sadly a notion that is still true today. Sherman’s series of Sex Pictures take on both these issues. She made use of mannequins she ordered from a medical catalogue and proceeded to place them in erotic and grotesque positions, often creating hybrid shapes and bodies that appear out of control and unnatural, which many considered X-rated because of its implication, even though all the parts are plastic. They address the female portrayal in the media, while on a larger scale the series takes on preconceived notions of art and the status of female artists. It is her use of something familiar in an unconventional way that makes her impact so effective. The discomfort you feel as the viewer is meant to engage the discomfort you should feel at the exploitation of males or females in the media.
As a viewer I would say that many of the images are quite disturbing and graphic. Even though the imagery may appear quite distasteful, the message is a critical one. It challenges our own perceptions on sexuality and gender norms, but it also raises an important question about how far we can push a topic when doing it under the guise of art. While I understand that her greater mission was to highlight female portrayal and females in art, it is worth considering that her work pushes much further than the magazines (social media) do. I find it interesting how we are often deeply offended by how women, men and sex is portrayed in the media, but seem to be more accepting of it when done in the name of art. Considering this has kind of lead me to the focus question of my parallel question, which is: Are audiences more accepting of controversial matters when done in the name of art?
I also thought back on Sontag's writing about form and content as well as Barth's writings about the author and reader. Sherman had a very distinct intention when creating this series, but would those 'reading' the work really know what that intention was. It is very likely that many of the epople who viewed these photographs were simply offended and didn't other to find further content from the work. And as Barthe's pointed out, the reader will be bringing their own socio-cultural contexts to the work and therefore would change the original intention of the author. I thought it would be interesting to experiment with this notion of the artists intended meaning, and the audience's interpretation. Similarly to Sherman, I wanted to use objects that resemble people, but who are not real people. I also considered the work of Helen Chadwick, whom I researched in Part 2. Similarly to Sherman, she uses objects, especially food, to explore themes of sexuality and gender stereotypes. Though I understand the message behind Chadwicks Meat Abstracts and Sherman's Sex Pictures, I personally found them to be a bit vulgar and in poor taste, which I suppose matched the message they were trying to give, that the representation of women in the media is vulgar and in poor taste. For my experiment though, I want to be a little more playful, but still exploring a topic of a sexual nature.
As a viewer I would say that many of the images are quite disturbing and graphic. Even though the imagery may appear quite distasteful, the message is a critical one. It challenges our own perceptions on sexuality and gender norms, but it also raises an important question about how far we can push a topic when doing it under the guise of art. While I understand that her greater mission was to highlight female portrayal and females in art, it is worth considering that her work pushes much further than the magazines (social media) do. I find it interesting how we are often deeply offended by how women, men and sex is portrayed in the media, but seem to be more accepting of it when done in the name of art. Considering this has kind of lead me to the focus question of my parallel question, which is: Are audiences more accepting of controversial matters when done in the name of art?
I also thought back on Sontag's writing about form and content as well as Barth's writings about the author and reader. Sherman had a very distinct intention when creating this series, but would those 'reading' the work really know what that intention was. It is very likely that many of the epople who viewed these photographs were simply offended and didn't other to find further content from the work. And as Barthe's pointed out, the reader will be bringing their own socio-cultural contexts to the work and therefore would change the original intention of the author. I thought it would be interesting to experiment with this notion of the artists intended meaning, and the audience's interpretation. Similarly to Sherman, I wanted to use objects that resemble people, but who are not real people. I also considered the work of Helen Chadwick, whom I researched in Part 2. Similarly to Sherman, she uses objects, especially food, to explore themes of sexuality and gender stereotypes. Though I understand the message behind Chadwicks Meat Abstracts and Sherman's Sex Pictures, I personally found them to be a bit vulgar and in poor taste, which I suppose matched the message they were trying to give, that the representation of women in the media is vulgar and in poor taste. For my experiment though, I want to be a little more playful, but still exploring a topic of a sexual nature.
Practical Research (part 1): Photo series
I wanted to use photography as a medium, as this is the medium used most in the media. Of course these are usually done with real-life models, but I wanted to approach it with objects as way to make it less explicit. Once of the things I really want to find out through this experiment is how the viewers perceive and interpret the work compared to my actual intentions and interpretations of the work. I also want to get a general sense of whther my audience thinks the subject matter is acceptable to them or not.
My intentions and interpretations
Choice of objects
- wooden art mannequin
- fresh fruit
I wanted the pieces to be about sex, but to see if when I used objects this would 'soften the blow' of what the audience is looking it. I chose to work with wooden art mannequins as (for me) they represent art (artist). They also bring a human element to the work, without using people. I chose to use fruit as the genital areas, firstly because I feel the colours and shapes are playful which give an element of whimsy and softens the subject matter and secondly due to the religious connotation of 'forbidden fruit'. The second point is quite significant as it makes a connection to how the highly sexual imagery we are faced with could be considered forbidden, or that there is still a great stigma in society for adults to actually talk about sex.
Composition
Images are mostly close up, as these are intimate moments. There are combinations of being with a partner or by themselves, to further spark conversation around self pleasure.
Creating the work
I worked with the props, natural light, a study lamp and an iPhone 11. I faced challenges with the mobility of the puppets as they are from Ikea and don't have the same flexibility as a true art puppet might.This meant that quite a few of my initial ideas for positions had to be adapted or scrapped as the puppets simply weren't able to move that way. The chosen photographs were then edited to enhance colour/ contrast.
My intentions and interpretations
Choice of objects
- wooden art mannequin
- fresh fruit
I wanted the pieces to be about sex, but to see if when I used objects this would 'soften the blow' of what the audience is looking it. I chose to work with wooden art mannequins as (for me) they represent art (artist). They also bring a human element to the work, without using people. I chose to use fruit as the genital areas, firstly because I feel the colours and shapes are playful which give an element of whimsy and softens the subject matter and secondly due to the religious connotation of 'forbidden fruit'. The second point is quite significant as it makes a connection to how the highly sexual imagery we are faced with could be considered forbidden, or that there is still a great stigma in society for adults to actually talk about sex.
Composition
Images are mostly close up, as these are intimate moments. There are combinations of being with a partner or by themselves, to further spark conversation around self pleasure.
Creating the work
I worked with the props, natural light, a study lamp and an iPhone 11. I faced challenges with the mobility of the puppets as they are from Ikea and don't have the same flexibility as a true art puppet might.This meant that quite a few of my initial ideas for positions had to be adapted or scrapped as the puppets simply weren't able to move that way. The chosen photographs were then edited to enhance colour/ contrast.
I emailed the series to a range of people, mostly friends or fellow teachers who generally don't really have a background in art. These are the questions that I asked my audience:
Choose a word that best suits how this work makes you feel:
Entertained, Uncomfortable, Offended, Indifferent, Confused, Amused
It was mostly a split between Entertained and Amused with one participant citing Uncomfortable
What do you think the theme or topic of this series is?
sex and sexuality: Fruits of pleasure: porn, relationship goals: fun in the bedroom
If you were viewing this in an art gallery, would your feelings about the work change? Why?
Here was a 50-50 split of yes and no.
The ones who said yes reasoned that it would feel more appropriate to view it in a gallery as they would consider it more as art and therefore think more deeply about what the work is trying to say.
How would you interpret the work? (Please specify any symbolic/ social/ cultural connections you make)
Most of the participants found it difficult to make cultural/ symbolic connections and generally interpreted the work at 'about sex'.
Some managed to make associations which included:
- Fruit can also symbolise food needed for physical nourishment, so sex too can be seen as something that nourishes a relationship in a specific dimension.
- promotion of hetero relationships
- promotion of masturbation
- the importance of discussion for a healthy sex life
- fruit implies that sex is joyful
- forbidden fruit
- amateur porn
Reflections on feedback
It is clear that giving the pieces a more whimsical tone helped to soften the subject matter. It was interesting to read that half of the participants would have felt more comfortable viewing and thinking about the work in a gallery, rather than on their computer. It highlights what we have been learning about the gallery space and the role it plays in viewing art. One participant even noted that they would be more likely to have a critical discussion about the work if they were in a gallery space.
It was also interesting to note that few participants really considered the symbolism of materials and mostly took the pieces at face value. This shows that there is certainly a gap between the artist's intentions and the viewer's interpretations, most likely due to their different socio-cultural backgrounds. As my participants are not really art scholars or artists themselves, this actually makes sense and is an important observation. This is where the writings of Sontag brings up some valid points. Should the intentions of the artist really matter when viewing the work? The viewers of this series didn't know why I produced these pieces or what my exact intentions were. They were simply asked to answer the questions as a part of data gathering. Even so, most of the participants responded positively and commented on how much they enjoyed the work, so whatever my intentions were, they didn't really matter.
Linking this back to what I am trying to investigate through my parallel project, it is clear that work of an explicit sexual nature does become more acceptable when viewed as art. Regarding the artist's intentions, though they were not identified correctly or exactly, much of what the participants said about the work was still in a similar ballpark. For me as an artist this means that I should be considerate of my intentions and the message I want to convey. It will help to focus my work and give it purpose, it will also drive the creative choices that I make which should elevate the work I produce. And when it comes to the viewer's experience and interpretation, I should be willing to accept and understand that they will not necessarily see my exact point of view, but will form their own meaning....and that's okay!
Choose a word that best suits how this work makes you feel:
Entertained, Uncomfortable, Offended, Indifferent, Confused, Amused
It was mostly a split between Entertained and Amused with one participant citing Uncomfortable
What do you think the theme or topic of this series is?
sex and sexuality: Fruits of pleasure: porn, relationship goals: fun in the bedroom
If you were viewing this in an art gallery, would your feelings about the work change? Why?
Here was a 50-50 split of yes and no.
The ones who said yes reasoned that it would feel more appropriate to view it in a gallery as they would consider it more as art and therefore think more deeply about what the work is trying to say.
How would you interpret the work? (Please specify any symbolic/ social/ cultural connections you make)
Most of the participants found it difficult to make cultural/ symbolic connections and generally interpreted the work at 'about sex'.
Some managed to make associations which included:
- Fruit can also symbolise food needed for physical nourishment, so sex too can be seen as something that nourishes a relationship in a specific dimension.
- promotion of hetero relationships
- promotion of masturbation
- the importance of discussion for a healthy sex life
- fruit implies that sex is joyful
- forbidden fruit
- amateur porn
Reflections on feedback
It is clear that giving the pieces a more whimsical tone helped to soften the subject matter. It was interesting to read that half of the participants would have felt more comfortable viewing and thinking about the work in a gallery, rather than on their computer. It highlights what we have been learning about the gallery space and the role it plays in viewing art. One participant even noted that they would be more likely to have a critical discussion about the work if they were in a gallery space.
It was also interesting to note that few participants really considered the symbolism of materials and mostly took the pieces at face value. This shows that there is certainly a gap between the artist's intentions and the viewer's interpretations, most likely due to their different socio-cultural backgrounds. As my participants are not really art scholars or artists themselves, this actually makes sense and is an important observation. This is where the writings of Sontag brings up some valid points. Should the intentions of the artist really matter when viewing the work? The viewers of this series didn't know why I produced these pieces or what my exact intentions were. They were simply asked to answer the questions as a part of data gathering. Even so, most of the participants responded positively and commented on how much they enjoyed the work, so whatever my intentions were, they didn't really matter.
Linking this back to what I am trying to investigate through my parallel project, it is clear that work of an explicit sexual nature does become more acceptable when viewed as art. Regarding the artist's intentions, though they were not identified correctly or exactly, much of what the participants said about the work was still in a similar ballpark. For me as an artist this means that I should be considerate of my intentions and the message I want to convey. It will help to focus my work and give it purpose, it will also drive the creative choices that I make which should elevate the work I produce. And when it comes to the viewer's experience and interpretation, I should be willing to accept and understand that they will not necessarily see my exact point of view, but will form their own meaning....and that's okay!
A brief history of nudity in Art
As with most other art movements, nudity or sexual themes in art have often been in correlation with the trends or issues of the specific time. Politics, culture, sociology and religion tend to be the large factors that influence topical matters in the arts. And when I use the work 'arts', I am referring to visual arts, performing arts and literature. When we consider a population's response to sex and nudity we also learn more about their attitude towards this subject matter. When we study the history of art, we usually start the journey during with Classical art by exploring the sculptural works of the Greeks and Romans. They were the first perpetrators of the 'perfect' figure and began the trend of glorifying the gods, who still had a human form. These nude idealistic depictions arguably also brought with them erotic implications. These sculpture mainly focused on depicting men, and female nudes were rare. Of course if you want to discuss the sexual nature of Classical art, you need to turn to greek vases. Erotic scenes were particularly popular on the kylix, or wine-cup. It is unclear if the erotic imagery was meant for arousal or entertainment (Barker, 2020)
With the rise of Christianity, nudity in art decreased as the association with the desire of associated in nude imagery would be considered sinful. But then during the time of the Renaissance, the need to celebrate humanity and it's glorious form returned, as artists like Leonardo, Michelangelo and Giotto returned to Classical practices. However, where the Greeks and Romans favored the male form, we see a change in gaze, as the female nude now draws more attention. One famous figure that was depicted by many artists, including Botticelli and Giorgione, was Venus, with one of the more famous and controversial depictions being Titian's Venus of Urbino (1535). She is featured on a bed with ruffled sheets and a gaze focused directly to the viewer, as a means of inviting them in. She is depicted as voluptuous and uninhibited (Honour and Flemming, 2009)
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There mostly continued to be trends of idealism there was often a more natural element to the nude art that followed. Even though the female form had become more prevelant in paintings they often only served to be highlighted as mistresses or objects of desire, while the male nude was glorified and hero-fied. Picasso's Demoiselles d'Avignon (1907) did a great job of breaking away fro idealized depictions of women, though his representations of women still show a bias in the view created of women in art. It was especially during the feminist movement that women chose to take bake their own narrative depictions in art with many theories and arguments arising about the role of the male gaze in the objectification of women. Ironically though, many feminist artist continued to depict nudity and sexual themes through their art, but the argument now was that they were in control of the narrative, a type of 'my body, my choice' argument, like the performance piece Interior Scroll (1939) by Carolee Schneemann. They also brought up valid points about the representation of women in art, not on the canvas, but as artists.
Modern contemporary art continues to explore the human form but the responses to nude or sexual themes may still vary. If we consider the visual art of film and photography, I believe there is noticeable growth in the inclusion of nudity and sex on screen as our current society becomes more desensitized (or open) to this type of imagery. While our current generation is more open to seeing nudity or sexual imagery, it does not mean that we always condone it. As I mentioned before, our cultural, social, political or religious background can still go a long way in shaping our attitudes towards this type of imagery. This has especially been true when looking at images in advertising and the media.
The use of nudity or sex in the media
We have all heard the expression that 'sex sells', and many still believe this to be true in the world of advertising. Whether opening a magazine, traveling on the subway or viewing window displays in malls, there is a definite sexy message in the imagery that bombards us. These often include the exposure of flesh, but many advertisers also get creative through suggestive poses or the use of particular language. 21% of models in ads exhibited sexual behaviour and 23.4% of ads included sexual language (Walker, 2000). Many studies have shown that sexual advertising does not necessarily aid in selling more products, as the viewer is attracted to the idea of sex in the add and not the actual product (Lull and Bushman, 2015). But whether or not the use of nudity is successful in ad campaigns is not really what I am investigating. I want to gauge whether an audience is more accepting of nudity when presenting in an artistic platform.
Art historian Kenneth Clark makes an important distinction between nudity and nakedness. "Nudity refers to a culturally transcendent and virtuous depiction of an unclothed body, while nakedness refers to an exposed, vulnerable, and embarrassing image of an unclothed body. In the convention of the reclining female nude in western art history, women are considered “nude” and thus morally suitable subjects of fine art" (Burk, 2020). When we consider this statement it brings up a valid point about the way in which we might perceive the naked figure, which means composition and placement may play an important role in helping us determine if it is virtuous or exposed, although these perceptions will still be individual. There are certainly indications that certain poses or naked depictions are more universally accepted or tasteful. Reclining or classically posed nudes still draw favour among contemporary modern artists. I think an important factor in why the nude/ sexual imagery in ads is often controversial, is because of the implied 'sale' that is happening. Even though a product is being sold, it is difficult to separate the human figures from that product and this can make figure feel exposed and vulnerable. So will this factor diminish if we take away the branding/ sale element and just focus on the figures?
Modern contemporary art continues to explore the human form but the responses to nude or sexual themes may still vary. If we consider the visual art of film and photography, I believe there is noticeable growth in the inclusion of nudity and sex on screen as our current society becomes more desensitized (or open) to this type of imagery. While our current generation is more open to seeing nudity or sexual imagery, it does not mean that we always condone it. As I mentioned before, our cultural, social, political or religious background can still go a long way in shaping our attitudes towards this type of imagery. This has especially been true when looking at images in advertising and the media.
The use of nudity or sex in the media
We have all heard the expression that 'sex sells', and many still believe this to be true in the world of advertising. Whether opening a magazine, traveling on the subway or viewing window displays in malls, there is a definite sexy message in the imagery that bombards us. These often include the exposure of flesh, but many advertisers also get creative through suggestive poses or the use of particular language. 21% of models in ads exhibited sexual behaviour and 23.4% of ads included sexual language (Walker, 2000). Many studies have shown that sexual advertising does not necessarily aid in selling more products, as the viewer is attracted to the idea of sex in the add and not the actual product (Lull and Bushman, 2015). But whether or not the use of nudity is successful in ad campaigns is not really what I am investigating. I want to gauge whether an audience is more accepting of nudity when presenting in an artistic platform.
Art historian Kenneth Clark makes an important distinction between nudity and nakedness. "Nudity refers to a culturally transcendent and virtuous depiction of an unclothed body, while nakedness refers to an exposed, vulnerable, and embarrassing image of an unclothed body. In the convention of the reclining female nude in western art history, women are considered “nude” and thus morally suitable subjects of fine art" (Burk, 2020). When we consider this statement it brings up a valid point about the way in which we might perceive the naked figure, which means composition and placement may play an important role in helping us determine if it is virtuous or exposed, although these perceptions will still be individual. There are certainly indications that certain poses or naked depictions are more universally accepted or tasteful. Reclining or classically posed nudes still draw favour among contemporary modern artists. I think an important factor in why the nude/ sexual imagery in ads is often controversial, is because of the implied 'sale' that is happening. Even though a product is being sold, it is difficult to separate the human figures from that product and this can make figure feel exposed and vulnerable. So will this factor diminish if we take away the branding/ sale element and just focus on the figures?
Works Cited
Burk, T. (2020) Sexuality in Art [online] At: http://arthistoryteachingresources.org/lessons/sexuality-in-art/ (Accessed on 5 May 2020)
Barker C. (2018) Friday essay: the erotic art of Ancient Greece and Rome [online] At: https://theconversation.com/friday-essay-the-erotic-art-of-ancient-greece-and-rome-87859 (Accessed on 2 May 2020)
Honour, H. and Fleming, J. (2009) A world history of art. London: Laurence King Publishing
Lull R. and Bushman B. (2015) Do sex and violence actually sell? [online] At: https://theconversation.com/do-sex-and-violence-actually-sell-45138 (Accessed on 3 May 2020)
Walker, J. R. (2000). Sex and violence in program promotion. Research in media promotion, 101-126
Burk, T. (2020) Sexuality in Art [online] At: http://arthistoryteachingresources.org/lessons/sexuality-in-art/ (Accessed on 5 May 2020)
Barker C. (2018) Friday essay: the erotic art of Ancient Greece and Rome [online] At: https://theconversation.com/friday-essay-the-erotic-art-of-ancient-greece-and-rome-87859 (Accessed on 2 May 2020)
Honour, H. and Fleming, J. (2009) A world history of art. London: Laurence King Publishing
Lull R. and Bushman B. (2015) Do sex and violence actually sell? [online] At: https://theconversation.com/do-sex-and-violence-actually-sell-45138 (Accessed on 3 May 2020)
Walker, J. R. (2000). Sex and violence in program promotion. Research in media promotion, 101-126
Finding ads for recreation (appropriation)
I set out looking for ads with sexual or nude imagery, especially ones that have been more controversial. I found that brands that often come under fire in the media for objectifying their human subjects are American Apparel, Budweiser, Tom ford, Dolce and Gabbana and many more. Here are a collection of images I found:
I set out looking for ads with sexual or nude imagery, especially ones that have been more controversial. I found that brands that often come under fire in the media for objectifying their human subjects are American Apparel, Budweiser, Tom ford, Dolce and Gabbana and many more. Here are a collection of images I found:
While it is noticeable that females are often represented more, it is important to note that the male figure is also objectified.
From the images above, I looked at compositions closely and considered which would be easier to paint. I first began by making simple sketches to help me consider the potential of each piece and which medium might suit it best.
The initial sketches helped me to get a feel for the type of style or media that may work for each composition. I reflected on the work I did in part 3 of this unit when I painted images to convey motherhood using different media to determine whether it would evoke different emotions. I thought it would also be interesting to explore the use of different types of paints and styles here, as it also helps to provide me with additional painting practice.
Yogurt Man
For this painting I worked with oils and chose a style that is a mix between expressive and realistic, a style and technique I use most often. In my previous painting course I did some explorations into masculinity and the impact colour can have on our perceptions of it. This gave me the idea to use a soft pink for the yogurt as it will help soften the appearance of the male while also making a subtle comment on perceived masculinity. In order for the pink to really pop, I chose to make the rest of the composition using only black and white combinations. The body was mostly painted with large flat brushes in order to create a looser and more expressive stroke which is visible. The dripping yogurt was applied only after the composition had dried completely. I made a very loose mixture by combining a generous amount of turps and linseed oil. This also helps to give it it's lovely sheen. Once this dried I added a shadow to give a more three dimensional feel. As I am also trying to push the boundaries of sexuality, I chose not to paint the QR code from the original ad, but to paint the genitals. Exposed genitals are very common in art, especially Classical and Renaissance art as we have already learned through the research above. It would be interesting to see whether the addition of the genitals will make the image feel more sexual to the viewer. |
Edible Underwear
I mentioned before that during part 3, I enjoyed creating one of my motherhood pieces with acrylics, using a type of crisp colour blocking technique. From my sketched composition, I realized that this ad had great potential to be blocked as solid shapes. I kept the tones and colours simple, narrowing it down to the idea of pink being feminine and blue being masculine (in popular culture). I kept the cast shadows, as they still make the composition feel more three dimensional. I am not generally a fan of working with acrylics, but when you are creating compositions where large crisp blocks of colour are needed, they are perfect. There is a boldness to the colours they create which makes the work feel vivid and almost poster like. This style reminds me a lot of the pop art compositions and reminds me a bit of Roy Lichtenstein's pieces, albeit slightly more risqué and minus the comic strip feel. I personally quite like this piece and think that it feels less creepy as a painting. The use of soft skin tones and stark contrasts give it an edgy and sexy feel which is playful |
Good Time Burger
After completing the above three pieces, I realized I was lacking a female piece. As I hadn't worked with watercolour yet, it seemed the right choice for this composition. Using my favored dripping style, also worked well with the way in which the female is draped and 'dripping' down the seat of the car. I chose to keep most colours neutral and to change the dress to a colour that is a bit more sexy, which in my opinion is red. Due to the softness in the colour tones and shading created by the watercolours, I believe there is a greater sensuality to this composition, compared to the ad. To be fair, I actually also quite like the ad. While no woman is going to eat a burger that way, the pose, expression and subtle drapery of the clothing is very sensual and sexy. I would say that the paint has toned that down even more. And, if I removed the burger items, it would probably be a great romantic painting which reminds me a bit of the paintings by Fabian Perez. |
data gathering
With the paintings complete, I needed to gather some feedback in order to see whether painting the same compositions shown in ads would garner a different response from the viewer. I chose to create two Google Forms to help me gather data. The first quiz showed the viewer the original ads, asking questions to gauge their feelings about the sexual language/ imagery. The second quiz showed the viewer the painted version of the ads with similar question to help ascertain whether their response had changed. I posted the quizzes on the OCA forum and sent it out to some friends
You can view them here:
Quiz 1
Quiz 2
As I work as an educator, I was not able to send these out on public forums, so I only managed to get 12 participants, though I feel that this was enough to gather interesting results. Below is a side by side view of the ad compared to the painting as well as the order in which they were placed in the quiz.
You can view them here:
Quiz 1
Quiz 2
As I work as an educator, I was not able to send these out on public forums, so I only managed to get 12 participants, though I feel that this was enough to gather interesting results. Below is a side by side view of the ad compared to the painting as well as the order in which they were placed in the quiz.
Side by side view
the results
Considering the findings
When I started this project I wanted to examine whether one can get away with more sexualized/ nude imagery in the name of art. Looking at the results above, I can conclude that you can. This is particularly shown when comparing the result of the questions " which image do you consider the most sexual" to "which image do you like the most". When looking at the ads, composition A was considered the most sexual, and was liked less. When looking at the paintings, composition B was now considered more sexual, but was interestingly also now the most liked (with 50% of the vote). What makes this result compelling, is that composition B was considered the least sexual ad, but the most sexual painting. And even though it is more sexual as a painting, it was more accepted (liked).
In quiz 2, I added an additional question "If you have found the use of sexual imagery more acceptable as a painting rather than an ad, why do you think that is?" as this would be an opportunity to understand why viewers may respond differently. I have already written previously that there are many factors that play a role in our understanding and interpretation of art. We know that our social/ political/ cultural background plays a great role in how we receive art and for these 12 participant, that would be no different. But being able to collect specific first-hand responses is certainly useful. In general, it seems, that a painting ads more to the imagination, or as specifically stated "it is less realistic". It was also cited a few times that viewing the pieces as art, helped the viewer consider colour, technique and composition, which distracts from the sexual content. Another point made was that the viewer knew the ad was selling something, while the painting was not. On this last point there is certainly the opportunity to debate whether or not an artist is trying to "sell" something.
* More on my reflections of this project can be found in my written piece for Assignment 5.
In quiz 2, I added an additional question "If you have found the use of sexual imagery more acceptable as a painting rather than an ad, why do you think that is?" as this would be an opportunity to understand why viewers may respond differently. I have already written previously that there are many factors that play a role in our understanding and interpretation of art. We know that our social/ political/ cultural background plays a great role in how we receive art and for these 12 participant, that would be no different. But being able to collect specific first-hand responses is certainly useful. In general, it seems, that a painting ads more to the imagination, or as specifically stated "it is less realistic". It was also cited a few times that viewing the pieces as art, helped the viewer consider colour, technique and composition, which distracts from the sexual content. Another point made was that the viewer knew the ad was selling something, while the painting was not. On this last point there is certainly the opportunity to debate whether or not an artist is trying to "sell" something.
* More on my reflections of this project can be found in my written piece for Assignment 5.